It doesn't make a difference if it's a guitar, a ukulele, a violin, or the new Spector Timbre acoustic bass guitar; when you get down to it, an acoustic stringed instrument is a wooden box set up to amplify the vibrations of a string. The best are proficient machines that make the most out of your playing system—when one is working right, it feels like enchantment. The Spector Timbre Bass feels like enchantment, yet subsequent to playing it for half a month, I have a positive sentiment that the outcomes come more from Spector's times of building knowledge than sleight of hand or old mixtures.
Numerous luthiers speculate about the significance of a decent association between an instrument's neck and its body. The thought is that a decent association between the two sections exchanges more vitality from the vibrating string into the instrument's body, energizing the body's regular amplifying capacity. In the event that there's any confidence to this hypothesis, the Timbre Bass epitomizes it.
For one thing, similar to a couple of the other acoustically effective acoustic-bass guitars (ABG, for example, the Society B-50 and Tacoma Thunderchief, the Timbre has a vast body. Despite the fact that bulkier than the ABGs in view of guitar bodies, the Spector's substantial body gives it enough projection and huge bassy tone to be heard and felt when played without power. The counterbalance soundhole (another gesture toward the Tacoma) gives the top more surface territory to reverberate.
Noticeable through the ovoid soundhole on the upper-bass session, the rush on neck joins to a standout amongst the most enormous neck squares I've ever observed. Rather than making the instrument overwhelming or lopsided, the Spector feels exuberant. Each note I play is vivacious and lively, with a quick responsiveness to unpretentious changes in culling hand position or fussing hand touch.
The sound spilling out of my amp is my acoustic perfect: punchy,warm, clear, and very much adjusted over the recurrence spectrum,with a tight, strong low-end.
When I at long last attachment the kind sized, step propped Spector into the best bass amp (a SWR Infant Blue combo) and turn up, I'm astonished.
I don't utilize that word gently. The sound spilling out of my amp is my acoustic perfect: punchy, warm, clear, and all around adjusted over the recurrence range, with a tight, strong low-end. Be that as it may, where it truly exceeds expectations is the thing that it doesn't do, the charged tone is totally free of the unforgiving, plasticky rattle heard in such a large number of instruments with undersaddle pickups—and truly strange on a bass.
The tone enhances the more I strip away all EQ and run the Spector level locally available and by bypassing the SWR's EQ segment. To put it plainly, the Timbre has no brutal top of the line that should be dialed-back, recently full bass-y goodness that will satisfy your bandmates as much as it will satisfy you.
At under $699, the Spector Timbre is not just moderate and available to numerous guitarists hoping to add a bass to their toolbox, it's essentially one of the finest-sounding acoustic bass guitars available.
Initially: Spector Timbre Acoustic Bass Amp
Body Strong Sitka spruce top; overlaid mahogany back and sides; rosewood connect; matte complete (accessible in common, dark, and walnut recolor)
Neck 3-piece mahogany screw on; 20-worry rosewood fingerboard with dab markers; 34-inch scale; 1 ½-inch nut;black Gotoh-style tuners
Hardware Fishman Sonicore pickup; Fishman Presys+ preamp
Additional items Cushioned gig sack