Like all B4s, our test bass arrived in a sparkling aluminum case, which is like a long, glittery version of the case handcuffed to a slim-suited man in a heist film. The bass itself is more fitted black turtleneck; unlike many of its lofty-price peers, it doesn’t scream fancy. Instead, its beauty seeps in gradually as you absorb its more unusual qualities. Every physical detail seems loaded with meticulous forethought. The rounded corners and gentle asymmetry of the “ashtray” bridge cover accent the body’s shape, smoothly slanted and petite, with a tapering treble-side horn. The headstock silhouette is like a carefully cavalier brushstroke, set off by the stark geometry of its rakishly positioned tuners. The test bass’s body and neck were dressed in a deep ebony stain, selected from a palette largely populated by whites, blacks, and greys. Anodized aluminum hardware completes the artfully austere look, while hinting at the sturdy components within: Beneath the plain cylindrical knobs are bell-brass pots; demilune HBlogo keys turn Sperzel locking tuners made with an exclusive matching finish; and even the dots are anodized aluminum set into an ebony fingerboard.
TONE BONES
The B4’s intriguing traits are more than skindeep, though. All HenBev instruments incorporate the stress-free neck system, licensed from builder-inventor Dave Bunker, who employed it for years on PBC, Bunker, and Treker basses and guitars, as well as U.S. ATK basses he built for Ibanez. During the 15 years he worked as Bunker’s apprentice, Scotty Bevilacqua became a true believer in this “floating neck” design, which largely liberates the neck from its load-bearing role. In theory, this allows the neck to resonate more, for increased sustain. Inside the B4’s five-piece neck is a t"-by-t" floating steel bar, epoxied to the headstock and anchored in the body but completely detached from the neck wood itself. According to Bevilacqua, this removes 80 percent of the string tension from the neck. At the 17th fret, a threaded steel pin passes freely through a hole in the tension bar, serving as a fulcrum point for neckbow adjustments. (The pinhole there on the neck’s treble side has no user-serviceable function.) To add a bit of neck relief, I removed a short screw, which plugs a hole in the middle of the four neck-heel bolts. At the bottom of the hole is a hex bolt for adjusting back-bow. Insert tool, turn a bit, and voilà.
The through-body bridge system, another Bunker innovation, is also intended to enhance resonance. Individual bridges for each string are anchored in a r"-thick plate on the back, where a pair of screws for each can adjust front and rear height. The quest for resonance extended into the tuning of the bridge and other cast components, which means HenBev manipulated their density and mass so that they resonate at specific pitches. The bell brass bridges are tuned to G, while the tension bar is tuned to F#, a note that felt particularly resonant in all octaves. A healthy half-inch of figured maple on the top contributes to the instrument’s voice, and the reduced neck tension means Bevilacqua was able to choose a neck wood, African sapele, known for its ringing tone rather than for its strength.
HANDS ON
In my hands, the B4 felt dense but not heavy. To me, the body’s open-grain satin finish felt sugary to the touch, a feel that seemed somehow simultaneously organic and synthetic. Others had different first impressions: Noting the body’s strange feel, both a bandmate and a colleague were surprised to learn that the bass was made of wood at all. Throughout its 24-fret span, the neck, narrow and comfortably rounded, felt remarkably resonant and lively. I could feel a subtle ringing in my fretting hand with each note I plucked or slapped. The bass was responsive and dynamic, and the sustain was intense, yet natural. Even the typical dead-spot notes—like the G string’s 6thfret C#—rang out for a respectably long time. I loved the physical experience of playing this bass. This is one of those instruments that simply makes you want to play more.
The B4’s passive electronics include dualcoil passive EMG-HZ pickups connected with custom Audience wire. HZ’s aren’t common on ultra-high-end instruments, but on the B4, their bold, rich voice was tempered by a mellow warmth, though only with the aluminum pickup covers on. Without the pickup covers— and removing them is a must to avoid microphonic click-clacks when playing with a pick—they still sound punchy, but a bit more hollow and harsh. HenBev says the first question to prospective B4 buyers is whether they play with a pick, so that HenBev can recommend a setup with the pickup covers or without them. I’m no big pick guy, but I’m loath to limit my technical options. Without the pickup covers, I found the B4’s tone clear, bright, and cutting, but I missed the exceptional warmth and punch of picking with the covers on, less the click-clacking. The B4 comes with a slightly shorter set of pickup mounting screws to accommodate the sans-cover setup. A pet peeve: Removing the pickup covers, bridge cover, or control cavity plate requires using one of three included hex tools, as do bridge and neck adjustments. As a guy who constantly misplaces things, I hate the idea of an instrument that requires multiple special tools. My imaginary kingdom for a Phillips head!
With the back pickup soloed, the B4 was clear and articulate, but with more meatiness than typical J-style bridge-pup honk. The neck pickup soloed sounded big and round, but not woofy or dubby. With both pickups on and the tone knob full up, the B4’s voice was rich and forward, but never biting. At every setting, the bass was deliciously responsive to my playing techniques and dynamics. This bass was a pleasure to play.
Intriguing as it is for an instrument to be as stylized as the B4, the question must be asked: Is a work of art like the Henman-Bevilacqua B4 more focused on form than function? I don’t think so. The B4 feels and responds like a real player’s axe. Still, at this price, anyone considering a HenBev would have to be as inspired by its daring design as they are attracted to its playability and tone. With the B4, that’s not too tall an order.
TECH SPECS
HENMAN-BEVILACQUA B4
Weight 9 lbs
Scale length 34"
Body Swamp ash with flame-maple top
Neck Five-piece African sapele
Fingerboard Ebony with aluminum position markers
Bridge Henman-Bevilacqua through-body bridge system
Hardware Custom anodized aluminum, with removable pickup and bridge covers and Sperzel locking tuners with custom anodized-aluminum keys
Pickups EMG-HZ
Nut Nickel-plated brass
Neck width at nut 1h"
Neck width at 24th fret 2t"
Color Lamora (ebony satin stain)
Included Custom aluminum case and black leather strap
Options Swamp ash or Honduran mahogany body; additional satin stains: Vesper (dark green), Zora (dark brown); high-gloss solid colors ($500): Thumper (black), XXX (light green), Goodhead (light grey), Domino (dark grey), Ryder (white)
Made in USA
Warranty One year limited, except lifetime limited on the neck
HENMAN-BEVILACQUA B4
Direct $5,900
Street $5,400
Pros Striking looks, top-notch components, and an incredibly lively feel
Cons Pick players will want to remove the microphonic pickup covers, but the bass sounds better with them on
Bottom Line A dynamic bass with a daring new design.
CONTACT
(310) 430-2796
www.henbev.com