07/16/08

[bassist_25]

I haven't recieved it yet. Today was estimated completition date, not delivery date. If everything is going on schedule, I'm hopefully going to have it next week. We're off next Saturday because of a club cancelling gigs until this fall to get the LCB off of its back, so hopefully that date gets filled so I can try it out on stage. If not, its stage birthday will be August 3rd at Pellegrine's, which also happens to be my birthday.

[metalchurch]

Damn Paul it is now almost 2 weeks late, are they sending that thing on Horseback or is it not done yet?

You may have to call a Dr. and have him induce labor on it.
I know I'd be a little pissed at this point, but I'm an impatient little hussie most times.

[bassist_25]

I called on the 18th (which was a Friday), and when I gave my order number, I was told that it would either ship that night or early the next week. Unfortunately, I didn't get a tracking number, which seems to be an issue right now with the company. I got a catalog today (which I haven't recieved a Carvin catalog in years), so I assume the bass isn't far behind. I'm chomping at the bit. The bass is coming literally from the other side of the United States.

[metalchurch]

I just checked on the wait time for a custom shop Jackson, and the wait time on that is a minimum of 14 months.
They do their guitars in batches of 50. One style of guitar at a time.
ie: 50 'Rhoads' then they might switch to the 'Soloists', then the 'Warrior',
'King V' etc..

And not only that, but you also have a number, say you're #51, you have to wait until they do the batches of 50 for each model then you'd be the first for the next go around.
However, you might luck out if you get thrown in if they are doing that model and there wasn't 50 work orders at the time of your order.

I have also been reading some nightmare stories about the Jackson workers screwing up the specs on the orders.
So if that happens, and you get your guitar, and have to send it back, you have to wait all over again until they do those models again, and then on top of that, they don't scrap the guitar of yours that they messed up, they resell it!!!

Since Fender bought them out and they've been building in Corona,CA there's been alot of shit like this happening.
The quality is there, that's not the issue, it's mostly customer issues.

They also require a $750 deposit at the time of the work order submission, and unless you get your dealer to check in on the build status for updates, you receive nothing, until it's completed, and ya better hope it's done to your specs!

That sucks man.
I hope that you don't run into anything of that sort, and it all turns out just the way you wanted.

[bassist_25]

Uggg, got off the phone with Carvin and was told that it wouldn't ship until the week of the 11th. Fuck! I was hoping to be able to play this on my birthday this Sunday.

[TJ Kelly]

You can play my AC50!

[metalchurch]

Damn, now you have to wait even longer! I wonder what the hold up was?
Did they give you any specifics whether it was a production, inspection, or shipment problem?

Did you know that Carvin derives from the latin term meaning slow?

[bassist_25]

They didn't tell me why it would be late shipping. I'm guessing that it wasn't completed by the estimated date. It's probably a case of Carvin biting off more than it can chew with orders. I'm trying to look on the bright side - it's going to be about a four month wait when it's all said and done for this bass. Many luthiers have over year long wait lists.

I just want this bass because I'm holding off on restringing my LB. The strings still have a lot of punch with bottom and mids (bless DR coated strings), but the highs have long since departed. I'm getting that hollow Billy Sheehan tone on everything I play. lol

[metalchurch]

Well gotta keep the fingers crossed and pray to the Carvin gods.

But yeah 4 mos. really is not bad at all, so it could have been alot worse in all reality.

[bassist_25]

It's currently sitting unopened in the kitchen. I have two gigs this weekend. I'll post pics and a review for those who care.

[metalchurch]

Of course we care Paulie, why wouldn't we?
Tear that damn thing open and post some pictures, the suspense is killing me!

[MOONDOGGY]

You have everyone here waiting! Wherever you are, stop what you're doing and whip that thing out. We want pics, reviews, and soundclips (or we could catch a show).

Definitely bring that to the Coalition meeting!

[bassist_25]

I popped it open and it's sweet. All will be revealed in time.

[MOONDOGGY]

NOW

[bassist_25]

Okay, first impressions...

This is an Icon 5w. It's a figured Walnut top with a Mahogony body done in a satin matte finish, five pc. Walnut and Maple neck (i.e., W/M/W/M/W), and a Rosewood fretboard without inlays. I also went with Rosewood control knobs, which look really cool. The hardware is black and I decided on low-wide frets. I also splurged an extra $5 to get it sent with steel strings.

Looks-wise, the thing is a work of art. Sorry that I'm not currently posting pics, but I want my bandmates to see it in person first. I'll be sure to get some up after at least the first gig this weekend. The figured Walnut really matches well with the Mahogony. However, the Walnut neck looks a little funky when compared to the Mahgony, but the top completely covers the neck; I doubt many people are going to be looking at the back of the bass. Also, the choice to go with a Walnut neck was more based upon timbre than cosmetics (more on that later). I'm really happy with the satin matte finish. It doesn't look as "dry" as tung oil, but it's not glossy either. I think I've seen a similar finish on some Schecter Stilettos.

The setup from Carvin seems to be pretty top notch. I was a little worried that I'd get an instrument that I'd have to spend an hour or two tweaking to make it gig-worthy. That wasn't the case. The action is low, and the neck is true. I think that I do detect a few cents off with the intonation around the 14th fret, but it's nothing that a simple saddle adjustment shouldn't cure. Of course, getting this in August was probably beneficial. It didn't have to go through as extreme climate changes as it traveled across the U.S. if it were to have shipped six months from now. The bass is entirely playable up the 24th fret. Tapping, even two-handed tapping, is a breeze. I haven't put a strap on it yet - I have to install the strap-lock buttons on a strap I have - but sitting down, the ergonomics of the instrument definitely impress me. The neck heel is excellent, and the bass balances well on my lap. I actually find using a pick with this bass to be easier than using a pick on my LB75.

Sound - Okay, I haven't played this through my rig yet. I have played it through a Sunn Beta combo. Compared to my LB75, this is a dark sounding bass; I mean dark! I imagine that this is due to all of the Walnut in it, which is exactly why I chose to go with a Walnut neck. There's a sweet top end, but there is definitely an emphasis on the low mids. In all honestly, the sound of this bass seems to be very Warwickesque to my ears - think a less aggressive Thumb. Another thing that I'm finding very fascinating is the fact that it has the tight fundamental due to being a neck-through, yet there is the springy punch that's usually inherent to bolt-ons. The LB75 seems to be more fundamental than the Icon. That's not really a good nor bad thing; it's just different. I heard that Carvin stepped up their game with the new 18v electronics. I definitely agree. The electronics package is very powerful and musical. I'd compare it to anything that's currently coming stock with Barts or EMGs. The preamp's quiet. It seems to have more colored electronics than the LB75, but that just may be my ears being tricked by the timbre being produced by the different woods in each bass. Harmonics ring out nicely, though they are not quite as bright as harmonics that would be played on an instrument with a lot of Maple in it. I really dig the soapbars. They sound best when completely balanced, but they also thin out very nicely when soloed to do chordal or melodic work. This preamp has sweepable mids, which I'm still trying to figure out.

All in all, I'm impressed so far, but then again, I've only spent about an hour or so playing it. The only thing I don't dig so far is that I wish there would have been some more darker grains going through the rosewood fretboard. That's a pretty trivial gripe, though. I'll get some stage time with it this weekend. I can't wait!

[Chuxema]

I agree. Hurry it up a little bit!

[bassist_25]

I apologize because A). I'm not a professional photographer, as evidence by these photos and B). My digital camera is nothing to write home about (the house in the background is actually yellow, even though it looks white). Honestly, these pics don't do the bass justice.

Here's a faraway shot of the whole bass...



Here's a close up of the body...



Here's a close up of the figured top...



Here's a shot from an angle so you can see the Mahogony...



And finally, a shot of the back so you can see the neck...



After getting a gig on it last night, my intitial impressions were definitely confirmed. The most descriptive adjective I can think of is Warwick-like. Honestly, if I closed my eyes and listened to it, I would swear it's a Thumb or a Corvette. There's a huge emphasis on a dark and growly low-mid range with a tight and defined bottom. I had to boost the highs a little bit to get the snap that I enjoy, but once I got that dialed in, I was quite pleased. This was an outside gig, so my strategy may have to be different in a room at tonight's gig. I really think Carvin hit a homerun with its electronics package this time, though. The 18v preamp is very powerful, musical, and has tons of headroom. Onetooloud ran us last night, and he asked me to back off the gain because my DI was too hot. When I boosted the highs at the beginning of the night, I only had to bump the knob a little bit above the flat indent. Whereas my LB75 is very piano-like and pristine, the Icon is aggressive and and punchy.

Through pizzicato, picking, and slapping, the instrument performed beyond my expectations. Again, I find picking to be very ergonomic. I'll definitely be bringing this with me on Tuesday for the Bass Coalition.

[Chuxema]

Nice. That is all I can say. NICE.

[metalchurch]

Wow, that is very sweet Paul! So now that you've had it for a few days and played it, would you have ordered anything different, or did this turn out just the way you wanted it?
How about the QC? Was there anything wrong, or questionable about the fit or finish?
A good question to ask yourself is "Given the chance would I order another one?"
And more importantly what did you name it?

[bassist_25]

Joe, I got exactly what I wanted both in terms of aesthetics and sound. I wanted a darker and more aggressive sounding instrument to contrast with the more pianoesque LB75, and I definitely think that I got it with my wood choices. It really exceeded my expectations in that regard. I've always wanted to own a bass with a lot of Walnut in it because of its darker timbre and just the beautiful look it has. I'm not a luthier, so I had to do some research into what wood choices between the body, top, and neck would give me what I wanted. Even then, it's a bit of a crapshoot, but I am extremely pleased with the results.

I haven't found any fit or finish issues at all. The fretwork really, really impresses me. The main thing I'd order differently if given the chance is that I'd probably get a drop-shadow on the Carvin logo. It's flat black and kind of hard to see on the headstock. Not that I really care what the name on the headstock is, but I have a feeling that people are going to constantly be asking me what it is, since it doesn't look like a traditional Carvin. I'd probably have to think for a few seconds if given the choice between the Rosewood fingerboard or a Birdseye Maple one. I was originally going to go with Birdseye Maple, but then I saw a BB75 with a Walnut body and a Rosewood board and really liked how the two went together. I hear a bigger timbre difference between Rosewood and Maple than Rosewood and Ebony, so I know that changing the fretboard would probably significantly alter the overall sound of the bass. I'm very pleased with the Rosewood, though.

I usually don't name my instruments, though. LOL

[metalchurch]

I usually don't name my instruments, though. LOL

Well you should, cause they respond well to it, and play better.
I named all of my Jackson King V's
KV3 (White w/ black Rhoads pinstripes) - named 'Excalibur'

KV2 (Black) named 'Reggie' (Reggie Jackson is black also)

King V Standard (White w/ Black bullseye) named 'Devil's Daughter'
***but I might re name it 'Jesse Jackson' because like Jesse this axe has hints of both Black and White. 'Michael' would also apply nicely.

Charvel 'J.E.L.' mutt is named 'The Ultimate Sin'

Kramer mutt Flying V w/ Jackson neck is named 'No.57'

Need to come up with another name for my Black Jackson DK2L when I get it.

I'm very happy that it all worked out for you, and there were no major problem aside from the long wait. But I'd trade the wait for a kick ass bass any day of the week.
So you did a search for the wood's characteristics, w/out actually hearing them first? And it turned out to be exactly what you were looking for?
That's excellent!!

BTW, nice review, you definitely have a way with descriptive words. At times while reading it, I could almost imagine holding it. (That sounded gay)

So, I take it that you'd buy another Carvin after this awesome experience?

[mjb]

nice bass paul. and review! shes a beaut.

oh, happy birthday!

[lonewolf]

Dats purdy!

[old Skool]

Just have to say this is one awesome piece. The fit and finish is top notch. Monster tone, harmonics ring very clear. Just has that pro sound. Nice pick Paul! It seemed to take forever but was well worth it.

[songsmith]

KV2 (Black) named 'Reggie' (Reggie Jackson is black also)

I don't know why, but I laughed like a little kid at that one. It just struck me as really funny in a silly way. ------->JMS