Review of Schecter C5 Custom 5 String Bass
Schecter doesn't just make some of the most desirable Metal
guitars on the planet - it has a huge range of basses, too.Dan
Veallchecks out a custom five string from the US company.
Schecter is best known for a long line of racy, high-performance
metal guitars, but is perhaps less well acknowledged for its
accompanying basses. We wanted to see what was going on in the
Schecter bass range and were send a rather tasty looking C-5 Custom
five string bass to review. This Korean-made model is one of what
is actually a very wide range - wider than we suspect a lot of
bassists realise. Inside the Schecter catalogue is an array of cool
looking instruments; everything from signature models to
entry-level instruments, six stringers, models with figured tops
and much more. There are even a few 'super P' and 'Jazz' type
basses in there too for those looking for a more traditional
Our review C-5 Custom featured a highly sculpted body for
maximum playing comfort and first impressions were that it which
looks pretty fantastic with its deeply rounded edges. Excuse the
pun: there are no corners cut in the choice of components either.
I'm pleased to report that the bass features a solid ash body
joined, via six bolts through an angled heel, to a multi-laminate
neck of maple and walnut. Schecter says that the 'well balanced
combination of select wood takes the bright tones of maple and adds
a dark tone from the walnut' and we're happy with that - it's a
classic combination. Have a look at the video to see the grain on
both the body and neck. I really like that body finish!
From a playing perspective, the neck profile has a nice D shape
to it, slightly on the slim side, but still with enough wood there
to feel solid, while still being easily comfortable for those with
Attention to detail means a lot to me and our sample Schecter C5
excelled here, with 24 jumbo frets neatly inserted and dressed
evenly. The fretboard is rosewood on this model. The C-5 is a 35"
scale instrument, though if you are used to a 34" scale, I don't
think you'd really notice that much. It's very comfortable.
On to the hardware and the Schecter branded tuning keys have a
smooth and positive action and at the other end or proceedings, the
black chrome bridge looks superb - way nicer than those 'vintage
bent bit of tin' bridges, you still see. 'Form and function', as
they say, it features quick release slots (or through-body
stringing) and adjusters for action and intonation. It is big and
beefy but does not hamper playing or get in the way.
The electronics have been taken care of by the superb EMG. I've
used EMG pickups on my basses for years and have been really
pleased with them. They are rock solid and built to last. The
pickups on this particular instrument come in the form of two
passive units, the first being a Jazz type LJHZ pickup in an
extended housing for five strings, placed up at the neck end.
There's a soap-bar 'HZ' model in the bridge position. Both are
hooked-up to an 18v EMG pre-amp, offering control of blend between
the two pickups, a master volume control and an active circuit for
cut and boost of bass, middle and treble frequencies. I like that
the controls for tone and volume adjustment are away from the
playing area, so they don't get accidentally knocked.
The bass had a modern and mildly scooped tone. Personally, I
felt the need to boost the mids and bass controls to find that
sweet spot and when I did, that seemed to bring the instrument to
life tonally. The low end had a weight to it that didn't interfere
with the highs, so I was quite happy leaving the treble control
alone. All in all, this bass can deliver some pretty epic Rock
tones, especially once you scoop-out the mids!
If the C-5 is representative of Schecter's overall bass quality
it's hard to see why their instruments aren't better known among
the bass fraternity. This as a quality instrument with great
components at a fair price.
Check out the full review inc. video of
the Schecter C5 Custom 5 String bass by Dan
Veall featured in The Bassment of Guitar
Interactive Magazine Issue 16.