HEN-BEV B4 T! TEST bass gear

NDUSTRIAL

UA es, the d I by Tom Bowlus ’ EVOLUTION ving forwar

First impressions are important. There is no denying it. Whether it’s the first time you ‘meet ver dinnereat and it would drinks be(ah to y produce the parents’, an initial job interview, or the first time you test drive a new car, that first impres- w gr sion sticks with you. The B4 is no exception, and its unique styling certainly makes a bold opening ENMAN statement. But it demands a long look, and not a snap judgment. Upon seeing the Henman- Bevilacqua display and instruments at Winter NAMM, the first thing I was reminded of was art deco EVILACQ styling, and then the minimalist art movement. Next up, it struck me as some kind of industrial tool. e aimed at rock guitar players (the S1 er RThen, as I studied the looks of the B4, I was reminded first of the classic Danelectro designs. Shortly ell, the B4 finds a way to W thereafter, my mind strayed to thoughts of Fenders, and yes, even Gibsons. Like I said, it demands a long H look, and a first impression that keeps on impressing (for better, or for worse). essions.’ The first was visual, but ’ neck is a major part of this. a fashion designer (Paris)This –unique had an combination epiphany o of skills and experiences caused eachee of unker, with whom Scotty mother of invention!)e. The three discussed ho ow in directions they might not have consideredfirst impr without the otherse B After playing one of the B4’s and talking to Scotty at NAMM (thanks again, Jaquo, for leading me to ee ‘ ess-fr av guitars that had style, elegance, and soul, and things just keptThe mo ‘feel’str of this bass is certainly notable as their booth!), I knew I wanted to review one for the magazine. When the test bass arrived, I was pleased Bom ther e. fr to find a nice surprise before I even got the bass out of its case. The sturdy, stylin’ aluminum case is a them to gr departure from the more mundane black cases so prevalent in the market, and it demands attention in influence. Their initial prototypes w model), surf guitar players (S2) and bass players (the B4). its own right (I dig it a lot). Opening it up, I found not only the hella cool B4, but also a set of nice driv- 1 ers for the various adjustments, and a cool black strap. So yes, this bass and its accoutrements make WHOemember NEEDS that STRESS?first impression I talked about? strong visual impressions. But as strong as the initial visual impression may be, this Hen-Bev has a few R more tricks up its sleeve. sneak in not one, not two, but thr the second is more tactile in natur an experience unique from its looks. The ‘ TREAT THY NEIGHBOR WELL This style of construction was pioneered by D Neighbors are like dice. You never know how they’ll roll. Sometimes, Lady Luck smiles on you, and some times it’s snake eyes. Apparently, Scotty Bevilacqua and Graham Henman both had a good roll back in 1990 when the two of them became neighbors (in Pennsylvania) and great friends. This friendship

gained another dimension when Graham met Paris a few years later, and all three got along famously. Scotty eventually moved to Seattle, and then California, but they stayed in touch. After Scotty started building his own line of guitars, he built a guitar for Graham and Paris’ son, Stone Henman, on his 7th 2 birthday. The following Christmas, the three friends – a woodworker (Scotty), a director (Graham), and 1. A thorough manual will also be included by the time you read this. 2. Stone Henman is featured in several of the Henman-Bevilacqua ads. Bevilacqua has worked with in several dif- right. road with this third impression: how does 3 ferent capacities. The idea being to take Speaking of those pickup covers, they it sound? Based upon these visual and tac- the stress off of the neck and fingerboard are easily removed, and underneath lie – tile impressions, I expected a strong and to transfer it, instead, to a metal bar somewhat to my surprise – a pair of EMG ‘vintage meets modern’ tone. However, attached to the headstock, run down the Hz pickups. The reason for my surprise is what you get is a bit more like ‘vintage center of the neck, and then bolted to the that this is a relatively low-budget pickup, meets vintage.’ The tone is very much body. This bar carries all the stress, leaving and not necessarily what you would focused in the midrange, and I think that the neck and fingerboard free from such expect from an instrument in this price a strong midrange focus is one of those forces. Why go to this effort? According range. When I asked Scotty about his qualities that allows a bass to sit well in a to Scotty, in addition to providing choice of this pickup, he informed me mix. Well, this bass has that in spades, but enhanced neck stability and consistency, it that it, too, was chosen for its sonic per- this comes at the expense of slightly less Below: The screw in the middle of the right 4 set of 3 is the tilt adjustment control also aids in sustain and resonance. In formance (and he adds that these pickups full deep bass and notably diminished practice, this makes for a very lively feel- spec out very well in his lab testing). But high end extension. This is most notable ing neck (the vibrations are notably he was quick to add that, being a custom when making a direct A/B comparison to In addition to the pickup placement, stronger than what you feel with a con- instrument, if a customer were to request another bass, so I broke out my trusty ’73 the choice of pickups certainly plays a role ventional neck), with almost non-existent an alternate pickup choice, he could easily Jazz. The B4 is as full as the Jazz in the low in defining this mid-focused tone. At a dead spots (and while not the only factor, accommodate such a request. end (if not a tad bit more full), but the live performance, I had no problem find- I am sure that the stress-free design con- Some of the initial models (this test bass Jazz had more depth. The B4 was more ing my space in a mix, though I did feel tributes to this). One aspect of this design included) featured an ‘open grain’ finish. midrange focused, but in a fairly broad the need to tweak my rig a bit to add some is that it does not utilize a truss rod, per This finish is rather unique, and makes a sense, with no severe peaks (or valleys). more high end detail. I can’t help but se. In fact, you have an entirely different strong impression of its own. It certainly The Fender was more open sounding in wonder how this bass would sound with a manner of adjusting action and relief. The accentuates the ‘art deco’ feel, and again the mids. In the high end department, the pair of Nordstrand Big Singles, or another individual bridge pieces have height and evokes this thought of a modern reinter- Jazz had gobs more high end sparkle and more pickup with a bit more treble exten- tilt adjusters (accessible from the rear of pretation of a vintage design. However, it clarity, and the Hen-Bev sounded muted sion. But this is a matter or personal the bass) There is a tilt adjustment control does not appear to be the most durable by comparison. Though the deeper cut- preference, and many players would be set amidst the neck bolts, and there is a finish (though according to Scotty, aways and 24 frets make this less inclined to dial out some of the high end small access hole on the side of the neck scratches and marring are easily repaired). immediately apparent, the location of the that others seek. As it stands, this is a bass which allows you to adjust the relief of the For this reason, they will be using glossy pickups on the B4 are markedly closer to that any studio in the land could slot into neck itself. The bridge has an attractive, finishes (in both solid color and translu- the bridge than those of the Jazz (about a mix with ease, and that is definitely to its removable brushed aluminum cover. As cent grain) in the near future, though they one inch closer for the neck pickup, and credit. further evidence of the Henman- may revisit the open-grain finish further about one-half inch closer for the bridge Bevilacqua commitment to sonic fidelity, on down the road, if they can establish the pickup). THE BOTTOM LINE H if you suspend the bass bridge from a requisite durability. After playing around with the B4 and The Henman-Bevilacqua B4 is certainly string and strike it, you’ll discover that it The access to upper the upper register is the Jazz a bit, I decided that another ‘clas- an instrument that makes strong impres- B is tuned to ‘F#’. The truss bar is tuned to superb, and overall, this is a very, very sic’ comparison might be even more on sions. The styling is uniquely compelling, ‘G’. Scotty’s theory is that an instrument’s inviting bass to play. It just feels ‘right.’ point, so I dug out my trusty Gibson and the instrument plays like a dream. purpose is to make music, and all of the While the orientation and spacing of the Thunderbird (a ’91 model). This reference The construction is top notch, and the components going into an instrument horns are somewhat reminiscent of a Jazz was closer to the mark, but even so, obvi- stress-free neck design is effective and well should be inherently musical in their own Bass, the cutouts are further back, towards ously divergent from the B4. The T-bird thought out. However, I can’t help but the bridge, and you hardly was not only more extended in the lows, escape the feeling that a different set of realize that this is a 24-fret but also more crisp on top, with greater pickups might unleash a boatload of instrument. high end information. The Thunderbird potential. In addition, some players might was more powerful through the low mids, expect (or want) a preamp in an instru- FOCUS, MAN! but again, the B4 has the most overall ment in this price range (which is The B4’s looks reflect a midrange focus. I did notice with both the considerable). The truth is that this is not certain degree of vintage Jazz and the Thunderbird (which are a bass that is made for the masses. Rather, styling, but with a modern vol/vol/tone setups, just like the B4) that the folks at HB are reaching out to artists interpretation. The strong the Hen-Bev responds more dramatically inspired by a certain mix of style and val- vibrations in the neck hint than the other two when you roll either ues. If the tone is up your alley, the H at great sustain, and the pickup off a bit, and get it out of hum- playability and consistency will not let you overall look and feel is at bucking mode. You can definitely steer down. And no matter where you go, in the least vaguely ‘Jazz-like.’ the tone with the volume knobs, but a lit- studio or on the stage, you’ll be well B b But the rubber meets the tle goes a long way with the B4. equipped to lay it down with style. g:

3. Dave and Scotty were responsible for making the USA Custom version of the Ibanez ATK series (the modern iteration being reviewed on page XX), and this limited run of basses also featured a stress-free neck. 4. Another benefit is the lifetime warranty against bowing or warping. bass 15 gear HENMAN BEVILACQUA Phil Maneri’s convinced of that theory. The bass is a fine alternative choice for a builder, 2008 sounds great and does have decent but may be hard to sell to a client, given note length. That being said, it is the price tag. For that price, one should test MODEL BASS not any better than an NYC expect a least a defeatable active system B4 Sadowsky, which uses a traditional with higher-end transducers, so the player

: BASS LAB Fender-style neck and actually has some options. It could be executed in bass gear costs less money. a way that would not detract from the Henman Bevilacqua The neck is proportioned very close to current presentation. B4 Bass a vintage Jazz Bass, although it has 24 frets This controversy underlies the extreme CONFIGURATION GENERAL and very large .55 x 108 fretwire. The frets reactions to this bass. On the surface, it Strings 4 Company He enman-B vilacqua Guitars 4 string were excellently groomed. The nut width appears simple and elegant. Its finish is Style Double cutaway, offset Malibu,CA 90265 is 1.7” with strings spaced perfectly at flat and does not appear to take the same Overall length 48” www.henbev.com Seldom does an instrument raise tempers .437” on center perfectly executed. The kind of time and energy one would take Body dimensions 18.5” tall x 13.5” wide at lower bout Country of Origin USA in our shop. The Henman-Bevilacqua handwork on the bass outside of the fin- to do a lacquer finish. The electronics are Body contouring Yes Warranty Neck - Lifetime; Electronics - 5 years 1 Weight 9.7 lbs Listed Price $5,900.00 bass had everyone arguing for several days. ish defects is flawless. very austere and the components inexpen- Street Price $4,000.00 to $4,500.00 In some ways, this bass is an artistic adap- The components and adornments are all sive. Although the construction of the CONSTRUCTION Options None Accessories Aluminum case, strap, wrenches. tation of a vintage Fender Jazz Bass. It is a aluminum. They make a proprietary alu- neck and the machining of the unique Body woods Ash with Figured Maple tops Price as Tested $4,500.00 fusion of high-tech mechanical arts with a minum bridge structure similar to a cross parts have been time consuming and Neck woods Sapelle Mahogany Available colors Numerous black shades and white retro redo of a classic form. It sounds and between a 2Tec bridge and a single saddle probably cost more than they appear, the Fretboard Ebony Available options Numerous custom choices Body finish Stain and sealer plays really well. It’s got a love it or hate it Khaler. The bridge cover and the pickup overall impression the B4 presents is that Neck finish Stain and sealer CONDITIONS signature look. It’s really expensive. The covers are custom machined aluminum. you would expect it to come in at a lower price point demands a level of craftsman- The keys are Sperzell bodies with custom price point than the suggested retail of Acquired from Henman-Bevilacqua Guitars 3 HARDWARE eDat s F ebruary, March and April, 2008 ship and detail that must be able to aluminum H/B engraved heads. The $5,900. You can buy some very nice com- Strings Unmarked roundwounds Locales Ohio withstand sharp scrutiny. One should inlays are all aluminum. The combination peting brands for a good bit less coin, and Gauge .040, .060, .080, .100 Test gear Bergantino IP310, IP153/EX115, have very high expectations in that price of the aluminum appointments and this bears considering. Of course, the Attachment Saddles AE410/AE210/AE112; Summit Audio TD-100; Kern IP-777; Orange Bridge/color Independent bridges, aluminum AD200B/Mk3 and OBC-410/OBC-115; SWR Baby Blue II; Fender 800 range, and this bass delivers mixed results. graphite looking finish make an austere styling is unique, and this may sway some Nut Aluminum Pro; George L’s,Phil Jones Bass and Fodera cables. The overall presentation is really just a and retro/modern presentation that you prospective buyers. Tuners/color S perzel / aluminum couple steps away from a Jazz Bass either love or hate. Opinions are mixed on Overall, this bass is excellent. It plays Knobs/color Machined dome style / aluminum dPickguar None (though as Tom points out, it has a certain the aesthetics. I like it. Many others think and sounds very good. Being a vintage Cover attachments Screws, threaded inserts TEST RESULTS ‘Gibson vibe’ to it as well). It has a similar it looks cheap. This bass is a repairman’s instrument guy, I really liked it a lot. It has 1-5 (unacceptable to impeccable) shape that is slightly undersized from a nightmare as the adjustments to this bass a vintage sound coupled with a NECK traditional Jazz bass. They add some con- are nontraditional and not obvious even modern/retro look that is pleasing and Scale 34” in-hand on-bench touring on the back under the shortened to the experienced eye. Publishing the familiar. It could easily be a professional Width at nut 1.707” Dynamics 3 Overall construction 4 lower bout horn. It is a lighter bass at details on the Internet and including a “go to” bass for those interested in a mod- Width at 12th fret / joint 2.153” / 2.303” Dead Spots 5 Wood choice 4 Thickness at nut .722” 9.7lbs. It appears to be an ash body with a manual to address this is essential, but at ern take on familiar turf. String to string balance 4.5 Materials choice 4 2 Thickness at 12th / joint .925” / 1.028” Access to upper register 4.5 Joinery 4 flamed top that was covered by some flat the time of review I was left to just guess. String spacing at nut 1.71” span, .437” on center Ergonomics 4 Fretwork 5 black stain and or paint that almost com- Thankfully, the bass played very well and String spacing at saddle 2.058” span, .68” on center Left hand feel 4.5 Fit & Finish of adornments 4 Radius 12” Aesthetic appeal 4.5 Quality of finish work 3 pletely masks the top flame. It looks like I didn’t feel the need to touch a thing. Shape C-shaped round Tone (see below) 3 Ease of repair 2 the graphite in a pencil. The neck is The electronics are EMG Hz passive String break nut / bridge Value 2.5 Potential range of setup 2 Sapelle mahogany finished in a similar humbuckers with traditional passive Jazz Afterlength nut / saddle 2” - 5.5” / 2.5” Balance on knee 3 fashion as the body with an ebony finger- Bass wiring. The control cavity is properly SONIC PROFILE Balance on strap 3 Attachment Bolt-on, 5 bolts Lows – reasonably full, but not as Overall electronic quality 2 board. The body finish did have some shielded and the wiring perfectly exe- Pocket gap No appreciable gap ‘deep’ as some Solder joints, wire runs 4 execution flaws that on lower priced cuted. This setup caused quite a bit of the T russ rod style / access Unusual Mids – solid, even, focused Clarity 3 instruments could be excusable but not in controversy and actually raised some ire. Fret count 24 midrange Noise 3 Fretwire 108 x 55, bell brass Highs – not very extended, Shielding 5 this price range. It’s hard to understand why such inexpen- smooth, though somewhat ‘dull’ Quality for Price Range 1 The neck construction is unusual. It has sive and under-performing electronics ELECTRONICS In-Hand Score On-Bench Score a peghead, neck and truss bar structure would be the preferred choice in one of Pickups EMG-Hz 4.0 average 3.3 average that carries the string tension while the the most expensive electric basses one can Pickup placement Bridge 2” / Neck 5.5” from bridge fingerboard floats over top, tension free. buy. They do sound good in this instru- Electronics Passive Controls Volume, volume, tone The contention is that the uncoupled ment, though there are so many other Shielding Shielding paint TONE-O-METER board increases sustain and resonance. choices that could potentially sound bet- Power NA Our Henman Bevilacqua B4 That was one of the many conversations ter, I can’t understand how this choice is test bass exhibited a very solid had around our shop. Nobody here is justified. The absence of active electronics midrange focus, with a some- what muted high end. 1. This instrument was one of the first ‘prototypes’, and Henman-Bevilacqua have currently switched to a different finishing process. 2. Scotty has been working on a comprehensive manual, and one will be included with each instrument. 3. Scotty informs me that the ‘street price’ for a B4 will be more like $4,000 to $4,500.