YOU HEAR IT FROM BASS PLAYERS OF ALL
stripes: “I’m a Fender guy,” or “I’m a Gibson guy.” It’s as
if pledging allegiance to one or the other declares one’s
position in the greater congress of bass. On one side of
the aisle sits those who celebrate the iconic Fender bass’s
contoured body, slim neck, and balanced voice. On the
other side stirs a somewhat rowdier crew of Gibsonites,
who relish the virtually untamable low end, burly profile,
and rebellious attitude of brutal axes like the Thunderbird,
the Ripper, and the Grabber.
We might never agree on this matter of taste, but a
bass builder from the Pacific Northwest may hold the key
to compromise. For years, Mike Lull has produced some
of the most coveted Fender-style basses on the market.
Now he’s crafted an instrument to charm all but the most
bullish of partisans: the T-Bass. Borrowing elements from
the classic Gibson Thunderbird and applying his own
spin, Lull has created a bolt-on beauty in the style of John
Entwistle’s famed “Fenderbirds.”
Claiming that bolt-on construction imparts the kind
of high-end response lacking in the original neck-through
Thunderbirds, Lull has opted to fit the T-Bass with a
graphite-reinforced mahogany neck. Our tester’s neck
felt fabulous, effectively seeming to cross chunkier Gibson-
style depth with a more svelte J-Bass profile.
Thunderbirds have long been dogged by their tendency
to neck-dive, a design conundrum that Lull
attempted to tackle. Lull’s sleek headstock design may
look a little incongruous to some, but it’s a compromise
I readily accepted, as its relatively light mass seemed to
help the bass balance. (Ultra-light Hipshot tuners no doubt
contributed, as well.) Slight cutaways on the back and
upper bout of the bass helped my body fit
against the T-Bass. I found the bass most
comfortable to play with a pick; I normally
rest my forearm on a bass’s body while
plucking, and the angular lines of the T-Bass
made this feel rather awkward. Still, when
I grab a bass with this much attitude, I tend
to want to sling it low and rock with a pick,
rather than pluck flighty passages, so I consider
it a wash.
Without fancy electronics or high-tech
gadgetry, there’s really not much to this
bass. But don’t confuse complexity with
quality—judging from its gorgeous grain,
the wood for this bass was chosen with an
eye for excellence. Evidence of Lull’s keen
eye abounds, from the new bridge (for more
effective intonation) to the pickups, made
to vintage Thunderbird specs. The pickups
seemed another best-of-both-worlds home
run, with both the low-end bluster of a Gibson
and the clear, even response of a
Fender. (Those looking to pimp their own
T-Birds can purchase Lull’s pickups for
$289 a piece.)
Big and ballsy, the T-Bird makes as deep
an impact on the ears as it does on the eyes.
Those seeking ultra-crispy highs and a
focused midrange bark should probably
look elsewhere, but for players keen on
savoring a deliciously deep fundamental
with a dusting of high end, the T-Bass might
be your dish. As for the slappers in the
house, the Lull’s big booty will get that
thumb a-thumping, but you might do just
as well to check out some of Lull’s other
creations, since I found the body style made
slapping feel a bit unnatural.
Lull has done a great thing with the TBass.
The only shame is that few of us middle-
class bass brawlers can afford to shell
out three grand for the bass. That is, unless
we convince Congress to extend Cash for
Clunkers to include jalopies of the 4-stringed
variety. I’ve certainly got a few beaters I’d
love to trade in . . . .
MIKE LULL T-BASS
Street $3,300
Pros Righteous look, balanced feel, and meaty tone
Cons None
TECH SPECS
Weight 8.88 lbs
Options Active electronics, 5-string version, various custom finishes
Made in U.S.A
Warranty 3 year
Contact www.mikelull.com
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