The CORT Club (Part 2)

[John D Harris]

I’ve never weighed it but if I had to guess I’d say that it’s in the 9 pound vicinity. I don’t find it to be more uncomfortable than my other basses. It balances fine for me but in my opinion a lot of that has to do with each individual’s body. Overall I’m very pleased with with mine but I wish that it had a passive tone control…

Agreed on the passive tone control.

I would never boost with my Treble control, so I was thinking it would be nice to have a luthier or tech convert it to a passive tone control.

If there were room (or room could be made) in the control cavity, just leave the Treble control at its center detent and push it back into the cavity and add a passive tone control in its place (the wiring is fairly simple to add).

 

[ebozzz]

Agreed on the passive tone control.

I would never boost with my Treble control, so I was thinking it would be nice to have a luthier or tech convert it to a passive tone control.

If there were room (or room could be made) in the control cavity, just leave the Treble control at its center detent and push it back into the cavity and add a passive tone control in its place (the wiring is fairly simple to add).

I actually spoke with my luthier about the possibility of modifying the preamp to have passive tone control. His opinion was that recent preamps are very chip driven in design and that aspect complicates the upgrade process. He felt that doing a preamp swap was the best option.

Personally, I don’t understand why a manufacturer would offer an instrument with active/passive functionality without including passive tone control. I doubt that it adds a significant amount to the overall cost. I mean, it’s not a truly passive opreration without that feature. Still, I like the bass a lot and I’m going to rock with it until I can no longer find any inspiration from it if that ever occurs….

 

[John D Harris]

I actually spoke with my luthier about the possibility of modifying the preamp to have passive tone control. His opinion was that recent preamps are very chip driven in design and that aspect complicates the upgrade process. He felt that doing a preamp swap was the best option.

Personally, I don’t understand why a manufacturer would offer an instrument with active/passive functionality without including passive tone control. I doubt that it adds a significant amount to the overall cost. I mean, it’s not a truly passive opreration without that feature. Still, I like the bass a lot and I’m going to rock with it until I can no longer find any inspiration from it if that ever occurs….

I like global passive tone controls that work in both passive and active mode.

I don't think that type of wiring is actually modifying the preamp, it just adding an external circuit, but I'm no electrical engineer.

 

[ebozzz]

I like global passive tone controls that work in both passive and active mode.

I don't think that type of wiring is actually modifying the preamp, it just adding an external circuit, but I'm no electrical engineer.

My luthier is pretty good but I’m not saying that he is right. He didn’t actually see either of the basses that I would potentially consider for the upgrade. His opinion about a preamp swap being the best option may be accurate though. If you think about the time that it would take to determine a reasonable & reliable means of performing the changes, needed parts and work to complete the task it might actually be less to swap preamps.

I’ve also got a GB Modern 4 & 5. The tone control on those works in both modes. My Markbass Gloxy GV5 also has the same preamp it’s a very nice preamp and one that I would seriously consider using for mods in the future.

 

[John D Harris]

My luthier is pretty good but I’m not saying that he is right. He didn’t actually see either of the basses that I would potentially consider for the upgrade. His opinion about a preamp swap being the best option may be accurate though. If you think about the time that it would take to determine a reasonable & reliable means of performing the changes, needed parts and work to complete the task it might actually be less to swap preamps.

I’ve also got a GB Modern 4 & 5. The tone control on those works in both modes. My Markbass Gloxy GV5 also has the same preamp it’s a very nice preamp and one that I would seriously consider using for mods in the future.

I like John East Uni-Pre and Nordstrand 3B-5b, the East preamp is on the pricier side!

 

[elMinero]

 

[elMinero]

Hey TBers,

Just sharing my 2004 GB74, from the golden era when Cort was still making them in Korea. All original—a simply perfect bass in every way.

 

[elMinero]

 

[elMinero]

Hey TBers,

Here's my Cort GB75 from 2004, from the era when Cort was still making them in Korea.
It's been upgraded with Nordstrand pickups and a passive circuit. Sounds clear, direct, and with lots of character.

 

[elMinero]

Hey TBers,

I wanted to take a moment to shout out something that often gets overlooked behind the logos and the models: the outstanding work of the craftsmen and workers in Cort's Korean factories.

For years—and especially during that golden era in the late '90s and early 2000s—their dedication, precision, and know-how didn't just build instruments, they built the foundation for what we now consider world-class basses and guitars.

That rock-solid feel, that consistent build quality, that attention to detail is exactly what you still find in instruments like my '04 GBs—and so many other classics from that time that folks here own. Those weren't just assembly lines; that was genuine craftsmanship applied to production-scale luthiery.

So if you've got a Cort from that Korean-made era, consider it a tribute to the people who made it happen. A small nod to remember: great instruments are built by great people.

 

[crazycloud]

I wanted to take a moment to shout out something that often gets overlooked behind the logos and the models: the outstanding work of the craftsmen and workers in Cort's Korean factories.

Having had a number of MIK Corts, a couple of current MII Corts and many other MII instruments made by CorTek in Indonesia, sorry, I don't see any better construction in the MIKs. My MII Artisan basses are simply superb, and I have the reference of owning many 'boutiques' in the past and still having a couple on hand.

This is your 5th post on this topic in 5 days. I hadn't intended to comment, but really?

 

[elMinero]

Having had a number of MIK Corts, a couple of current MII Corts and many other MII instruments made by CorTek in Indonesia, sorry, I don't see any better construction in the MIKs. My MII Artisan basses are simply superb, and I have the reference of owning many 'boutiques' in the past and still having a couple on hand.

This is your 5th post on this topic in 5 days. I hadn't intended to comment, but really?

Hey everyone,

Thanks for the perspective, and I want to be clear upfront: this is not a critique of Cort's current Indonesian-made (MII) instruments. The quality coming from those modern, CNC-assisted factories is well-documented and speaks for itself. Many of you have and love instruments from there.

My original post was intended as a specific, historical recognition. It's about honoring the workers from a different era and under profoundly different circumstances.

In the late 1990s and early 2000s, the Korean factories where instruments like my SB74 (1998), JPS5 (2003), and GB's (2004) were built operated in a pre-CNC, heavily manual environment. More importantly, the workers there fought a long, difficult battle for basic rights. Their struggle, which lasted over 13 years, is a documented part of Cort's history.

Here’s what they were organizing for and against:

· Working Conditions: Reports from the time describe factories with no windows, minimal protective gear, exposure to toxic chemicals, and unpaid overtime. A worker advocate once pointed to a Cort guitar and said, “Press here, and the tears will pour out.”
· Health & Safety: The company was found guilty of violating Industrial Health and Safety laws. Workers reported chronic illnesses from dust and solvents, and injuries were common.
· The Fight for a Livable Wage: Even after a union successfully negotiated a raise in 2006—their first in 12 years—their pay was still near Korea's minimum wage. They were organizing for wages that reflected their skilled craftsmanship.
· The Aftermath: When workers at the Daejon factory formed a union in April 2007, they arrived at work to find the gates padlocked. They were all dismissed. This triggered a 13-year labor struggle, with workers staging hunger strikes, protesting at international trade shows like NAMM, and garnering support from musicians like Tom Morello. The conflict only ended in 2019 with a settlement.

So, when I talk about the "golden era," I'm not just talking about wood and specs. I'm referring to the human effort behind it. These workers, under conditions many of us would find unbearable, applied their craftsmanship with remarkable skill. They built the instruments that defined an age for Cort, all while fighting for dignity.

It’s possible to admire the world-class guitars made today and pay respect to the people who helped build the company's reputation under much harder circumstances. That was the only point of my post.

 

[tubatodd]

Last gig of 2025. Brought my Cort Elrick NJS. It has to be one of my favorite basses for sure.

 

[Panych]

Hello Cort lovers,
Recently I have bought Cort Artisan Space 5. What a bass! Now it is my main bass although I have several MIA Fender and Music Man.
I like everything, weight, balance, tone, ergonomics and look. I love how it sounds in passive. B string is tight and sounds great for 34’ scale.

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[PNW Tony]

Hello Cort lovers,
Recently I have bought Cort Artisan Space 5. What a bass! Now it is my main bass although I have several MIA Fender and Music Man.
I like everything, weight, balance, tone, ergonomics and look. I love how it sounds in passive. B string is tight and sounds great for 34’ scale.
View attachment 7390221

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Agreed! I just got a black one a week or two ago and love it. I have plenty of basses, but a great deal came up and I'm very glad I talked myself onto it. I love that neck. And this bass is so well made. Makes me laugh to read about unfortunate people having problems with fret sprout and ill-fitting components on some other brands. These guys know how to build.

 

[yberwaffe]

Agreed! I just got a black one a week or two ago and love it. I have plenty of basses, but a great deal came up and I'm very glad I talked myself onto it. I love that neck. And this bass is so well made. Makes me laugh to read about unfortunate people having problems with fret sprout and ill-fitting components on some other brands. These guys know how to build.

How does the neck profile compare to an Ibanez slim neck ?
The same C shape or is it more of a D shape ?
As thin an an Ibanez neck ?

 

[Panych]

It is C shape and fingerboard is almost flat. The neck is wider and thinner than Fender or Sire 5 has.

 

[elMinero]

Hi everyone,
Sharing another one of my Cort basses, this time a 2004 Cort Elrick Josh Paul 5.

This bass is fitted with Nordstrand Dual Coil 5 pickups and an Aguilar OBP-3 preamp, an upgrade that adds more clarity, punch, and a wider tonal range while keeping excellent definition across the register.

In terms of feel, it’s a very comfortable and well-balanced instrument, with a consistent response all along the neck. Strung with Sadowsky Blue strings, it offers a smooth feel and a clear, articulate response, working equally well in modern settings and more traditional contexts, both fingerstyle and with a more aggressive touch.

Production of this model was quite limited, due to a disagreement between Elrick and Cort at the time that was later resolved through an amicable agreement, bringing the collaboration to an end. That helps explain why these basses aren’t commonly seen today.

A pleasure to keep sharing my Cort basses from what is, for me, their most interesting period of Korean production.

 

[elMinero]

Hi everyone,
Sharing one of my most cherished basses, a 1998 Cort SB-70.

It features a lightweight two-piece maple body, a hard maple neck with fine transverse grain lines, and a rosewood fingerboard. The neck has a thick, classic Precision-style “baseball bat” profile, which gives it a very solid feel in the hand and contributes to its overall stability.

It’s fitted with a ceramic Seymour Duncan pickup and a 2-band MM preamp built by David Schwab, from his early period, well regarded on TalkBass, delivering plenty of punch, clarity, and a clearly defined Music Man–style character.

This bass stands out for its surprising tuning stability, even through temperature changes or long playing sessions. It’s comfortable, well balanced, and consistently sits well in the mix, especially in higher-energy styles.

Another great example of Cort’s Korean production.

 

[tombowlus]

Man, that SB-70 is a beauty! Congratulations!

Speaking of Cort, we stopped by their booth at NAMM and chatted with my good buddy, Steve Araujo, who is now handling their US (and I believe Latin America) marketing/distribution. Here is my NAMM Show floor interview with Steve.