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They're baaaaaaaa-aaack!

I was fortunate enough to play a couple of these the other day at a local shop.

Holy crap. They are amazing basses. Then you look at the price tag. Holy crap.

I played an active 5 and a passive 4. I spent a little more time with the 5 because it was more my thing, but both were excellent.

Construction was unbeatable in this price range. Rock solid. Better than any Fender in the store. The neck joint was so tight it looked like a set neck from the front. Just a really solid bass.

The 4 stringer was full of nothing but traditional bass tones. No more, no less. The neck pickup was all P. The bridge pickup was beefier sounding than the average J. This posed a slight problem when blended together because the P seemed to have a lower output. Regardless, this thing beats any bass in this price range.

The active 5 stringer was all business. Great neck, very comfortable. Feels like a slightly thinner SR5 neck, which is to say, awesome. When I first sat down with the bass and played it a little unplugged I thought to myself "Whoa. Sounds good." Then I plugged it in. The B string on this bass is easily the best under a grand, maybe more, and is absolutely fantastic for a 34" scale wood necked bass (I am a Modulus guy after all). The preamp was surprisingly good as well. The neck pickup sounded very P to my ears, and with a slight boost of the mids it really got me grooving on some old Motown tunes. Definitely impressed. The bridge pickup was punchy as all he**, in a good way. Fantastic J tones all over the place. I don't know what else to say about it, really. When blended together the P definitely loses some ov its voice, but not as much as the passive four did. I really loved the sound of the P with just a little J and the mids boosted. And did I mention the B string was totally killin?

What great basses. I see these as being total gig machines. Tough functional affordable machines that sound great in a variety of contexts. I plan on picking up both a passive and an active 5 in the near future.

And no Mike, they don't come in white. How lame is that?
 
Quadzilla said:
Check out the bridge in the pic below. Notice how the bridge width for the low B string is wider (set further back). I guess this effectively increases the scale length of the low B??? :confused:

Link Removed

No, that is just to compensate for the longer length a B string needs to intonate properly. If you compare that to a normal Fender style bridge, you will see that the part for the B string is the same width as a normal bridge. The part for the EAD and G strings is narrower.
 
I guess the Yamaha BB line is their only Bass series that had THREE different shapes during it's years of production.

And I am glad to see that they returned the PROPER shape again.

bb2000.jpg

This late seventies BB2000 shows the original shape, the one that the current basses bring back

bb_serien_medium_jpg.jpg

These two BB-G5 (upper) and BB-G4 (lower) show the second shape introduced in the late eighties, which has longer body horns and an overall more generic style.

Link Removed
Finally, this trio shows the final shape of the the BB series which actually is the shape of Yamaha's TRB series which doesn't even resemble the original shape.

I guess we have Tony Kanal (No doubt) to thank for the revival, he played his Yamaha BB 3000 with very good effect.

big.jpg
 
embellisher said:
No, that is just to compensate for the longer length a B string needs to intonate properly. If you compare that to a normal Fender style bridge, you will see that the part for the B string is the same width as a normal bridge. The part for the EAD and G strings is narrower.
Sorta'...

If the heel of the bridge were straight across, the saddle would still be in the same position, just like on any other bass of the same scale length, so that's not really a "difference" from any other bass with a compensating bridge (which is most all of them). What the longer distance to the heel plate really gives you is less of an angle as the B passes over the saddle, which reduces string stress, and increases the tonal quality. It also makes it a bit easier to string.

Typical of Yamaha... smart engineering.
 
I played the 4 string fretless at a local store. The thing felt AWESOME. I thought the rings around the pickups would feel cheap and all, but it was SO solid. Very impressed. The setup sucked, but I got some good sounds out of it. With lower action and lower tension strings, I'd pick up a 5'er fretless for E-C action any day.
 
Govithoy said:
...at a local store...The setup sucked...
This is really a different thread, but I'm seeing this ALL THE TIME these days. :( I'm seriously gonna' start bringin' my allen keys to stores when I go shopping! Jeez, it takes no time to tweak a decent bass, and it can make the diff in whether it sells or not most times. What kind of idiot doesn't get this... :rollno:
 
I had a BB3000S that I bought in 1987 for $1500 (all my funds at the time).
Probably the most versatile bass I ever owned and one that taught me to be very carefull when deciding to unload gear.

I miss that bass!!!
 
I have an old and beatup BB3000 that i´ve been using for many years.
As soon as those new ones came, i got me a black BB1000!

Had it for half a year on tour and everything and then...
it got stolen together with alot of other stuff from our rehearsalspace.

Well I had insurance and was able to get me another one!

comparing my old 3000 with the new 1000.

3000:
neckthrou
less deepbass or a woodier tone
a little less gain
heavier

1000:
bolt on
fattersounding
a little more gain
simplier hardware(the 3000 had a better bridge)

I use the BB1000 almost al the time but find the old BB3000 sounding better for recording.
Also the knobs on the new BB doesn´t have any real "solid" feel but it´s still a great bass!

I played one of those new (414 or 614?) that are even cheaper but found them to have even simplier(yeah, cheaper) hardware.
It was still nice thoe and i´d chosen one before a std jazzbass any time.
reversed p-pickup