Modulus Bass Guitars have carved a unique niche in the bass world, primarily known for their distinctive graphite necks. These necks promise unparalleled stability and a unique sonic signature. However, like any instrument, the reality of owning and playing a Modulus can come with varied experiences. This exploration delves into real-world perspectives on Modulus basses, touching upon neck issues, tonal nuances, and the overall graphite neck experience.
The discussion originates from a forum exchange where a user, responding to a distributor’s positive comments about Modulus necks, shared their personal encounters with older Modulus instruments. The distributor, with extensive experience as a UK dealer for Modulus, highlighted the consistent satisfaction of their customers, particularly with the intonation and quality of the composite fingerboards. They pointed out that Granadillo fingerboards were often chosen for aesthetics and they hadn’t encountered issues with the composite ones, emphasizing the positive feedback on the sonic performance and intonation of Modulus necks, often described as synthesizer-like in precision.
However, the user’s experiences painted a slightly different picture, revealing a more nuanced perspective shaped by hands-on interaction with several Modulus basses over the years.
One striking example was a ’97 fretless Modulus bass. This instrument, unfortunately, suffered from a neck warped “like a banana.” This is particularly noteworthy because graphite necks are often lauded for their resistance to warping. Despite this significant neck issue, the bass wasn’t without its merits. Equipped with Bartolini electronics and paired with a medium-weight alder body, it reportedly produced a “quite nice” sound. The user even expressed surprise at Bartolini pickups contributing positively to the bass’s tone, a sentiment that deviated from their usual pickup preferences.
Moving to a ’94 fretted Modulus, the experience shifted. This bass boasted a “good neck,” suggesting that neck issues weren’t universally present across all Modulus instruments. However, this particular fretted model was described as lacking warmth. The user attributed this to a combination of a light alder body and EMG pickups, a common combination in basses aimed at brighter, more aggressive tones. While it sounded “quite nice” through an SWR amplifier, the user’s regret at not experimenting with an Aguilar OBP-1 preamp hints at a feeling that the bass’s tonal potential might have been further unlocked with different electronics. The Aguilar OBP-1 is known for adding warmth and shaping the midrange, potentially addressing the perceived lack of warmth.
The narrative then takes a turn towards a ’96 Sonic Hammer Modulus. This bass, featuring an ash body, was described as “fearsome” and “aggressive.” Interestingly, the user found that swapping the original Bartolini pickups for Seymour Duncan pickups and preamp improved the sound. This highlights the significant role pickups and preamps play in shaping the final tone, even with a graphite neck instrument. The Sonic Hammer’s neck was praised as “straight as an arrow,” reinforcing the potential for graphite necks to deliver on their promise of stability. Despite its sonic prowess, the Sonic Hammer was eventually sold because its aggressive tone wasn’t suitable for the user’s musical style, yet it left a lasting impression, becoming a “Basschat legend.”
These varied experiences raise questions about the consistency of Modulus necks, particularly in older instruments. The user hoped that Modulus had refined their “phenolic recipe” over time, acknowledging that Status, another prominent graphite neck manufacturer, had seemingly addressed similar issues. The discussion touches upon the debate between phenolic (composite) and wooden fingerboards, with the user noting that wooden fingerboards tend to produce less “clatter.” However, they also qualify this observation, stating it’s not universally true for all phenolic necks.
Regarding the often-cited “synthesizer-like” precision of Modulus necks, the user offered a more nuanced perspective. While acknowledging the precision and growl, they noted a perceived lack of “lower mid grunt” on the E and A strings, a characteristic they associated with the “characteristic Modulus sound,” particularly when referencing bands like the Dave Matthews Band. This observation suggests that while Modulus basses are known for certain sonic qualities, they might not excel in all tonal aspects. The user also astutely points out that body wood significantly influences the overall tone of graphite-necked instruments, emphasizing that the body’s characteristics become even more prominent when paired with a graphite neck.
The discussion concludes with a desire for more exploration of body woods beyond the commonly used ash, which the user finds can sound “too brittle.” They suggest experimenting with softer or heavier woods like bubinga to potentially tame the highs and enhance the lows and mids of graphite-necked basses. Ultimately, the user expresses a degree of “frustration” with most graphite-necked basses they’ve played, citing issues ranging from neck bowing to a “sterile sound,” with the notable exception of a ’79 Alembic with an ebony fingerboard. The desire for an “affordable graphite necked 5 string bass that sounded warm and had a dead straight neck” encapsulates the ongoing quest for the ideal combination of graphite neck benefits and desired tonal characteristics in a bass guitar.
This collection of experiences provides valuable insights for anyone considering a Modulus bass guitar or exploring the world of graphite neck instruments. While highlighting the potential for exceptional precision and unique sonic qualities, it also underscores the importance of considering individual instrument variations, body wood pairings, and personal tonal preferences when choosing a modulus bass guitar.
