SPECTOR LEGEND 6
The Legend 6 is a poster-boy for the new import-bass paradigm. Its figured top, EMG electronics, rugged hardware, and superlative construction are characteristic of basses formerly costing many times more. The Legend offers much of the distinctive Spector vibe, most obviously the lithe contoured body, which is one of the most comfortable designs around. This sleek approach doesn’t extend to the neck, which had a fairly meaty and deep profile. Overall, the Spector had excellent ergonomics and balance.
The Legend’s construction was top-notch for the price range. The fretwork was impeccable, with just a few filing marks on the fingerboard’s edge. The Legend had good-quality hardware, and I dug the dense bridge with its quick string release.
Spector sourced a slightly left-of-center boost-only EQ for its Legend series, the Spector TonePump Jr. Mated to the EMG-designed SSD pickups (they’re passive, like the more common EMG-HZ pickups), the electronics are versatile, although not exceptionally so. Maybe it’s because I play J-style basses a lot, but I dug the volume/volume layout, as opposed to a more typical volume/blend approach—I find the former arrangement a bit more versatile than the latter, if a little less efficient. The Legend had a clear and even sound, with flute-like purity in the upper midrange, especially on the C string, and precision and speed in the lows. Its 35" scale helped make for a taut B that spoke well in the sub-E registers, with good pitch definition and clarity. Chords sounded well articulated, with good note-to-note definition and enough harmonic color to inspire further high-range exploration. All in all, the Legend would make an excellent first-time foray into 6, and it has enough vibe to push it beyond the “low-end” niche.
IBANEZ SR506
IBANEZ SR506
List $839
Street $629
Pros Beautiful aesthetics with shimmery tone.
Cons May be too bright for some.
Bottom line Gorgeous at any price, with slicing tone.
CONTACT
www.ibanez.com
(800) 669-8262
TECH SPECS
Scale length 34"
Body Mahogany
Neck 5-piece jatoba/bubinga bolt-on
Width at nut 2r"
Width at final fret 3q"
Fingerboard Rosewood
Pickups Bartolini MK1
Electronics Bartolini MK1 3-band
Weight 9.4 lbs
Made in Korea
JOHNSON CATALYST
List $420
Street $315
Pros Attractive, especially considering the price.
Cons Electronics need a once-over.
Bottom line An average bass that’d be significantly hipper with better electronics.
CONTACT
www.johnsongtr.com
(888) 552-5465
TECH SPECS
Scale length 34"
Body Alder
Top Quilted maple
Neck 2-piece maple bolt-on
Width at nut 2r"
Width at final fret 31"
Fingerboard Rosewood
Pickups J-style and MM-style humbuckers
Electronics Johnson 2-band EQ
Weight 9.6 lbs
Made in China
SPECTOR LEGEND 6
List $949
Street $669
Pros Clear and even sound throughout the range with excellent ergonomics.
Cons None.
Bottom line A sweet 6 whose quality belies its low price.
CONTACT
www.spectorbass.com
(800) 825-8810
TECH SPECS
Scale length 35"
Body Basswood
Top Quilted maple
Neck 3-piece maple
Width at nut 2a"
Width at final fret 31"
Fingerboard Rosewood
Pickups EMG-SSD humbucking
soapbars
Controls Spector TonePump Jr.
boost-only 2-band EQ
Weight 10.3 lbs
Made in Indonesia
The SR506 represents another astounding display of value. Ibanez didn’t skimp on wood or hardware: the SR506 boasts a 3-piece solid mahogany body and a beautiful 5-piece jatoba/bubinga neck. Oval abalone inlays grace the rosewood fingerboard, and the smokedchrome hardware caps a look of overall elegance. Ibanez chose the ubiquitous Bartolini MK1 electronics package for the SR506, a versatile 3-band system with dual humbucking soapbars.
The SR506 roots in Ibanez’s successful Soundgear line are obvious. Soundgear basses are known for their shallow-profile, narrow necks and cutting, bright sound. Indeed, the 506 does an excellent job mitigating the playability barrier, with a fairly flat radiused fingerboard and fast shallow-U neck. The bass’s balance and playability were superb, the neck proved truly inviting. The SR506 arrived with a nice low-action setup, and it, coupled with the worn-in-feeling oil-finished body, made the Ibanez particularly inviting to pick up.
The SR506 home-tone, with the EQ flat and the pickups blended, was bright and assertive, with cutting upper mids, and light low end. Panning the pickup toward the bridge made for highly burpy fingerstyle sounds, while the neck vibe was appreciably darker and more refined. The EQ was strong, although I think the treble was voiced a bit low to tame the high end without intruding on the midrange too much. As the bass’s strings wear, it’ll undoubtedly develop a stronger midrange personality. The bass’s B was nicely focused and well balanced with the other strings. The slick neck and nice setup made the SR506 especially fun to play fast in the upper registers for horn-like melodic runs. The bass’s clarity and high-range detail also contributed to chordal presence; more of what makes 6 so much fun.
JOHNSON CATALYST
Compared to most of its competition, the Catalyst is amazingly inexpensive. Despite this, it’s still blessed with some high-end accoutrements, like a quilted maple top and mother-of-pearl inlays. The body contour, headstock, and inlays didn’t turn me on, but I think certain players may dig it, especially perhaps prog and metal types. The hardware felt solid, particularly the bridge, which had quick-release for speedy string changes. The neck profile was fat side-to-side and flat on the back; not my thing, but maybe it’s yours.
Overall the Johnson was well assembled, but for a couple electronic annoyances. The volume pot was intermittent and the pots all had a roughness to their rotation that hinted at bargain-basement components. At this price, replacing the pots is no big deal, although most probably wouldn’t be inclined to get that involved. The bass’s playability was great except for the neck profile, which seemed stodgy compared to the others here.
The Johnson sounded relatively even stringto- string, but a little lifeless. Dialing in some treble added a nice sheen and sparkle to the top, and the soloed bridge had a solid MMstyle bark, but still, I wasn’t consistently inspired by the tone. That said, the B was taut and well controlled and the slap sound was fairly compelling. Given the low price, some of the Johnson’s shortcomings are understandable, but to make it competitive, it definitely could use an electronics rehab.