The Bass Centre Brian May Bass

UK/EU Price:  £715.00 - Inc. 20% VATExport Price - USA/Australia/Worldwide: £595.83
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Inspired by UK Guitar Legend, Brian May

 

Barry Moorhouse and The Bass Centre, through its worldwide distribution division, House Music, have long had an association with Brian May and his famous - and totally unique - Red Special guitar.

For over a decade, in conjunction with the great man himself, we have been producing the official Brian May Guitars range, drawing on Brian's unique experience and vision, to establish a hugely successful line of brand new instruments, inspired by the original, 50-year old Red Special design.

As Brian explains...

"Through the years there have been a multitude of replicas of the Red Special, built by amateurs and professionals, including two major issues, with Guild guitars of the USA, and Burns Guitars of the UK but - as of 2004 - the commercial Red Special has at last come home!"

"I was concerned that it ought to be me personally who controlled the manufacture of these instruments, and so I have teamed up with Barry Moorhouse of House Music and Pete Malandrone, my long-time tech, and we have created a range of instruments with an aim to make the absolute best product at an affordable price, so that all may enjoy the special sound and feel of a Brian May guitar"

Having expanded the Brian May Guitars range into acoustic, travel - even ukelele - models over recent years, it was high time for a collaboration with Brian and Pete (and top luthier Andrew Guyton) to create a bass version to join The Bass Centre's premium quality British Bass Masters Series.

The resulting Brian May Bass is a medium scale instrument, true to the spirit of Brian’s famous ‘Old Lady’ 6 string, featuring a compact, edge-bound mahogany body and 31.5” scale neck, topped with a 20 fret ebony fingerboard.

Tone is supplied by twin, vintage-style, chrome covered humbucking, single coil pickups hooked up to a classic, no-fuss, passive circuit with the on-board hardware comprising a chrome, high-mass, roller-bridge, retro-cool control knobs and state-of-the-art Hipshot "Ultralite" tuners.

The ‘Bri Bass’ is strung with Bass Centre Elites Detroit flatwound strings for super-smooth fundamentals and, in keeping with the classic Brian May styling, is finished in a deep Antique Cherry with a black scratchplate.

  << Visit The Brian May Guitars Website for full details of the complete range

     The Bass Centre Brian May Bass

    Body Mahogany, Cream Edge-Bound
    Finish Antique Cherry
    Neck Set-in, Mahogany
    Fingerboard Ebony, with white pearloid dot markers
    Frets 20 Medium Gauge Nickel Frets
    Pickups Chrome Covered, Passive BMB Humbucker (Neck) + BMB Single Coil (Bridge)
    Controls Volume/Volume/Master Tone
    Tuning Machines Hipshot, Open-Gear Tuners
    Hardware Chrome
    Bridge BM Vintage-Style, Hi-Mass Roller Bridge
    Pickguard Black
    Scale Length 31.5" (800mm)
    Neck Width at Nut 45mm
    Neck Width at 12th Fret 52mm
    Neck Deoth at 1st Fret 22mm
    Neck Depth at 12th Fret 25mm
    String Spacing at Nut 11.5mm
    String Spacing at Bridge 18mm
    Weight 3.57kg (7.85lbs)
    Strings Bass Centre Elites Detroit Flatwound Standard Gauge .045 - .065 - .085 - .105
    Extras Bass Centre Padded Gig Bag
     Warranty All Bass Centre British Bass Masters instruments come with a 1 year warranty

    "If you want something off the beaten track, the Brian May Bass has a great deal to offer"

      Roger Newell | Guitarist Magazine | September 2012

    Unlike the obvious Strat/Precision or the SG/EB-3 pairing, the Brian May Bass seems a somewhat curious design choice. However, seeing it in the flesh and, indeed, playing it, proves its worth. 

    A short 800mm (31.5") scale length means it's visually well proportioned, with a set neck construction and a cherry-red, fully bound mahogany body, mahogany neck and ebony fingerboard. It has 20 frets, Hipshot tuners and the bridge is a high-mass, raised-tail design. 

    Although the bass is made in Korea to keep the costs trim and is less electronically complicated than the Brian May guitar, it's a very nicely put together instrument.

    Sounds

    Passive circuitry provides individual volume controls for the huge Gibson-style humbucker and the skirted Burns-like single-coil set, alongside a master tone control. Curiously, the humbucker does not dominate the sound, so it's easy to get a good balance between the two. 

    Rolling back the tone control reveals an almost parametric slant for the very last section and produces a great throatiness to the overall sound that is both unexpected and rather good. Backing off both volume controls a little actually unleashes the best hollow tones, too.

    Full of sound and visual appeal, the Brian May Bass is a little too pricey for the beginner, but if you want something off the beaten track, this has a great deal to offer.

    Our Verdict


    + For Well styled and nicely built. Unexpected variety of solid sounds.  - Against Chrome knobs would suit the guitar better.

    Delightful to play, with its own character and sounds... recommended.

     

    "Even if the inescapable Queen association doesn’t appeal to you, the Brian May Bass is still a refreshing ’60s-inspired medium-scale instrument"

      Gareth Morgan | August 2014

    If there’s one piece of trivia about Brian May (other than that he plays guitar in Queen and is married to Anita Dobson of Eastenders fame) that everybody on earth is likely to know, it has to be that he built his own guitar… well, to be precise, he built it with his dad, partly to save money, and partly just for the challenge.

    May designed it himself using the best parts he could fashion or recycle, and ended up with a guitar with individual looks and a very distinctive sound. From 1975 he had replicas made, originally by the luthier John Birch, mainly as spares but sometimes for specific recordings or shows.

    There have been copies of Brian’s guitar down the years. Guild released 300 in 1984, though they were solid instead of semi-hollow and had DiMarzios in place of Burns Tri-Sonics; the re-established Burns concern then made a decent effort; and then, in 2004, at the instigation of Barry Moorhouse of House Music and with May’s long-time tech Pete Malandrone onboard, Brian May Guitars was established, to make an affordable replica with May himself being fully involved.

    Adding a bass to the BMG roster was inspired by luthier Andrew Guyton, the man May has often turned to for replicas since 2003.

    Guyton gave up trying to persuade BMG that it was a good idea and just went ahead and made one anyway. They obviously liked it because the model we have for review is the budget-priced, Korean-made version of Guyton’s prototype.

    Construction

    For amateur luthiers Brian May and his father managed to design a very fresh-looking instrument, with a near-circular body plus horns that have faint echoes of Grimshaw. The BM Bass is a fairly close replica of the original Red Special, but with greater mass.

    The body is mahogany, and the strings are front-loaded. There’s only one finish available and of course it has to be the same classic cherry overcoat which adorned May’s own instrument. It’s expertly applied and allows plenty of grain patterning to show through, complementing the overall look.

    Cream binding frames both top and bottom edges; there’s no ribcage or forearm chamfer but as the bass is a couple of millimetres thinner than standard girth, this doesn’t really damage the playing comfort too badly. As the body design puts the waist so close to the neck, it’ll take time and a little adjustment to get comfortable… or you can just wear a strap, which solves the problem nicely.

    The mahogany neck is secured to the body in a Gibson style, using the using the set-in method, and the scale length is worth noting straight away: it’s 800mm/31.5″, an interesting choice between a long 34″ Fender scale and the 30″ favoured by Danelectros and short-scale Gibson basses. This makes it perfect for guitarists looking to double on something that feels close to their main instrument, or for beginners, or the shorter in stature.

    While not super-slim or fast, the cherry-finished neck isn’t at all bulky and it’s comfortable and highly playable. Naturally, it culminates in a headstock with the arrowhead form familiar to Queen fans worldwide. A set of high-quality open-geared chrome Hipshot tuners line up two abreast, separated only by May’s signature.

    As well as a black synthetic nut there’s a zero fret in residence which should help minimise the difference between open string and fretted note.

    The fretboard is ebony and carries 20 medium-gauge nickel frets with white pearloid dot markers, with two at frets five and 19 and three at the octave, an adornment that matches the BM Bass to the RS (though May’s guitar has 24 frets and a further set of three dots at the second octave). A further set of markers line the top edge, all white dots except for thin block inlays at frets five and 17, a quirky detail that no one has a reason for… but we really like that kind of silliness at Guitar & Bass

    The bridge, a chrome BMB Vintage Hi Mass unit, is a chunkier version of Leo Fender’s basic design. Passive electronics are the order of the day, and the BMB is kitted out with a humbucker in the neck position and one BMB Single Coil at the bridge, both with shiny chrome covers. If the colour of this bass didn’t put you in mind of Jack Bruce’s Cream-era Gibson EB-3, the pickups and their positioning certainly should. As it’s passive, the controls are simple, with two volumes and one tone dial of the standard more-or-less treble variety, so getting a sound is easy-peasy.

    Sounds

    The basic sound (both pickups on with the tone knob at full) is excellent: nice and fat with growling lows and an overall feeling of controlled aggression. There’s a hint of zing at the G string but elsewhere the clarity is more even and more natural, and the midrange is generally solid with a punchiness cloaked in a darker hue. Highs are clean and clear; they’re slightly choked in the P-Bass manner but you have to work pretty hard to induce finger or fret-noise. It all amounts to a pretty good, stylistically versatile starting point.

    Cutting back the tone control has an interesting effect: at about three quarters cut you get the expected silkier version of the basic sound, but before this, the reduced trebles allow a little more high-mid to poke through, so the thinner strings get fractionally snappier and more brittle until the final metamorphosis. Soloing the bridge pickup uncorks a surprisingly lively option with a pleasing throatiness lurking beneath a tighter, brighter tone. You get only a slight hint of the nasal zing in higher registers, the D and G strings veering more in the direction of bright and cutting. The lows are tight and plenty wide enough for high-intensity finger-funk forays.

    Verdict


    In truth, the fairest way the judge the BM Bass is not on where it has come from, but on how good it actually is as a bass. Ignoring the lineage of the shape, it’s an unusual and fine-looking beast with a heap of ’60s flavour which harks back to wilder times without really trying to. Tonally, it’s fairly solid and dependable stuff with just a bit more top end than you’d expect given where the pickups are sited.

    For fans of full-scale basses the scale length might feel a bit cramped but, to be honest, we found it highly playable and great fun to whizz around on. The price is near the upper reaches of what you’d call ‘budget’ but if you’re a guitarist looking to double on bass or a bassist looking to make things a bit smaller, it’s well worth a go.

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