Yamaha TRB1006

Made in Korea, except the pickups.

Diapason 35 '

Channel 3 pieces maple screw 6 points, 24 frets rosewood fingerboard.
Original inlay, oval tablets as pearl.
Veneer flamed maple top (flamed maple), gloss varnish.
Overlay "Yamaha" in abalone.
Six key oil bath.
Bone nut (49 mm wide).
2 trussrod double action, easily accessible at the heel of the handle.
The handle is very well done, enjoyable even for small hands.
The finish is very good, except with respect to the nut.

Narrow string spacing: 16.5 mm at the heel of the handle.

Alder body netted pear, maple and coverage curly maple veneer.
Brilliant natural finish, see photo. Good quality, nice finish.

2 Yamaha pickups made in Japan, bar, alnico magnets, dual-coil humbuckers, with a "coil" (reel) ghost.
* Note: two individual knobs (blue and white) on the circuit board can vary for each microphone, the presence of this phantom coil, useful to the hum-canceling effect.
You should not touch this control unless significant buzz on a microphone that was set incorrectly at the factory.

Yamaha preamp and equalizer 3-way *.
5 controls: volume, pan pot, bass, treble, mids.
* This version does not set the mediums.

Fittings "noname" narrow bridge, probably injected metal (diecast).

UTILIZATION

The neck is especially nice, very well designed. We feel the experience of the industry.

The string spacing is very narrow. The slap is not easy, but the game is very comfortable to the fingers.

Access to treble is good, with a slant to the rear of the body.

The instrument is lightweight and well balanced, very good points.

The sound is very good, typical of a 6-string: C for the song, deep bass for B.
In between, we travel.
The equalizer pressure with a sharp when pushed to the bottom. But the brilliant then a bit too present for my taste, so we can not so far.

SOUNDS

Versatile sound: everything is possible as style.

The settings are easy, the knobs respond very quickly, he must go very slowly.

At this level, for a musician to varied repertoire, but attracted by the fusion jazz, SmoothJazz is an instrument both mat and original when it explores many controls.

From the perspective of sound, it's safe.

OVERALL OPINION

Bought 2 months ago in Paris.

I have another 6-string and I tested several.

Most: design, finishes, sound, playability
The -: IEA, we approach what hurts. There are some things to say ...

1 / instrument design is beautiful and well crafted, but the cost savings (on average E 900 to buy) is found in the nut that is "at random, the chance". It ended badly on mine, fortunately not a problem for me.

2 / harder: the shrinking is not good. The high frets, in this case the 17th, do not on mine action setting it down without frieze.
So be careful when purchasing to thoroughly check it frieze not "too", the strings are not set too high, as if to "fig leaf" ...
Again, personally it does not bother me, I re-alignment and everything is back to normal.

But when we do not know these techniques, then a must be at the store for customer service, or with a luthier (who will not make you a present of his performance).

If not for these defects, including a major, shrinking, this instrument would be excellent in all respects. Care must be taken at the time of purchase.

In conclusion, I do not regret, but, because I customized mine: brass nut spaced wider than the original Gotoh bridge with adjustable spacing and, as I wrote above, planning frets.

These operations are not accessible to everyone, is through a luthier.

That's why I put seven in total, because it is a pity that the musician must exercise vigilance as to the purchase of such an instrument, about 1000 euros.

It is made in Japan
24 frets

UTILIZATION

Super fast neck
Access to acute is very easy also been especially acute in
The weight is very decent compared to other 6-string
For sound, I think it takes a little fiddling to get exactly what you want, you sometimes get a little
I put 8 in the sound

SOUNDS

I play on a Hartke 3500 bass stack with a 4 times 10, I lacated still need a good power lice have a good sound with a low active.
It depends on what you want but I like her very close to leveling with TRB6PII I use and I can not put € 3500!
Personally, I prefer to slap his snapping and tapping but it depends on the technique you use, for conres for the merger, I prefer the sound a little fatter.

OVERALL OPINION

I use it for over a year.
I think its excellent balance.
I try several low price in this game, I will not mention names, but I prefer the Yamaha for all the bridges mentioned above compare to some more expensive bass.
I found that whoever wishes to spend on 6 strings will not regret moving to Yamaha with an trb1006 for the price, I find this bass extremely versatile.
With experience, I recommend this bass to anyone who wants to switch to 6 strings, if it was a remake, it is without any hesitation.

The TRB-1006, 6-string bass series TRB representing the high end Yamaha, was first produced in Japan and then very quickly in Korea. The Korean model (including mine), retains the Japanese electronics and mechanical and beautiful violin model for a Japanese client rate substantially equivalent. One of the reasons that prompted Yamaha to produce the TRB-1006 (as of 1004 and 1005 fretless or fretted) in Korea is simple: do not compete with other TRB most exclusive models that are TRB5/TRB6 / Patitucci. Another obvious reason, lower production costs and maintaining high quality of the instrument since Korea has for some years now the leading producer of guitars and bass mid and high end.

According to Yamaha's website: "Among the Finest in the World Boutique Basses.
Demanding bassists Have Appreciated long Unparalleled playability and The Beauty Of The TRB Series basses. Thesis top-of-the-line instruments feature active electronics, a 35 "scale neck, and premium grade Materials to Create the finest basses for discriminating players The Most."
For non-native speakers it is said in the official presentation of the TRB-1006 TRB that among the low best boutique in the world, they are popular among bass players for their beauty and playability.

The TRB-1006 (like 1004 and 1005) is a low modern design and violin worked. The TRB-1006 is not a Jazz Bass and Precision let alone the aesthetic point of view: table carved figured maple on alder body with a walnut insert between the two, Sunburst 35 "maple with key in radius rosewood 24 frets 40 ", mechanical precision oil bath (hence closed, otherwise it comes out) black nickel finish, brass easel black nickel finish. That is the instrument in a certain form of modernity, enhanced by active electronic equalizer with three bands and balance humbuckers AlNiCo magnet (an alloy of aluminum, nickel and cobalt for the magnet).

The characteristics of the TRB-1006 make it an instrument well suited to the bass player wanting to play bass well equipped and well crafted. The finish is really attractive and there is no doubt that if this bass was produced in Europe or the USA's tariff was far more discriminatory, besides the serious Yamaha in fact, apart from any consideration of sound, an instrument extremely reliable.


UTILIZATION

A decision in the hands TRB good surprise, those who have never handled bass 6-strings: the neck is still quite accessible to the bass player with small hands (which is my case) is very well balanced and above does not weigh a dead donkey.
The neck is very pleasant, carefully profiled and finishing back on maple, is satiny. The hoop is perfect, the key is polished (not so brilliant either) and the head is no shortage of class with its flashing together at the table: So figured maple.

The modern form of the TRB-1006 contributes to the comfort of game: chamfers for the forearm and stomach, shaping the heel stick, balance. The horns are slender and make accessible the highest notes.

A vacuum GRT delivers a fairly dry (nothing to do with mahogany), accurate and good sustain. The mass represented by the combined brass easel in tune and bolt-on neck contributes in conjunction with the wood used. Unplugged rendering prefigures what will be the amplified sound of the bass: dynamic and precise.
The TRB-1006 is decidedly modern in its aesthetic, his violin and electronics. Plugged directly into a direct box and then sent to a rendering sound card is a little dry but not without interest either. Attention in this type of sound recording to the saturation of the converter in your sound card / multi / recorder because the TRB has a preamp quite generous and it is not uncommon to "tap into the red in percussive ( see below).



SOUNDS

The TRB-1006 is decidedly modern in its aesthetic, his violin and electronics. Plugged directly into a direct box and then sent to a rendering sound card is a little dry but not without interest either. Attention in this type of sound recording to the saturation of the converter in your sound card / multi / recorder because the TRB has a preamp quite generous and it is not uncommon to "tap into the red in percussive ( see below).

In an amp is already easier to manage: at neutral preamp to start the TRB, correction of the amplifier offset, we explore the sonic palette of the animal ... and there's plenty to do.
The two humbuckers and balance allow a wide variety of sounds. The bridge pickup alone is as it should be given the violin (alder and maple with a bolt-on neck) a little aggressive in the treble. The neck pickup alone is rounder still with some shine always linked to the violin.

In the middle, 50% of each microphone, we arrive at an almost perfect balance as the strings you use. On mine it is bright enough strings (Ernie Ball) and the "sweet spot" (the equilibrium point) is shifted slightly: about 55% of neck pickup and hence 45% bridge pickup. All this agrees with the equalizer to neutral on bass, midrange and treble.

The sound is modern "default", but the TRB can tease the roundness or otherwise get more aggressive in using the balance and equalization jointly. It is important to choose the strings on this bass because of a long pitch and the presence of low B and high C, although the choice of 35 "is pretty small unfortunately.

By trying various playing techniques we appreciate the flexibility of the TRB-1006: played with fingers very rewarding, it will be less comfortable with a pick, but absolutely demonic in slap. On this subject I reassure the skeptics: there is not much more difficult slapper on a 6-string bass when you should handle well, it just requires a little more practice and higher accuracy but we made it and so much better because the TRB-1006 is a fantastic bass for a percussive.


OVERALL OPINION

It is home for over six months now and I admit that I never tire of it. It had been years since I wanted a TRB, I lean towards the 1005 because the 6-string bass made me a little scared. A friend convinced me of the interest that represent the 6-string basses making me try his JP then advised me the TRB. Initially I had fallen for the aesthetics of John Myung Yamaha model, the first version: RBX6JM but I do not regret having purchased the TRB-1006. While this model does not cost as much as a TRB6-II or a signature Patitucci, but I do not really have good memories of low-handled driver, it's personal.

I always liked the aesthetics of the TRB, the 1006 is really beautiful and exudes luxury. The grumpy say that the Korean origin, the handle screw or home electronics downgrade the TRB-1006 but I do not agree with this view. I have had many basses recognized as "medium range" and the TRB in question here is clearly superior in all respects and at these low, it is logically "high end". Unfortunately the TRB series is very low, the head due 1006 in a niche market and a relatively low demand. Yamaha was shot in the ear to deliver some of them and never have I been able to try in stores or older models and then used.

Whether to give bad marks to start with this bass I blame him its rarity, then the choice of caps knobs: plastic and do not always take well to the volume pot (I lost). Another negative: ties of the strap could benefit from increased security as are Straplock et al. Finally last paragraph, the bass is not delivered in flight case and it is very unfortunate.

Now the good points: the violin is neat, very fine achievement with well-chosen wood. The tuners and bridge are never lacking. The electronics are quite satisfactory, although some prefer relentless change the pickups and preamp. I believe these pickups "house" and all three Japanese electronics are valid and consistent with the ensemble. A prestigious signature (or Bartolini Crel example) is not justified for me, I am very satisfied with sounds "original."

The TRB-1006 was not excessive or intrusive identity but there is definitely a "sound TRB" that gives this bass, a combination of precision, dynamic percussion and perfectly suited to modern directories where the bass is prominent .
If I were doing it would without hesitation. I eyeing for a while on a fretless version in 5 or 6 strings. I think I am a TRB-addict now: it grooves, Doctor!