View other reviews for this product:
linn134
Published on 08/05/10 at 01:25
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!
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!
