Varied, blendable pickups help a super-affordable, vintage-style looker perform with modern panache.
The Epiphone Newport Bass is an all-original design that debuted in 1961. The modern Newport Bass pays tribute to that rare vintage model while offering refinements to meet the needs of today’s bassists. The 30.5” scale length and comfortable Medium C profile make it suitable for players with a wide range of hand sizes, while the symmetrical double-cutaway body ensures excellent access to every fret. The Bass Sidewinder neck pickup provides rich, deep tones, while the TB PRO in the bridge position delivers brighter timbres. The two pickups are paired with master volume and tone controls and a blend knob so you can get precisely the tonal balance you desire. Available with a classic Cherry finish and three custom colors - California Coral, Sunset Yellow, and Pacific Blue.
A bold fusion of Santa Ana and Fullerton styles yields a wide range of vintage-to-modern sounds.
Daring styling. Transparent onboard electronics. Powerful tone controls.
No passive operation. Hard to access upper frets.
$699
Jackson X Series Concert Bass CBXNT DX IV
jacksonguitars.com
I remember the extreme reactions when the PRS Silver Sky was introduced. The mashup (some might say, clash) of two well-known and classic designs was an earthly manifestation of sacrilege to some. The Jackson X Series Concert Bass CBXNT DX IV could be the Silver Sky's bottom-end equivalent: design elements from two legendary instruments fearlessly thrown together to create something new. The mix already has folks talking. But the real question is whether there is more to this bass than the mix of Fender-style P/J and Rickenbacker visual cues?
What Comes From Where?
The X Series Concert Bass clearly takes inspiration from Rickenbacker's 4001 and 4003. The pickguard, neck profile, chrome bridge pickup cover, control layout, shark fin fretboard inlays, and Jacksons own "Bass Bacher" through-body bridge all nod heavily to Rick. The poplar body profile and pickups, of course, are a nod to Rickenbacker's old neighbors, Fender.
That's the breakdown on the most obvious style moves. But look closer and you'll find features that make this instrument unique. I immediately noticed that the Jackson seemed slightly longer than some basses in spite of the standard 34" scale length. One reason is that putting the Rickenbacker-style bridge on a Fender-style body situates the bridge further forward so the eye perceives the neck as a little longer.
The most unique aspect of the instrument's deign, perhaps, is the pickup placement. The J-style pickup in the bridge position is located further from the bridge than a standard P/J, and the P-pickup in neck position is located much closer to the neck than I am used to. Outwardly, the pickup positions may not seem to represent a huge change, but they make an audible difference.
Tone Twists
The Jackson's departure from the two basses that inspired it become more obvious when you plug in. To start, the Jackson has active electronics and a flexible set of treble, mid, and bass tone controls. But the Jackson doesn't just thump in the hi-fi voice of a typical active-pickup-equipped instrument. The circuit also does a great job of delivering vintage feel in the top end, as long as the treble EQ stays below the 75-percent mark. Such tone-shaping flexibility is rare, and Jackson deserves kudos for being sensitive to the vintage-loving player via these tone controls. On the other hand, the Jackson could have featured a bypass that enables passive operation. That's a big plus for me in any active bass—especially one with such clear vintage ambitions—and it is missed here.
For anyone moving over from a Rickenbacker, or looking for a more affordable alternative, the flatter, wider neck will feel like home.
The X Series Concert Bass' very flat and wide 12"-16" compound-radius neck took some getting used to. I expect it will be an adjustment for anyone accustomed to slimmer, J-bass-style neck profiles. But for anyone moving over from a Rickenbacker, or looking for a more affordable alternative, the flatter, wider neck will feel like home.
The Old Door
The Jackson's voice exhibits a prominent and very honky midrange. And in spite of the P/J pickup configuration, the Jackson has much of the midrange of a Rickenbacker. The extra mids are especially noticeable when soloing the bridge P-style pickup. And getting something close to Chris Squire's tone is surprisingly easy with all that available midrange. The extra mids show up in the neck pickup, too, adding a pleasant woody bark to the output, and at times I could almost hear hints of an old door squeaking, which I mean in the most complimentary way. The laurel fretboard might also contribute something to this pleasant, woody personality.
The Jackson isn't all about midrange. Carve out a chunk of that midrange with the flexible 3-band EQ, engage both pickups at full volume, and it can confidently enter the sonic territory occupied by a more conventional P/J bass. The warm low end gets more room to speak, and that sound lends itself beautifully to playing with a pick. And even when digging in, the relatively transparent active circuitry never gets overbearing.
The Verdict
After living with this bass for a few weeks, it really grew on me. I love that Jackson green-lighted this fusion of design ideas—especially when some traditionalists on both of sides of the Rickenbacker/Fender aisle are bound to consider it a pretty wacky blend. But looks aside, the diverse sonics created by combining two legendary designs are interesting and fun to explore. I applaud big statements in general. And in the world of bass, this Jackson pronouncement is as loud and proud as they get.
Affordability is no obstacle to top quality in this understated P/J-style bass.
Solid construction. Beautiful finish. Affordable price.
Overly bright onboard electronics. No passive operation. No option to switch batteries quickly.
$549
ESP LTD AP-204
espguitars.com
Famed Japanese brand ESP launched the LTD series in 1996 as an affordable line aimed at the beginner market. But a visit to the LTD website these days reveals a line evolved well beyond that original premise, with a wide variety of offerings in several price ranges.
Stylistically speaking, brand associations can be a funny thing. I always associated the LTD series with metal and related aesthetics. But the AP-204 represents a much more understated and middle-of-the-road approach with P-Bass-meets-Music Man style and an active P/J pickup setup. The $549 price is a bit higher than some Indonesia-built instruments from competing brands, but the AP-204 delivers a lot of sounds and excellent quality for the price.
Solid as a Rock
The LTD is a well-built bass. As a player who performs live a lot and sometimes bends a neck for a little vibrato or whammy effect (not a practice I recommended, by the way), I'm reassured by an instrument that feels solid and battle-ready. Casual inspection makes it easy to explain the solid feel of the instrument. The neck/body joint is tight, with no visible gap, and the bolt-on neck is affixed with six screws instead of four—a construction technique more commonly seen on higher-priced instruments. The fret ends are nicely rounded and the satin finish on the back of the J-Bass-sized neck is exceptionally comfortable. The test bass also arrived with a perfect setup that required no tweaking before I tested it—not a common occurrence. The pièce de résistance might be the gorgeous metallic purple finish that looks dark and unassuming under normal lighting, but takes on a much more flamboyant personality under bright lights.
The Modern Edge
The bass features straightforward volume and blend controls, and a bass/treble stacked EQ setup. And when playing the AP-204 straight into my user interface and computer, I had to cut the treble about 70 percent to get the sound I associate most with a P/J-bass—not entirely vintage, but not inflexibly modern. Even with that much treble cut, the LTD provided great sustain and a tone with solid lows, musical mids, and present highs that could work for many applications without much processing. This is a great starting point for any instrument, regardless of price.
The sound of my finger pops were quite a lot brighter than I anticipated—with shades of a modern MTD-on-a-budget tone.
Of course, the beauty of any P/J-bass is the ability to use the P-style pickup by itself, and on that count the LTD does not disappoint. With a little tone attenuation, the bass provides plenty of traditional P-style honk and woodiness. Fingerstyle moves in this configuration never sounded muddy or without character. After this encouraging experiment, I returned the bass to a 50/50 pickup blend and rolled the treble back up to check how it reacted to slap technique. Instantly the sound of my finger pops were quite a lot brighter than I anticipated—with shades of a modern MTD-on-a-budget tone. And while the jatoba fretboard is ostensibly a stand-in for rosewood, it seemed to lend more of a bright maple tonality in slapping situations. Palm-muted picking, meanwhile, revealed a cool low-mid thump that some similar instruments easily lose when played with a pick. And a quick recording of this approach demonstrated that this bass sits just about perfectly in this context without taking up too much sonic space.
The Verdict
Just a little time with the LTD AP-204 makes it clear what a solid, all-around bass it is—although there is room for small improvements. Because the bass does not have a passive/active switch, I would switch the battery door from a 2-screw setup to a flip-open compartment to facilitate quick battery changes. It could also benefit from a slightly less bright EQ circuit and a little more range for high-end cut. But unless you are a strictly vintage-oriented player, this might not be an issue for you. More than anything, I am impressed with the build, quality control, and finish on this LTD, which makes me more than a little curious about other offerings from the line. This AP-204 is clearly capable of delivering more than metal tones—and offers great value.