The Next Step ForwardElrick e-volution 4 string
By Richard Gitsina
By the middle of the Seventies, reigning rock bass kings John Entwistle of the Who and John Paul Jones of Led Zeppelin had laid down their off-the-rack basses and begun playing instruments made with exotic woods, custom electronics and heavy, machined hardware. Competing with Pete Townsend’s Hiwatt stacks or John Bonham’s thundering drums was a formidable task, and both bassists wisely took advantage of the latest technology to hear and be heard.
Many bassists confronted with similar challenges today are turning to builders like Chicago-based Robert Elrick to be heard over and under the down-tuned guitars and double-bass drum fury of their bandmates. While at first glance it may appear that Elrick’s basses are just another boutique line, what sets them apart is the builder’s determination to create instruments for players—not art collectors. An accomplished player in his own right, Elrick tests many of his instruments on gigs.
MEAT ON THE NECK
It’s no surprise then, that the e-volution’s low action remained buzz-free even after I went down to a modified C tuning (C-G-D-G) with the Hipshot D-tuner. The carefully selected, very dry woods no doubt had something to do with the neck remaining stable, and it probably didn’t hurt that Elrick isn’t afraid to leave some meat on the bone, either.
Though wider at the nut than Fender Jazz, with bigger shoulders, the neck is not at all uncomfortable. Jumbo frets would’ve made the neck feel too unwieldy, but the immaculately installed mediums are perfect. Thanks to the zero-fret, the open strings and fretted notes have the same voice, so transitioning between the two sounded even and balanced.
Neck-through-body basses can lack the punch of bolt-ons, but not the Elick, whose growl and snap may be attributed to the medium-density, burl redwood top matched to the bass’ soft mahogany core. The aluminum Hipshot A-type bridge delivers definition and air to low notes and crispness to the upper register, the 18-volt, three-band Barrolini NTMB preamp enhances this clarity and offers ample headroom, reducing the amount of distortion. The Bart soapbars manifest lots of low end and depth (although they lack some of the top end of a J-type single coil), but the soapbars are a great match because they amplify the bass’ inherit throatiness, which I could hear even before I plugged in.
THE CHALLENGE
Strapping on the Elrick raised some eyebrows at my doom/stoner metal trio’s rehearsal, but everybody relaxed when the Elrick spewed forth a healthy dose of throaty mids. The guitarist’s detuned Les Paul, played through a cranked Marshall, didn’t seem as overbearing in the presence of the Elrick, and I could discern previously undetected subtle bass nuances above the sea of sound created by my drummer. Played through a recently retubed Seventies Ampeg SVT with matching SVT 8x10 cabinet, the Elrick served up searing high mids and harmonically rich tone.
There’s more: the Elrick’s moderate weight was easy on the shoulder and its balance-conscience design made the three-hour rehearsal less painful. Thanks to the included Dunlop strap buttons I didn’t worry about the bass accidentally falling—but the Elrick’s flush-mount buttons meant I was screwed if I forgot my Dunlop-loaded strap at home.
THE BOTTOM LINE
Now the big question: Is it worth moonlighting as a security guard at a chemical plant in Iraq to be able to afford an Elrick? If you live and breathe bass like most of us—and that off-the-rack bass isn’t giving you the feel and tone you hear in your head, the answer may be yes, yes and yes.
MEET YOUR MAKER
with Robert Elrick of Elrick Basses
How do you decide on wood combinations?
About 80% of all the basses I build are custom orders, and most wood combinations are determined by working with the customer to target a particular sound.
How does the neck-through design affect sound?
Through-neck basses typically have a longer decay and different resonant character than bolt-on neck basses. This isn’t always considered desirable—many people favor the sound of bolt-on basses over what has been characterized as the more “modern” sound of through-neck basses.
Why have you opted for active electronics on your basses?
I have made passive basses, and all my instruments do have a preamp defeat. Having a three-band preamp on your bass certainly expands the versatility of the instrument—especially with the variable mid—which is important when you’re spending a lot of money. Ultimately though, customer specifications determine the pickup/electronic configuration in most instruments.
How long is the wait time for an Elrick bass?
Anywhere from four to six months, depending on the time of year and the instrument ordered.
