« Unique tool for amateur »Publié le 05/24/09 à 09:42
Channel: 11 headless glued plies: 2 flamed maple / 2 + crimson thread: 4 Maple / 3 amaranth
- 2 double action trussrod
- Key: flat, with radius, bird's-eye maple + 2 sub-nets key: Maple / amaranth
- Scale 31 "
- Fretted 27 squares
- Milestones: key black, 2mm
- INLAYS on the edge: black, 2mm
- Nut: 0 fret
- Frets: Nickel / silver and 18%, 2.4 mm
- Body: limba (korina =)
- Top: Maple dapple (slightly spalted) + nets: Maple / amaranth.
- Ramp wood Limba / maple dapple (slightly spalted) + nets maple / amaranth
- Microphones (under the ramp), two microphones Delano SBC ET humbucker
- Switch black series / single / parallel for each pickup
- Pre-amp John East U-Retro Deluxe 5 Knob wired 9V
- Buttons Potentiometer black metal
- Piece of black head with 9 mm between centers
- Individual Jumpers black with 18 mm between centers
- Black Strap locksSchaller
- Screen full of electronics cavity copper
- Finishing oiled and waxed
It weighs about 4 kg, very correct for a 6 string. This is justified by the absence of head and the use of Limba, which is a light gasoline.
The set neck has a very large indentation on the back of the body, allowing easy access to the latest boxes to the inverse of a Jazz Bass with heel. On the other hand, it has an asymmetrical profile D, and the thickness is greater at lower strings at the level of strings.
However, the thickness of the handle is quite important. After comparison, it is similar to that of the Warwick Thumb Singlecut. On the other hand, although this is a chamfer at the junction body / neck, the thickness of the shaft extension at this point is obvious.
The key platform provides a uniform action of the strings above the ramp.
The short scale helps keep the tension right hand in the bass, and does not alter the string tension, which is equal or superior to a low fitted with a tuning fork 34 ".
The bass is very well balanced, the Singlecut not interfere in any way, and the lower horn, besides its opening large enough to tickle the treble, supports pleasant when seated.
All the settings I wanted were applied, so that's positive. At the left hand ramp is fixed and the action of the strings enough to play with fingers and have the appeal for the following notes. The space between the end of the button and the ramp is also sufficient for the slap, although this is not my favorite technique.
The right hand is constrained nowhere, the frets are well cut and it fits easily on the 27 boxes of the handle.
The settings of the electronics are intuitive, although I do not use all the sounds.
The lower part of the choice of wood and its design is naturally rich in medium, which provides excellent precision and breathtaking dynamic. The pickups and preamp John Delano East doing a good job and fully restores the sound.
The combination of wood and electronics was totally new for me, but the end result far exceeds anything I could imagine, including the opinion of Patrick Cosme himself. The magic of the violin ...
After some time playing with this bass, I have not regained his fingers as defined organic and bold with other instruments.
By placing microphones in parallel and in remaining passive, I am THE sound.
This bass is well suited for use as soloist Dominique Di Piazza (besides its characteristics are very close to some of his bass), and fits perfectly in a group setting.
Nevertheless, the sound is quite distinctive and modern. This bass is closer sounds kind Ken Smith (mic placement is not insignificant), and therefore does not "everywhere", even correcting the sound assets.
I used both connected directly to a PC, as an amp (Fender Rumble 100W, Markbass LMK 250, those available in the rehearsal ... then TC Electronic!).
I used it for almost a year and it daily.
Being left-handed, it is always difficult to try many models. I wanted my instrument so that makes me forget the inconvenience of society.
On the other hand, the desire to have a single instrument was very strong, although I did not test as much equipment today.
Patrick Cosme has fulfilled this desire.
What I liked (and like always):
- On his fingers, worthy of the best low market
- The beautiful woods
What I like least (for the use and comparison with other instruments, not necessarily high end):
- The thickness of the handle (unacceptable)
- The short scale to play in the treble (I'm more comfortable on a 34 ")
- The oil finish (I wanted a record "white" maple, and since I'm not more careful with a low of 300 Euros, a satin varnish would have been better for both cases)
Currently my needs are quite different, so I sold this beautiful instrument to a fellow lefty.
On the ratio Q / P, after having read the actual price of the supplies of such an instrument, I would say that although the quality was the appointment (it's very well finished and it sounds), only offers and demand can justify the price.
This instrument will pay about 4500 Euros new. So if one adheres fully to the suggestion Patrick Cosme is justified.
Currently I would not put such a sum in an instrument because it offers me no longer matches.
Although a short scale, the thickness of the handle made me suffer, and that is why I only play bass with a very thin profile neck (Ibanez, Leduc ...).
I could possibly make the election again by proposing a very precise specifications, thus correcting the issues that led me to separate myself from this unique instrument, and probably going to the essential (less figured wood and simplified electronic).
You can find sound clips directly on the site of Patrick Cosme.