Bass Gear Issue 7 : Page 75

incredibly smooth with the blend control centered, it is very much capable of dialing in some nice (alder/rosewood –variety) growl when you solo either pickup. The neck pickup soloed sounds, predictably, more P-bass like, and the bridge pickup soloed is rather like what you’d get doing the same thing on a fatter than usual sounding J-bass. However, I also noticed that when I favored one pickup or the other, the overall tonal balance did not change very much. The feel (and midrange character) did vary quite a bit, but the relative balance of lows to highs did not. Typically, when I solo the bridge pickup, I find myself reaching for a little bass boost, but this was entirely unnecessary with this Wyn bass. Of course, if you want to thin it out, the OBP-3 certainly allows you to do that. The fullness and clarity which I experienced playing the Wyn on my own at practice definitely translated well on the gig. With the blend control centered, the EQ set “flat,” and the pickups in humbucking mode, I was hitting my comfort zone right off the bat. For songs which needed a little more snarl and growl, I soloed the neck pickup and dug in. The overall neck thickness and width is roughly the same as, say my Sadowsky P/J 5, but Randy hand-carves all of his necks, shooting for playability and comfort, “It should fit like an old pair of jeans.” It is, like the rest of the instrument, organic and inviting. Randy definitely strives for a familiar feel, from the player’s perspective, stating, “While I try to break up the silhouette somewhat, really, every ergonomically correct bass is very close to a Fender, because Leo got it right.” That being said, I do notice that the upper horn strap pin is just a tad bit south of the 12th fret. Combine this with the 34.5” scale, and the reach to first position is a little longer than what you’d get on a Fender (or on my Sadowsky). Overall, though, it has a fairly “normal” position and reach, and the balance on a strap is very good. The Bottom Line The phrase “functional works of art” can certainly apply to many instruments, but every Wyn bass I have seen really hits that nail on the head. Producing major animated features for Disney is certainly top of the food chain in that particular mode of artistic expression, and Randall Fullmer could have settled into a quiet, content retirement after leaving Disney. Ever the driven artist, though, he has forged ahead in a new field, and I believe he is destined to leave an equally impressive legacy in the world of bass lutherie. If you ever get the privilege to play one of these basses, savor the opportunity, and start saving your pennies, because Randy’s work is likely to Wyn you over (sorry, I couldn’t resist!). %&& !$%# &#1b;

Bass Gear Issue 7 : Page 75

Dingwall Guitars