Paulhauser

I'm super sensitive to neck dive but none of my Spector Euro5's have any. So don't let that put you off.

I'm not sure I get your point as P's are not splitable. The TW is basically two J's parallel to each other and if you use the coil tap only one of them is working. I have a 40P5 /40J in one of my Spectors and that nails the classic Spector PJ sound. If you keep the TW at the bridge and split it you will get close to that. The only problem can be matching the volumes as the P has a strong signal and the coil tapped TW is already lower in volume so might be tricky. (on my 40P5/40J the J is much closer to the strings to get the same volume output)

Update: I have replaced the EMG 45DCs with EMG 45TWX's. While I liked the DCs I think the TWX has a slightly rounder sound that works well with the ebony board and ash/maple setup. The sound became less brittle in the upper registers, the low end slightly less the strong mids remained and became even more pronounced. Also one of my observations is that the Aguilar OBP seems to work better or more effective with this pickup, especially the lows. As I use the TWX's in my other Spectors I pretty much knew what the swap would do but still I'm happy how this turned out.

I have a couple of Euro/US 5 string Spectors either with the DC or the TW (and have one with 40 housing P/J) I like the X series DC in my main recording bass, crisp, wide and very powerful and works well with the HAZ preamp. I happen to like my other one with the two TWX in it. In my experience the TWX is a big step from the TW as the volume drop is lot less when using the coil tap and the wholes sound is wider and more alive. So I would not worry much if the new models only come with the DC, replacing them with the TWX is not a big deal, it is fairly easy to drop in, hook up with the tonepump, the only thing to be aware of that the push-pull pots need wider holes so better take it to a luthier / skilled tech with appropriate tools.

While I don't play, gig or record much fretless bass but those occasions do come up so I tend to keep one in my arsenal as when I need / have to / want to use it is very handy to have one which is suitable and set up for my preferences. How much you would use it is up to you - you might end up liking it a lot and trying to play everything on it for months in the end - I did it and was a lot of fun and great learning. Or you won't use it much. Mine is a lined 5 string fretless and depending on how much and how often I use it I can get around it pretty easily, sometimes I look at my fretting hand for positioning exactly where it should be, sometimes its muscle memory. If you can afford I think it is good to have one and the Sire is certainly not a huge invesment but a great value ( so I heard) Alternatively you can order online, use the return period for deciding what you think of all the above so you have a safety net. Have fun!

This is true, but info on this is confusing. I think it is in the last few years that solid black and white Euro 4/5s have maple wings as it was communicated on the official spector site. But dealers seem to be confused as I have a quite recent white Euro435 and it has full maple wings but was advertised as having the sandwich body. (If one is wondering how do I know it I removed the separate battery compartment which is not shielded nor painted so it is visibly one piece vs the maple/walnut/alder)

I have to agree except for the 'real thing' part. I hold Euros in very high regard, I have 4 Spectors from the Czach factory and they are some of the best basses I have ever had. This is why I have them and use them almost daily along with my US made ones. They are from different eras, different models and while I see your point that they are not made in Woodstock for me they are as real Spectors as one can get. However, I am glad that I own 2 of the only 450-ish pcs of NS-5XL's that were produced in the Woodstock era by Stuart Spector. Also own a Forte/NS-6XL pre-Korg. Might be irrational for some but not for me, there is more to it than just the sound or the price. Call it the result of clever marketing or hero worshipping or such but after many years of longing I was able to get these instruments and I am super happy with them. For me any of them worth the extra money I have spent on them over a Euro model. For full disclosure I have bought them used but the same goes my Euros, too 🙂

Not really, my SR5006 is one of their most expensive bass models and still has the same logo...albeit in gold 😄 Cracking bass you got btw, I own 2 Ibby SR sixers, the aforementioned SR5006 and a 3006 and used to own a 506 in two versions and I have to say that for me they are some of the best designed 6 string basses, you have the range but the bass still feels sleek and compact. I also happen to like the Barts though the electronics in the 5006 is subpar, but anyways I use it in passive so no big deal.

Very nice collection but is surely misses a US or Euro Spector 4 string with PJ pickups 😄 Btw lovely fingerboard on that fretless SR

It is your bass and you are free to do whatever you want with it. There are only two considerations I think, one is that if the mod doesn't give you what you hope for it is impossible to go back to original and the second is the mod will negatively effect the resale value (but then again you might never want to sell it for the reasons you described)

We can't be all the same 🙂 Spectors (Euro and US) are my main instruments for more than a decade, they are the perfect combination of sound and ergonomics for me. I do have a Stingray 5 which I like a lot. The Thumb 5NT was a major disappointment for me both ergonomically and sonically. But some of the best fretless sounds I've ever heard came from Thumb's plus I quite like the sound of the NT6 Thumbs (must be the pickups and positions of them) so it may have been that particular instrument.

(almost) always take, never needed. I'm not a professional player in the sense that it is not my main source of income but I act like one 🙂 So I'm always prepared and would not let any problem with my gear affect the show or even get noticed. I play Spector Euros live for many years and never had any technical problems with them, neither did I break a string. But I always carry a backup bass (another Euro) for the main gig I have which has samplers, clicks and rear screen projecting all set up for the show and there is no way I'd stop that for changing a string or such. I use wireless but always have a cable at hand (happened once or twice that the wireless went off or the receiver was kicked out of stage 🙂 ) Since I go direct most of the time I don't carry amps or cabs so bringing two basses in a double gigbag is not an issue.

I have no experience with Wals, but owned a '91 NT Thumb5 and own a SR5. The Thumb was thin sounding and nasal, quite far from what I'd call aggressive. The SR5 can be much more of that. So my vote goes for that out of the 3 listed. Other thank that, Spector..... 🙂

Angel, I'm in no way an expert, I'm just saying that this constellation is working for me technically. The bass in question is a Spector Euro5 and I bought it used with the JE preamp already in there and the EMG 40DC's, too. I changed these to EMG 40J and 40P (basically PJ's in soapbar housing) but since these pickups have the quick connect pins it was a 5 min job. BTW the preamp is not a J retro it is a deluxe with mid controls and active passive switch etc. but the point is that it works with EMG pickups.

John East preamps work very well with active pickups, I have one paired with 5 string EMG PJ's.

Can't comment on the Korean ones but I have a couple of Euros and a few US NS-5's/6's and I do hear and feel the difference between them. My buckeye burl NS-5XL is simple the best bass I have ever had and I use that exclusively for recording since I got it. (Never take that out for gigs though) With that said the newer Euros like my Euro 435 come really close to the US ones. But to be fair this is a solid white one with maple wings so no fancy wood to make a big visual difference.

That was my observation, too. Very well played, I especially like how the pick with the ghost notes gives an extra drive to the lines.

I think it’s the other way around, for a long time since the beginning it had the HZ. Anyway I cannot comment on the Bart as I haven’t played it. I personally would either start with changing the preamp without changing the pu or buy an EBS Microbass as it can handle two instruments with separate eqing so you can dial in both of your instruments and leave them plugged in throughout the show. edit:the new one has built in tuner and compressor too and is a great all around preamP / DI. I use mine for most than a decade now (2nd generation)

What is the pickup in your bass? There are different versions of this model depending the vintage.

Thank! As for a natural SR Special hoe about this?

As I already have a Stingray 5 I'd either source a SR5 30th anniversary or a new Special SR5 HH (would probalby change the pg to pearl white) Now that I think of it I might just do it as well 🙂

@thisisswanbon a longer strap might help. I am actually at the opposite point: I really like that my Spector stays put in the same steep angled position that is very similar to the classic sit down playing style where the bass is between the legs- this is how I practice so it makes a smooth transition. See my profile pic....

No. I like and respect Cort's instruments for what they are - having owned a couple in the past - but for me they never quite made the right package in any of their instruments.