Adamovic Basses: Unique Features

I have been GASsing for a lightweight 6-string bass and stumbled upon Adamovic (also looking at Mensinger). I read through their Unique Features page, and besides nearly drooling over their process, I began to wonder if it was just marketing speak (i.e., do other luthiers use similar methods) or if what they are doing is truly unique. Anyone have any insight on this?

I guess what I am really wondering is if all those unique features are worth the high price versus other custom bass shops. Also curious if their touted ergonomics actually hold up.
 
Are Adamovic priced high compared to other luthiers? I'm not sure they are. They are premium price, but premium quality, at least as far as build and materials go.

I owned a used Adamovic fretless Jupiter 4 string a few years back. I got it at an absolute steal, I don't think the store where I bought it knew what it was worth. When I bought it, I priced up a new one on the Adamovic website and it would have cost in excess of £5000 / $6500. In the end, I made a profit when I sold it.

Was it a high quality instrument? Without a doubt. Is the stuff on the website just marketing spiel? Probably, to a degree. It was very light for a 4 string singlecut, it balanced nicely on a strap. The stuff about wood aging techniques, well everyone at the top end does that. Using wood that isn't properly aged means it's more likely to shift after the bass has been built and nobody wants that. Ken Smith for example, has wood stocks that he has been aging for 20+ years. Given how old some of his website updates are, I wouldn't be surprised if some of his woods have been aging in his stocks for more than 30 years now.

The finish on my bass was nice but not the best I've had, the satin finish was particularly nice for the feel of neck, very low friction, better than say, Spector Euro but not better Yamaha Japan custom shop, to give frames of reference from basses I've owned or currently own. The build and material quality was very good, as you'd expect from an instrument in that price range.

It played wonderfully, very easy to get the setup just how I like it - low enough to buzz a little when played hard, but no buzz when playing lightly, so I can dig in to get a bit more "oomph" when required. I had it for a year or so, it didn't move a millimetre once I dialed in my setup. In the north of England, it doesn't get mega hot in summer (highs of mid 20s Celsius, low 30s Celsius when it's very hot) and it doesn't get really cold in winter, where -10 Celsius would be a really cold night by our standards. My house is dry, not air-conditioned and kept at a comfortable temp year round and I'm not used to seeing any of my basses need adjustment once they've been set, so perhaps the most I can say about the Adamovic here is that it was as good as, or at least no worse than my other instruments.

I sold it in the end because it just didn't sound great. Admittedly, I didn't feel too regretful as I got it cheap and sold it after a year for a profit, but if I had paid the full price I'd be really disappointed. I've heard some recorded Adamovic basses and they have sounded good, but mine didn't. I don't know if it was the pickups, the Glockenklang preamp, the woods or most likely a combination of all three, but it never sounded that good. It was always quite flat, lifeless and woody. I tried changing through various sets of roundwounds that I know sound good on other fretless basses I've had or played and had no luck, even a brand new set of Elixirs, which are super zingy, just sounded like rubber bands.

I know some people love that flat, lifeless tone but it's not for me. If the bass could have done a bright, modern sound or even just a passable tone with a bit of life and punch, I'd have been happy, but it just didn't. I'd have expected with the active, modern preamp to get more from it.

As I say, I ultimately sold it for more than I paid for it and I did buy it without playing it first, so getting a bass that doesn't sound great is always a risk. That said, I am fortunate to own and have owned some incredible instruments, most of which I've bought over the internet and not had the chance to play first and aside from the Adamovic, I've never been disappointed. Sometimes if I don't play a bass enough, I'll sell it to free up some guilt-free cash to buy something else, this normally happens when a bass doesn't have a defined "role" within my stable. The Adamovic remains the only bass I've sold because I didn't think it sounded good enough.

I'm sure there are plenty of owners out there who love their Adamovic basses and from an aesthetic and playing perspective, mine was great, but it just didn't have the sound for me.

sFqgjg6.jpg
 
Thanks, @Mastodon2, for taking the time to chime in! I do not live in a highly stable environment, humidity-wise, as I have learned after getting a hygrometer for an archtop guitar that was making some unusual sounds just hanging on my wall (it has since settled in and a string change seemed to help quite a bit). Adamovic’s process sounded like a great fit, but I hadn’t read anything like that before so it seemed a bit novel. I would definitely want to try one before buying, especially for auditory purposes (your description gives me some pause for sure), but also to experience the ergonomics. Not sure that will happen anytime soon, but I like to research these things and get an idea of what’s out there, so I’m happy to wait.
 
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I have an Adamovic single-cut 5er.
Bought it used by mail without playing first. When I plugged it in the low B was not great and the E was louder than the other strings. The strings that it came with seemed ancient. I am not a great setter upper so I brought it to "my guy." A professional setup and string change brought it back to life. Now the B sings and everything sounds and feels great.
I am in the North East and lately the humidity and temperature seem to go up and down every day but the bass has remained stable since the setup.
The bass does have a "woody" character but does not sound flat and I find that I can dial in pretty much anything, from an old school "woody" sound to a more modern "snap."
To me Adamovic tends to go a little light on the finish which I think also contributes to the bass's character. The wood choices (mine is mostly Walnut) and craftsmanship are excellent.
Nikola Adamovic is great to deal with and helpful, even if you bought the bass used.

Like all "boutique" instruments the price is relative. Price wise Adamovic is kind of middle of the pack and used prices are usually very reasonable.

I say watch more videos. The BassTheWorld ones are particularly enthusiastic and they seem to have reviewed every Adamovic ever made!
 

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@<MrVentures>

I played that bass at Mastodon2's house when he had it. In fact, on that day I took my Pedulla Pentabuzz over for comparison. I agree entirely with his assessment of it, very well made but not much tone in it. I didn't fiddle with it or tweak it. It didn't sound bad, but I always think the tone should be the best part of the bass, not the worst!
 
I have an Adamovic single-cut 5er.
...
I say watch more videos. The BassTheWorld ones are particularly enthusiastic and they seem to have reviewed every Adamovic ever made!
Thanks for sharing your perspective, @Davidg. That is a beautiful bass (so was @Mastodon2’s), which is definitely one of the reasons I am drawn to Adamovic. I think I have watched every video I can find on YouTube (I am an avid BassTheWorld viewer) and have been very happy with the sounds I hear.

@<MrVentures>
It didn't sound bad, but I always think the tone should be the best part of the bass, not the worst!

Thanks for verifying! I agree that tone is super important!
 
Moto is incredible!


Also, check this out! While Adamovic didn't reinvent the wheel as far as ergonomics are concerned their basses are well balanced and comfortable. When I fist saw this vid I thought is was a fake but this guy is an actual doctor, like a sports medicine specialist, but he is also a bass player and specializes in musician related injuries (back, carpel tunnel, etc.). Don't put hose elbows too close to the body!
 
They just endorsed Moto Fukushima of House of Waters, who is an absolutely unbelievable player.

I first heard about him from a Scott’s Bass Lessons podcast and explored from there. The whole band is mind-blowing!

When I fist saw this vid I thought is was a fake but this guy is an actual doctor, like a sports medicine specialist, but he is also a bass player and specializes in musician related injuries (back, carpel tunnel, etc.).

I’ve read his book (before I knew about Adamovic)! It’s a quick read, but full of useful tips. That video also got me interested in Adamovic.

08B14C2C-EBA5-4499-9A84-01AFEADCFDDA.gif
 
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Thank you for posting the review Mastodon2

A client of mine notified me about this post and I normally do not react to posts about my basses as I feel I should not interfere too much. For this reason I hesitated a bit but I thought I should give a little bit of a background about this bass as it is not a normal bass.

I agree with everything Mastodon2 has said. The review is indeed very correct.

Every now and again we build a bass to test new materials and try out new ideas. These basses are built as experimantal/demo/test basses. This Jupiter is one of those basses.

I started to work on this bass around 2009 and it was finished somewhere 2010-2011. During these building years we applied different techniques and tested some new things on this bass.

The fingerboard is acrylized spalted maple. At that time I wanted to know how acrylized fingerboards sounded. Spalted maple seemed to be the best wood for that test as Spalted maple takes up a lot of acryl in the acrylisation process. This bass was first fretted and later on turned to fretless to test the sound. We did not like the sound of that fingerboard. To us it was indeed a bit dull, lifeless and “plastic” sounding. We never used acrylized fingerboards again.

The finish is an experiment with shellac. We put on a very thick layer. Much thicker than you would normally see on instruments. We wanted to test how it affected the sound and it was basically a study to gain experience with different techniques with shellac. We did not like the result and never did this kind of finish anymore. (we still very rarely use shellac but we do it in a traditional way which is a thin hand polished finish)

This bass also had experimental preamps. We tested quite a few and I don’t remember which one ended up in there but judging by the layout of the controls it was not one that we use anymore.

It had a new neck wood combination. I believe maple purpleheart. We still use those woods but in different proportions and this neck helped us in our search for the right proportion of maple vs purpleheart.

I am not sure if it also had a different pick-up than usual. I do not remember anymore.

After a while this bass was traded to a client of ours for a very much reduced price and the buyer at that time liked the bass as it was.

This bass was very useful to us as a study on new materials in the everlasting quest to improve our basses and our quality. But I very much do regret selling this bass. 97% of all basses we ever made are still with the original owner and you will find rarely a used one for sale but this bass traded owners at least half a dozen times and is the most reviewed Adamovic bass on internet!!

It was definitely the last time we sold one of our “experiment” basses. Nowadays we destroy our experimental basses or sometimes give it away to friends with the request that they are never sold.

<MrVentures> To answer your most important question: No, we are not the only company that uses all of the techniques mentioned on our unique Features page. Some are unique some, are rare and some are more common. I have a lot of information to give about our “Unique Features” but I am commercial user and I don’t want to promote my business in any way as it is not allowed on Talkbass. But if you or anybody else would like to know more please do not hesitate to ask me directly.
 
Thank you for posting the review Mastodon2

A client of mine notified me about this post and I normally do not react to posts about my basses as I feel I should not interfere too much. For this reason I hesitated a bit but I thought I should give a little bit of a background about this bass as it is not a normal bass.

I agree with everything Mastodon2 has said. The review is indeed very correct.

Every now and again we build a bass to test new materials and try out new ideas. These basses are built as experimantal/demo/test basses. This Jupiter is one of those basses.

I started to work on this bass around 2009 and it was finished somewhere 2010-2011. During these building years we applied different techniques and tested some new things on this bass.

The fingerboard is acrylized spalted maple. At that time I wanted to know how acrylized fingerboards sounded. Spalted maple seemed to be the best wood for that test as Spalted maple takes up a lot of acryl in the acrylisation process. This bass was first fretted and later on turned to fretless to test the sound. We did not like the sound of that fingerboard. To us it was indeed a bit dull, lifeless and “plastic” sounding. We never used acrylized fingerboards again.

The finish is an experiment with shellac. We put on a very thick layer. Much thicker than you would normally see on instruments. We wanted to test how it affected the sound and it was basically a study to gain experience with different techniques with shellac. We did not like the result and never did this kind of finish anymore. (we still very rarely use shellac but we do it in a traditional way which is a thin hand polished finish)

This bass also had experimental preamps. We tested quite a few and I don’t remember which one ended up in there but judging by the layout of the controls it was not one that we use anymore.

It had a new neck wood combination. I believe maple purpleheart. We still use those woods but in different proportions and this neck helped us in our search for the right proportion of maple vs purpleheart.

I am not sure if it also had a different pick-up than usual. I do not remember anymore.

After a while this bass was traded to a client of ours for a very much reduced price and the buyer at that time liked the bass as it was.

This bass was very useful to us as a study on new materials in the everlasting quest to improve our basses and our quality. But I very much do regret selling this bass. 97% of all basses we ever made are still with the original owner and you will find rarely a used one for sale but this bass traded owners at least half a dozen times and is the most reviewed Adamovic bass on internet!!

It was definitely the last time we sold one of our “experiment” basses. Nowadays we destroy our experimental basses or sometimes give it away to friends with the request that they are never sold.

<MrVentures> To answer your most important question: No, we are not the only company that uses all of the techniques mentioned on our unique Features page. Some are unique some, are rare and some are more common. I have a lot of information to give about our “Unique Features” but I am commercial user and I don’t want to promote my business in any way as it is not allowed on Talkbass. But if you or anybody else would like to know more please do not hesitate to ask me directly.

Think you for posting. It is really fun to hear what goes into the design and innovation process in a test bass. Very cool!
 
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Think you for posting. It is really fun to hear what goes into the design and innovation process in a test bass. Very cool!

I agree!

Thank you, @Adamovic, for taking the time to respond. @Mastodon2’s experience seemed odd compared to what I’ve read, but it also gave me some pause. Thanks for explaining the history of this bass and clearing that up. It sounds like the TB community should track that bass down at this point and either put it into a museum or blow it up!
 
Yes, an interesting post and a useful conclusion to this thread. The public documentation about this bass being an experimental piece is useful because it will no doubt continue to be bought and sold as many high end basses are and it may not be representative of what an Adamovic is really like. To me, if it were taken back to the shop, given a new unlined ebony board, and a new pickup and preamp with some coils very close to the bridge, it could be a real winner. But for now, it will exist as an interesting curio.