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Description

Original description (Japanese):

Venus 木目を活かしたシースルーカラーのアッシュボディはあなただ けの個性をアピール。塗装はもちろんラッカーを使用し、クー ルなル・」クスとは裏腹にハンドメイドの温もりさえ感じさせる。 オリジナル キットSuperBOMBは可変幅が広く、澄んだ クリーントーンからドンシャリサウンドまで組かなセッティングにも 応え、スタジオからステージまで場所を限定しない、シリーズ のエントリーモデルではない"Venus"だけのサウンドを体感 してほしい。

Translation:

The see-through finish of the ash body shows the beauty of the unique wood grain. The radiant lacquer finish will make you feel the true handmade warmth despite the cool looks1. The elegant design of the beautifully colored ash body covered with a clear acrylic pick guard is imaged after Venus of Roman mythology.

The original SuperBOMB preamp circuit has a wide tonal range from crystal clear tones to a distinct donshari2 sound, allowing you to hold down the low end not just in the studio, but on stage too.

1: The best I could do to translate the original. This doesn't do justice to the original text, but it's the best that I could do.

2: The word "donshari" is a japanese slang word. Its a combination of two words: "don" - a low kind of sound, and "shari" meaning a high sound. This is in reference to the "SuperBOMB"preamp cutting and boosting only low and high frequencies, leaving the mids intact.

Reviews

5.0 out of 5

Based on 1 Review and 1 Rating

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T

An Amazing Bass

I've recently came into possession of a Bacchus Handmade Venus 4 (specifically a 3 tone sunburst model).

This bass looks like a jazz bass with a thinner and more ergonomic body, but it has a completely different character to a typical Fender jb. Ergonomically it is thus much better than vintage-style jazz basses. It is also relatively light, coming in at just 3.99 kg (thanks to the light-weight Ash body). The neck profile is less round compared to most jazz basses and is very fast and really comfortable. The two pieces of ash, that the body is made out of are matched perfectly, to the point where it is almost impossible to tell that it's not a single piece of ash. The two halfs are also different in their density and resonant frequency, such that the bass part resonates at lower frequencies, while the treble half resonates well at higher frequencies.

All hardware on this instrument is top notch! The 2-piece bridge simplifies setup (similarly to how an Alembic/Warwick 2-piece bridge makes changing strings and setting up intonation easier. Although, this bridge isn't 3-dimensional, meaning that you can't adjust the string spacing). Most basses of the Handmade line come with Gotoh tuners, with more recent models stocked lightweight tuners. My bass came with Gotoh GB11W tuners, which are on the heavier side. These are exquisite smooth tuners which stay in tune really well. Even with heavier tuners this bass is still perfectly balanced and doesn't suffer from the ubiquitous jazz bass neck-dive problem.

The pickups are Bacchus in-house pickups. I'm not sure what their spec is - visually they look like typical passive jazz pickups. The impedance is clearly fairly low, as the output of each pickup is weaker than average. They are however pretty much noise-free. This suggests that the pickups are somewhat under-wound and/or use pole pieces that don't increase impedance as much as typical Alnico V magnets. All Venus series basses are active and come with a 2-band preamp that Bacchus labels "SuperBOMB" in their catalogue. It is nearly completely noiseless (although boosting the high-end to the max still adds noticeable noise); the two shelf preamp is designed well - the Q-s of both low and high shelves are not too narrow, but are also not too wide, to make them hard to use and the center frequencies are chosen well too. The maximum cut/boost is within reason (my guess it's about +-10db for both shelves).

Venus 4 has an extremely clear modern sound, with tons of sparkly high-end and a strong punchy low-end to back it up. The body resonates extremely well, and each note fills out the entire audible frequency spectrum almost completely (especially with relatively fresh strings). The sound is extremely clear, with the harmonic series of each note played being audible all the way up to ~17K and a well-defined fundamental that dominates all other sonic content. Ofcourse with older strings the sound mellows out significantly, but the overall voice of the instrument remains the same.
The broad sonic range of the instrument gives you a lot of options to sculpt pretty much any sound for a specific mix, making it very versatile and flexible. It's also worth noting that this instrument has a sharper and punchier than average attack (even among bolt-on basses). This makes it really satisfying to play percussive lines and play with the dynamics. While the bass sounds really clean and clear, it doesn't sound sterile like some active basses - it has a sound of its own with a distinct and beautiful colour which is unique.

Overall its one of the best basses I've ever played, and it is an utter joy to play it! While you might initially mistake it for a Fender clone - it is anything but that. With its full modern sound, I can really only compare it to Dingwall and Wal basses.

P.S. I should note that Justin Chancellor's bright bass sound (which is what might come to mind based on the context of this review) isn't exactly typical for Wal basses. In my opinion its the clarity, percussiveness, unique sonic colour and excellent preamp electronics that liken this Bacchus bass to Wal basses.

Preferred Settings + Usage:

Preamp knobs set at 12 o'clock (meaning medium bass and treble boost), both pickups at max volume.

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Genre Usage

Based on how artists on Equipboard use this gear, it is most commonly found in the following genres.

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