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Elrick Platinum 5 string, Burl Maple  SOLD

  1. Please contact us to pay by VISA, MASTERCARD, MAESTRO, PAYPAL, Bank Transfer

  2. Export price outside EU £2416. Shipping cost (from): USA £100, Australia £100, Mainland EU £30

  3. Here is am exquisite, hand built, top-of-the-range Elrick Platinum 5. Featuring a unique burl maple top over "instrument grade" lightweight swamp ash, with maple through neck and wenge fingerboard. The electronics are all custom Bartolini with 3 band eq with active/passive switching and 3-way mid eq switch. A hugely versatile and beautiful looking instrument that posses a real class and style.

  4. Actual instrument shown, please click on images to enlarge.



Rob Elrick started his company in 1993, since then he has established himself as one of the leading custom bass manufacturers in the USA. Each bass is totally hand build and each neck is hand carved with no CNC mills, copy machines or shapers used.


  1. Platinum series, e-volution single cut 5 string - £3750

  2. Lightweight swamp ash body - hand rubbed oil finish

  3. Burl Maple top

  4. Maple neck

  5. 2-way adjustable truss rod

  6. Width at nut: 48mm

  7. Wenge fingerboard - radius: 12"

  8. 24 frets + zero fret

  9. Medium Fretwire

  10. 35" scale

  11. Bartolini soapbars

  12. 19mm string spacing at bridge

  13. Bartolini NTMBF 3 band eq, 9v

  14. Switching for active/passive and three way mid frequency switch: 250/500/800Hz

  15. Black Hipshot  Ultralight tuners and A style bridge

  16. Dunlop Straploks

  17. Elrick Fundamental strings

  18. Elrick Zero Gravity case

  19. Weight: 8lb 4oz, 3.7kgs





Platinum Series Bass Guitars


The Platinum Series of guitars include instruments with a variety of construction techniques. Single-cut, Thru-neck, Hybrid and Hybrid Semi-hollow construction are all trademarks of the Platinum Series and are identifiable by their platinum leaf emblem and finely carved neck heels.


All instruments are hand carved from the finest hardwoods, including swamp ash or alder bodies and necks constructed of quarter-sawn hard maple or quarter-sawn wengé. Other woods are always available by special request.


Standard features include:

34" scale 4-string

35" scale 5, 6, 7-string

24 frets + zero fret

swamp ash or alder body

figured wood top

hand rubbed oil finish

quarter-sawn maple or quarter-sawn wenge neck

bubinga or wenge fretboard

2-way adjustable truss rod

Bartolini Soap bar pickups - £150 option

Bartolini 3-band preamp with 3-way mid and active bypass

fully shielded control cavity

Black Hipshot Ultra-light tuners

Black Hipshot A-style bridge

Dunlop Straploks

Elrick Fundamental strings

Elrick Zero Gravity case



All Platinum Series models include figured wood tops, a variety of figured wood tops are available


A variety of fretboard options are also available


Elrick

Expat NJS4 and EVO Platinum 5

Stuart Clayton takes a look at two different ends of the Elrick spectrum.

Bass Guitar Magazine 43 September 2011


Although they might not be as familiar on these shores as some of their fellow US based luthiers, Rob Elrick and his team have nevertheless crafted a respectable name for themselves since first launching their instruments at the 1993 Summer NAMM. Elrick offer three basic ranges of instruments: Platinum series, Gold series and the Expat NJS. The Platinum series basses are the more expensive of the range and are built using a variety of construction techniques including single-cut, throughneck, hybrid and hybrid semihollow. A Platinum leaf logo is added to each as a finishing touch. The Gold series are Bolton neck instruments that are available in a variety of body shapes: classic, e-volution and NJS. These instruments are adorned with a gold-leaf logo. Finally, we have the Expat NJS (New Jazz Standard) series, which represents Elrick’s efforts to offer a modern take on the classic Jazz Bass design at an affordable price point. To that end, manufacturing of this model is handled in Europe to keep costs down. Here we have a single-cut Platinum series e-volution 5-string retailing at £3,000, and an Expat NJS 4-string, retailing at £1,500. Let’s take a closer look.


Body & Neck

The EVO features a singlecut, neck-through design comprising a swamp ash body topped with a gorgeous piece of burl maple. The neck is constructed of three pieces of select maple and is visible running through the centre portion of the body. A thin sliver of a darker wood that provides a border – a very attractive addition – encompasses this neck-through section, along with the edge of the burl top. The wenge fingerboard looks fantastic against the burl maple, and the continuation of the top body wood on the headstock is another great cosmetic touch, particularly with the platinum ‘E’ logo adorning it. Flipping the bass over we find a large cutaway section where the heel would otherwise be on a more traditional bolt-on instrument. The shaping of the woods is superb here, but the real function is to facilitate easy access to the upper register. The control cavity plate on the EVO is a removable section of the body wood that’s exceptionally well cut and looks fantastic. Turning our attention to the Expat, we were similarly impressed. The bolt-on neck bolts, and more thoughtful shaping is applied to the heel of the instrument. Finished in white, our Expat is adorned with a three-ply tortoiseshell scratchplate, carefully shaped to accommodate the controls. The Indian rosewood and satin hardware are the perfect aesthetic choice here, finishing off the look nicely.


Hardware

Both instruments feature Hipshot hardware – black for the EVO and a satin finish for the Expat. Lightweight tuning gears keep the headstock weight down and improve balance, while the chunky Hipshot bridges provide all the adjustability needed. Th eEVO also features Dunlop strap locks, which is always a nice addition. Bartolini pickups are used on all Elrick basses: the EVO has soapbars,the Expat has Bartolini J coils. Both instruments have the same Bartolini NTMBF three-band circuit. Opening up the control cavities reveals exceptionally neat wiring, soldering and shielding, with the battery housed in a separate compartment within the cavity. You might prefer separate flip-top battery covers, but nevertheless it’s reassuring to see that the same high building standards found on the US-built EVO are carried through to the European-built Expat.


Hardware

Both instruments feature Hipshot hardware – black for the EVO and a satin finish for the Expat. Lightweight tuning gears keep the headstock weight down and improve balance, while the chunky Hipshot bridges provide all the adjustability needed. Th e EVO also features Dunlop strap locks, which is always a nice addition. Bartolini pickups are used on all Elrick basses: the EVO has soapbars, the Expat has Bartolini J coils. Both instruments have the same Bartolini NTMBF three-band circuit. Opening up the control cavities reveals exceptionally neat wiring, soldering and shielding, with the battery housed in a separate compartment within the cavity. You might prefer separate flip-top battery covers, but nevertheless it’s reassuring to see that the same high building standards found on the US-built EVO are carried through to the European-built Expat.


Sounds

The EVO offers a broad sonic palette. In addition to the standard volume, blend, treble, middle and bass controls, this bass has an active/passive switch and a three-way toggle switch for selecting different mid-range frequencies. In active mode, the usual blend ratios yield the expected bass sounds – a killer slap tone when favouring the neck pickup slightly and a biting fingerstyle sound from the bridge pickup. But the devil is in the detail here and experimenting with the mid frequencies results in more punch when we need to fi t our sound into an unfriendly live mix. _ is control requires some familiarity with how you can best use the mid range to your advantage, and overall we were pleased with the range of tones on off er here. Adding in the passive mode provides more traditional tones that work well for pick-based rock – although we didn’t feel quite right playing such things on a single-cut instrument. The Expat fared similarly well..The natural tone (both pickups used in equal ratio) was full and throaty and sounded fantastic whether slapped or played fingerstyle. The overall tonal palette certainly recalls classic jazz tones, although with a modern edge: the active EQ adds extra weight and punch where needed, and the addition of a mid-range control helps refine the sound.


Conclusion

Both the Expat and the EVO are superb instruments and, despite being built in different countries, boast similarly impressive levels of build quality. Both have a broad and ultimately very usable range of tones on offer, and are comfortable, well-designed basses that are enjoyable to use live. Retailing at £3,000 the EVO will be beyond the means of many of us, but anyone who is looking to make a serious investment in an instrument that will last a lifetime could do a lot worse. _ e Expat, while not cheap, is a far more affordable alternative and offers much of what makes the EVO a great bass. Impressive stuff all round, and we’d certainly recommend both instruments for a test drive if you have the opportunity.


ELRICK EXPAT NJS4

PRICE: £1,500

Made in: Europe

Body: Alder

Neck: 3-piece maple

Fingerboard: Indian rosewood

Neck join: Bolt-on neck

Frets: 24 medium frets

Scale: 863mm (34”)

Machine heads: Hipshot Ultralight Satin tuners

Bridge: Hipshot B Style

Pickups: Bartolini J coil pickups

Electronics: Bartolini NTMBF, 3-band EQ, 9V

Controls: Volume (active/passive), blend, treble, middle (push/pull frequency select) and bass

Weight: 4kg (8lb 12oz)

ELRICK EVO PLATINUM 5

PRICE: £3,000

Made in: USA

Body: Swamp ash with burl maple top

Neck: Select 3-piece maple

Fingerboard: Wenge

Neck join: Through-neck

Frets: 24 medium frets

Scale length: 889mm (35”)

Machine heads: Hipshot

Ultralight tuners

Bridge: Hipshot A Style

Pickups: Bartolini pickups

Electronics: Bartolini NTMBF 3-band EQ, 9V

Controls: Volume, blend, treble, middle and bass, 3-way mid-frequency selector switch, active/passive switch

Weight: 3.7kg (8lb 4oz)


Plus: Great-looking, great-sounding basses that are well designed and comfortable to play.

Minus: One very minor complaint is the plastic controls on the Expat.

Overall: Lovely instruments, recommended.


Bass Direct

Tel: 01926 886433

www.bassdirect.co.uk


EVO 4/5

EXPAT 4/5

BGM RATING


ElrickPlatinum Series e-volution Single Cut 5 Bass Review - Premier Guitar Magazine September 2009


Dan Berkowitz





Download Example 1

Bridge Flat


Download Example 2

Bridge EQ


Download Example 3

Neck Flat


Download Example 4

Neck EQ

SIGNAL CHAIN: Bass into CEntrance AxePort Pro into Reaper DAW software on MacBook


Platinum Series e-volution Single-Cut 5


Ironically, if the New Jazz Standard represents an evolution of an old classic, the e-volution Single-Cut can be seen as a new beginning for bass design—not really an evolution of any instrument’s genetic line at all. The e-volution is an exquisitely hand-crafted piece of woodworking art and a fine instrument all rolled into one. If you’re into beautiful woods carved into smooth ergonomic form, this bass is for you. If my eye is correct, the e-volution includes maple, swamp ash, Macassar ebony, walnut, and alder. A simple, elegant touch is the inset straplock receivers to avoid that awkward protrusion of dual-duty strap buttons.


A first glance, the eye quickly goes to this axe’s unique body shape—and the beauty of the one-piece crotch walnut top (a $1000 option). Unlike the familiar double-cutaway design of most basses, the Single-Cut extends the attached upper horn clear to the octave fret. On the lower horn, though, the cutaway is quite deep, going all the way to the second octave. With a fully carved neck joint, there is no problem whatsoever in reaching the second octave with ease. Come solo time, this baby is ready to soar.


The key to this design is the way the extended body section enhances the transmission of resonance between the body and the neck. At one end of the transmission spectrum is the humble bolt-on design that relies on a small surface of mechanical connection between neck and body. Elrick’s distinctive Single-Cut innovation goes to the other extreme, working to maximize an instrument’s resonance—I found it had a ton of sustain.


The 35” neck on this e-volution is decked out with smaller-than-usual medium fretwire on its nicely striped two-tone ebony fingerboard. As with the NJS bass, Elrick uses a zero fret. I like this choice because it keeps open notes sounding like all the others, but also one piece of the setup challenge gets eliminated when nut slots are removed from the equation. The fingerboard is appointed with small position markers. From the nut to the octave, the dots run between the B and E strings. At the octave, a second dot is added between the D and G strings. From that point on, though, the dots remain only on the high side of the neck—that’s the side of the neck where the money notes are.


What looks at first like a neckthrough design actually is much more complex. A neck-width piece of alder (with ebony stringers) runs through the body clear to the bottom strap button, but then remember—the neck itself is built as three-piece maple. This design could be considered a cross between a set neck and a neckthrough. Because of the phenomenal heel sculpting, the whole amalgam of woods looks a little like the sandstone beside a creek that has been eroding over the centuries to reveal differing colors of smooth rock layers.


Equally amazing is how the cover over the battery and electronics has been cut right out of the body with what appears to be a zerokerf cut—the grain flows continuously across the body, interrupted only by faint joints. The neck profile itself tends again toward the modern, feeling a little flatter and wider than the classic neck forms. This is a functional choice, because the thinner G-side profile makes access across the wide 19mm-spaced bridge a cinch—a spacing that allows either digging in or clean slapping with ease. The thin finish of the neck adds to the overall sensory experience, making moves both across and up-and-down the neck a luxurious glide.


But what about the sound?

The e-volution boasts all Bartolini electronics, with a pair of soapbar humbuckers run into the NTMBF 3-band preamp and controlled by three EQ knobs and two switches. The switch nearest the bottom of the bass selects active or passive mode. On its own, the tone is rather neutral, neither begging to be slapped nor calling for deep-voiced thumping, and I found myself wishing for a little more authority. The sound was consistent across strings, an important attribute that sometimes doesn’t hold true for a bass’s low B string.


Indeed, there are plenty of voicing options to work with. I tended to favor soloing one of the two pickups and then applying some EQ to taste. The three-option midrange control was seriously helpful in this regard, guiding the bass toward bright, deep, scooped, or even a burpy staccato tone. Both fingerstyle and slap players can adapt the sound to their own preference and the transparent, musically-voiced Bartolini electronics accomplish the job without adding noise or creating odd-sounding tones.


Clearly, with a street price of $5200, it won’t make many players’ short list of must-have gear. But if you have the cash and want to play something distinctive, the Elrick e-volution Single-Cut 5 would be quite worthy of consideration. Maybe the hardest part would be the heightened playing expectations when you show up with this axe at a gig or studio session.

Buy if...

aesthetic considerations, quality, playability, and tone-shaping options are high on your list

Skip if...

you want a bass that brings a distinctive sound right out of the case and are on a tight budget.

Rating...




ELRICK REVIEWS;


Soundroom - Bass Player Magazine

Elrick e-volution active neck-through 5-string



List price: $3,950 ($4,300 as tested); approx. street price: N/A

Pros: Dreamy construction and delightful tone.

Cons: None.


BY JOHNATHAN HERRERA


When we reviewed the Cort Elrick JP-5 in June ’03, I dug the Korean-made instrument’s excellent playability and solid tone, but I was left curious as to what its aristocratically priced American-made cousin, the Elrick e-volution, was all about. The e-volution is a new model, but designer Rob Elrick actually intended it to be his first bass shape. After advice from friends, however, he eventually decided on the more exotically contoured “Classic” shape that has become his trademark. His deal with Cort to design the JP-5 led him back to his original concept, and he subsequently decided to add the e-volution to his U.S. lineup.


The e-volution reveals that, despite the recent trend towards low-priced designer imports, money still does matter. It is an impeccable piece of bass craftsmanship. Every detail was exquisitely rendered. The fretwork was exemplary, with perfectly filed frets and faultless attention to detail. The top-notch Hipshot and Dunlop hardware was solidly installed and performed perfectly. While some staffers didn’t appreciate our tester’s spalted-maple top, no one could deny the undeniably seductive quality of the Elrick’s artful woodworking. The neck joint’s contrasting wood colors are beautiful and its design is ingenious. Carved deeper on the treble side, the joint facilitates natural hand rotation in the upper register. The e-volution’s playability was slick, due in no small part to the well-balanced body contour, light weight, and wide string spacing. It arrived with a super-low setup that led to a few choked-out notes, but after a few minor adjustments, the bass felt superb.


In our Soundroom, through our Demeter/Crest/Eden rig, The Elrick’s Bartolini pickups and electronics displayed the warmth, punch, and alluring mid-range presence they’re famous for. Most of Elrick’s basses feature Bartolini J-style pickups, but Rob Elrick chose soapbars for our tester because he felt they better suited its wood combination. With everything flat, the Elrick is elegant and refined. The potent EQ is an able tone sculptor that’s enhanced by the three-way midrange frequency selector. I was particularly moved by the e-volution’s even response. The zero-fret makes open strings sound like their fretted counterparts. On a New Orleans funk gig, through an Aguilar DB 750 and Bergantino HT322, the Elrick had authentic tones for everything from all-out slap to greasy Meters-style grooves.


The Elrick is tasty, but like with food, super-tasy stuff like the e-volution will cost you, Its import counterpart is a solid bass that will perform competently on any gig, but if you simply must have the best, The Elrick e-volution should definitely be on your bass menu.


TECH SPECS


Scale length: 35”

Weight: 8 lbs, 8 oz

Body: Ash with spalted-maple top

Neck: Quartersawn maple with ebony fingerboard and walnut/padauk laminates at body

Options: Ebony fingerboard ($300); soapbar pickups ($200); Numerous woods and electronics


Made in: U.S.A

Hardshell case: Included

Warranty: Lifetime limited





Product Profile:  Elrick Neck-Through 4-String

Bass Player Magazine 1997

By Scott Malandrome


There’s something about a handmade bass.  Maybe it’s the specially selected timbers, the custom-tailored electronics, or just the extra attention that adds up to a unique instrument.  If you’re one of those bassists who’s into hand-crafted wood, you’ll dig the work of Chicago luthier Robert Elrick.  His 35” scale Neck-Through 4-string incorporates several species of fine hardwoods into an extremely well-built bass.  The Neck-Through isn’t just another ”butcher’s block,” though—it produces some of the finest tones we’ve ever heard. 


The center of the Elrick neck is a 1/4” wide stringer of the African hardwood bubinga.  It’s flanked by two 1/8” wide strips of Wengé (favored by luthiers for its stiffness), while the shoulder strips are quartersawn rock maple, which displays nearly vertical grain for extra stability.  (The neck is also beefed up with inlayed graphite bars.)  A heel block of bubinga and walnut hugs the portion of the neck that runs through the body; the body wings consist of two 1” thick pieces of swamp-ash adorned with a beautifully bookmatched, 1/4” figured-maple top and back.  Elrick says wood suppliers often call this type of maple “crazy quilt,” and we can see why: there’s a distinct flame to the top and back, but there are also spots that look a bit quilted and slightly burled.  (Especially nice are the bookmatched “angel wings” that surround the bridge area.)  All of the laminations on the body are accented with a 1/32” piece of dyed-black ash.  A tung-oil-and-urethane finish, which feels smooth to the touch, protects the body and the neck—but as with most oil finishes, the bass is easy to scratch and dent.  (Several areas on our test instrument also showed sanding marks.)


At the other end of the bass is a 12 degree angled back headstock; it sports a piece of dyed-black ash sandwiched between a 1/8” “crazy quilt” cap.  In the fingerboard department, a 1/4” billet of bubinga holds 24 jumbo frets—nearly all installed flush to the board on our test bass.  The fret ends were rounded over nicely, the crowns were round and smooth, and the fret kerfs were filled in.  We did find a few high spots with our precision-ground straightedge, but they didn’t cause any string buzzes. 


The neck wears a zero fret with a micarta string retainer.  Some builders use a zero fret for a more uniform sound between open and fretted notes; that’s because the string sits on the same material as the frets (because it is a fret), rather than lying on a piece of bone or other material.  The open strings on our test Elrick did exhibit the same snap as a fretted note.  We wish more builders would use this method—although all such basses must have an angled-back headstock for proper string pressure on the zero fret. 


Special woods deserve special electronics.  The Elrick boasts custom Bartolinis; the single-coil-size pickups are actually humbuckers with a 2 + 2 coil arrangement to cancel out 60-cycle hum.  This system works well, as you can solo the bridge or the neck pickup without that annoying J-Bass-like hum.  (The copper-foil-shielded cavity also helps.)  A Bartolini NTMB-3 active preamp offers three bands of EQ; the midrange control teams with a mini switch for three different mid frequencies.  Since there’s no compartments for the preamp’s 9-volt battery, the addition of the active/passive switch is very nice, although it produces a loud “thud” through the amp when switching preamp modes.  (Robert Elrick informs us that he’s since fixed the problem by adding a resistor to the switch.)  Surprisingly, the Elrick is a very lightweight instrument, especially considering its amount of laminated wood.  (Glue adds weight, too.)  All of that wood isn’t just for looks, though-the Neck-Through has one of the richest, most organic tones we’ve ever heard.  (There’s no denying the Elrick’s sustain.)  Playability-wise, the instrument feels a lot like a P-Bass in the lower registers—but it’s much faster past the 12th fret, because there isn’t much neck taper at the higher positions.  Our only design complaints is that the lower horn digs into your leg when you play the bass in a sitting position. 


Is a 35” scale length necessary for a 4-string? Elrick feels it adds definition to the bottom string while using the instrument’s Hipshots XTender Key, which is standard on all EIrick 4’s.  He also feels it makes heavier-gauge strings feel lighter.  We can confirm the former; our test bass came strung with standard .045-.105 gauge strings, but the E string sounded unusually clear.  The extra inch also adds superb focus when dropping the E to D. 


The Elrick sounds great through just about any amp.  The bridge pickup is perfect for that throaty Jaco tone, while the neck has shades of Precision-ness.  And blending both pickups together effectively combines elements of both worlds while producing a very musical, deep sound.  At over three grand, the Elrick Neck-Through certainly isn’t a steal.  Besides first-rate tone wood, a lot of what you’re paying for is the attention of one person tailoring an instrument for you.  And like most custom-made goods, that kind of special work doesn’t come cheap. 


Reprinted from Bass Player Magazine, August 1997


 

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