NBD: Custom UGR Bass

[Kerem Koseoglu]

I would like to share my joy of finally getting my hands on my custom bass! This is an instrument of my design; implemented by luthier Ugur Elcik.

Specs:
- 34" scale; 3.5 kg
- Alder body with maple top
- Maple neck with flame maple fingerboard and steel frets
- Seymour Duncan NYC pickups in 70s position (outer coils)
- Aguilar OBP-3 preamp
- Series/parallel/single, 400/800Hz, active/passive selectors
- Hipshot B Style bridge and ultra light tuners
- D'addario NYXL 45-130 strings

This design is inspired by Fodera Emperor, F Bass and G&L L-2500; blending significant features of each. A few years ago, I created a prototype by modifying a Squier, which gave promising results. Today, through the hands of an experienced builder, a marvelous and highly versatile instrument is born.

Here is a demo video:


And here are some close-up photos:

 

[noahw1]

I hope you enjoy it for many years.

 

[Dincrest]

After watching the video, I say the "Jammin' in the jammies" test has to become a NBD thing. Because that bass absolutely nails it!

 

[ReidK]

Are you sure ten controls are enough?

JK, it's beautiful. Congratulations!

 

[Smooth_bass88]

I would like to share my joy of finally getting my hands on my custom bass! This is an instrument of my design; implemented by luthier Ugur Elcik.

Specs:
- 34" scale; 3.5 kg
- Alder body with maple top
- Maple neck with flame maple fingerboard and steel frets
- Seymour Duncan NYC pickups in 70s position (outer coils)
- Aguilar OBP-3 preamp
- Series/parallel/single, 400/800Hz, active/passive selectors
- Hipshot B Style bridge and ultra light tuners
- D'addario NYXL 45-130 strings

This design is inspired by Fodera Emperor, F Bass and G&L L-2500; blending significant features of each. A few years ago, I created a prototype by modifying a Squier, which gave promising results. Today, through the hands of an experienced builder, a marvelous and highly versatile instrument is born.

Here is a demo video:


And here are some close-up photos:
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that's beautiful. So cool to see such nice instruments from other parts of the globe.

 

[Chicken Wing]

Kerem, how are you liking this bass compared to your Sadowsky Modern? Is your Modern still in the rotation? I am considering picking one up!

 

[Kerem Koseoglu]

Kerem, how are you liking this bass compared to your Sadowsky Modern? Is your Modern still in the rotation? I am considering picking one up!

I sold both basses since, but I can share my opinion on the Sadowsky Modern, as I played an M5-24 for many years. It's in the same sound family as Ken Smith and StingRay. It has a high-mid oriented, articulate, in-your-face sound with a killer B string.

What it's naturally good at:

• Modern genres asking for an active bass (Gospel, Fusion, Progressive, etc.)
• High-speed 16th-note playing, as in Jaco or Joe Dart
• Leaving room on the low-mids for other instruments

What it's not naturally good at:

• Truck-like, pillowy P-style support via low-mids
• Slap-friendly J-style scoop
• Ease of play for small hands

For me, the Sadowsky Modern is more of a specialty bass than an all-around general-purpose instrument. If you want hi-fi clarity and articulation at the cost of meat/body, you'll likely be happy with one. Case in point: all my friends playing Sadowsky Moderns are typically fast/melodic players rather than supportive groove players.

I don't mean to say the Sadowsky can't do supportive groove. Anything's possible with the right hands. I'm just talking about the instrument's natural orientation. And; I would strongly recommend a used MetroLine over a new MetroExpress. I played both, and they are in different leagues.

Hope you found this useful!

 

[Chicken Wing]

I sold both basses since, but I can share my opinion on the Sadowsky Modern, as I played an M5-24 for many years. It's in the same sound family as Ken Smith and StingRay. It has a high-mid oriented, articulate, in-your-face sound with a killer B string.

What it's naturally good at:

• Modern genres asking for an active bass (Gospel, Fusion, Progressive, etc.)
• High-speed 16th-note playing, as in Jaco or Joe Dart
• Leaving room on the low-mids for other instruments

What it's not naturally good at:

• Truck-like, pillowy P-style support via low-mids
• Slap-friendly J-style scoop
• Ease of play for small hands

For me, the Sadowsky Modern is more of a specialty bass than an all-around general-purpose instrument. If you want hi-fi clarity and articulation at the cost of meat/body, you'll likely be happy with one. Case in point: all my friends playing Sadowsky Moderns are typically fast/melodic players rather than supportive groove players.

I don't mean to say the Sadowsky can't do supportive groove. Anything's possible with the right hands. I'm just talking about the instrument's natural orientation. And; I would strongly recommend a used MetroLine over a new MetroExpress. I played both, and they are in different leagues.

Hope you found this useful!

Super helpful, thanks for sharing. What are you using as your current stage basses?

I'm way more of a groove player but there's something about the Modern that is appealing to me. It's way different than my current basses. I am likely going to sell a Serek Lincoln 32" scale bass that's been collecting dust for last couple of years. I currently have 4 four string basses (I guess I have a type) and am not a 5 string player, so far at least. Not a Stingray guy either (tried 3 times lol).

Here is my current lineup:

• MIJ Precision Bass with flats - typically my #1 stage bass
• Fender Jazz (passive) collecting dust but was my Uncle's bass so it stays
• Sadowsky J/J (active 4 string) - my #1 bass to play at home, also use on stage
• G&L L-1000 - when i want a different flavor. debated selling from time to time.

My axes lean traditional, and on stage I prefer a solid fat low end that I get with my Precision, the Sadowsky, and L-1000.

I'm looking for something different than my current axes. I was thinking Yamaha BBP but it'll overlap with my current basses. Also been pondering picking up a five string with my #5 bass spot. Having five 4 string basses is really redundant for my needs. I don't play much modern country, R&B music which IMO leans more towards a five string so I leave those genres unexplored. It'd open up a new chapter of learning and progression. I am concerned about switching between 4 and 5 strings. Maybe I'm overthinking it.

Part of me would love to have a 5 string available if the situation called for it, but so far I've been fine without it. Thanks for writing!

 

[Kerem Koseoglu]

Super helpful, thanks for sharing. What are you using as your current stage basses?

I'm way more of a groove player but there's something about the Modern that is appealing to me. It's way different than my current basses. I am likely going to sell a Serek Lincoln 32" scale bass that's been collecting dust for last couple of years. I currently have 4 four string basses (I guess I have a type) and am not a 5 string player, so far at least. Not a Stingray guy either (tried 3 times lol).

Here is my current lineup:

• MIJ Precision Bass with flats - typically my #1 stage bass
• Fender Jazz (passive) collecting dust but was my Uncle's bass so it stays
• Sadowsky J/J (active 4 string) - my #1 bass to play at home, also use on stage
• G&L L-1000 - when i want a different flavor. debated selling from time to time.

My axes lean traditional, and on stage I prefer a solid fat low end that I get with my Precision, the Sadowsky, and L-1000.

I'm looking for something different than my current axes. I was thinking Yamaha BBP but it'll overlap with my current basses. Also been pondering picking up a five string with my #5 bass spot. Having five 4 string basses is really redundant for my needs. I don't play much modern country, R&B music which IMO leans more towards a five string so I leave those genres unexplored. It'd open up a new chapter of learning and progression. I am concerned about switching between 4 and 5 strings. Maybe I'm overthinking it.

Part of me would love to have a 5 string available if the situation called for it, but so far I've been fine without it. Thanks for writing!

Currently, I'm back to a simple system. All my basses are passive 5-stringers, running through Empress Compressor into Aguilar Tone Hammer.

• My all-around middle-ground main is a Fender P with NYXL strings.
• For an upright-ish vibe, I play another Fender P with TI or Dunlop Flats.
• For improved articulation in smaller ensembles, I play a Fender J with NYXL strings.

In your shoes, I would subjectively see two alternative orientations.

Case 1) "I already have a P with flats (old-school world) at one extreme end and an active JJ (modern world) at the other extreme end, I should throw in a bass where I want to be in-between those extremes." In that case:

• Your passive J or G&L L-1000 seems to occupy this gap already; assuming you install round wound strings.
• If you are a P fan you could get a P / PJ with round-wound strings to sit in-between those extremes.

Case 2) "I already have a P with flats (fat neck sound) at one extreme end and a JJ (scooped sound) as the middle ground; I should throw in a bass with a fat bridge sound for the other extreme end." In that case:

• Sadowsky Modern is a strong contender if you are going for a sterile, versatile, Hi-Fi sound.
• StingRay or G&L L-2500 comes to mind in case you want a more aggressive sound.

Since I don't need anything beyond the J bridge pickup at this time, I sat in Case 1. But, I have friends who would sit in Case 2.

All of that is my subjective opinion, not universal facts applicable to all players, but I hope I could help you get inspired.

 

[Chicken Wing]

Currently, I'm back to a simple system. All my basses are passive 5-stringers, running through Empress Compressor into Aguilar Tone Hammer.

• My all-around middle-ground main is a Fender P with NYXL strings.
• For an upright-ish vibe, I play another Fender P with TI or Dunlop Flats.
• For improved articulation in smaller ensembles, I play a Fender J with NYXL strings.

In your shoes, I would subjectively see two alternative orientations.

Case 1) "I already have a P with flats (old-school world) at one extreme end and an active JJ (modern world) at the other extreme end, I should throw in a bass where I want to be in-between those extremes." In that case:

• Your passive J or G&L L-1000 seems to occupy this gap already; assuming you install round wound strings.
• If you are a P fan you could get a P / PJ with round-wound strings to sit in-between those extremes.

Case 2) "I already have a P with flats (fat neck sound) at one extreme end and a JJ (scooped sound) as the middle ground; I should throw in a bass with a fat bridge sound for the other extreme end." In that case:

• Sadowsky Modern is a strong contender if you are going for a sterile, versatile, Hi-Fi sound.
• StingRay or G&L L-2500 comes to mind in case you want a more aggressive sound.

Since I don't need anything beyond the J bridge pickup at this time, I sat in Case 1. But, I have friends who would sit in Case 2.

All of that is my subjective opinion, not universal facts applicable to all players, but I hope I could help you get inspired.

This is so helpful, thank you. The Precision sound is historically what I want to hear on stage. About 6 months ago I started a set with my passive Jazz bass and immediately felt myself wanting to switch back to the Precision. It could be familiarity of tone, feel, response, etc.

Your 3 bass system sounds great for what you need. Intentional and well thought out, no unnecessary duplication.

I am leaning towards Case #1, as with Case #2 I am not drawn to the fat bridge tone. Thank you for the food for thought!