Manne Kayenta 5 (NYHED)

Som alle de andre italiensk byggede basser, kan Kayenta fås i en lang række varianter som f.eks. med 4, 5, 6 eller 8 strenge, flere farver, forskellig elektronik... Bare sig til...

http://www.youtube.com/watch?v=mckLl27XjBc&list=UURSMeKnhhCZVCO163E9fOUA&index=1&feature=plcp

 

Mohave & Kayenta

We already presented in the last newsletter the first prototype of a new bass model with an asymmetrical body. The new body shape tends to put the bass in a more upward angled position, appreciated by players who prefer to wear the bass in a higher position.

The body is black korina multi chambered, and this adds to the bass a more midrange complexity, losing a bit of power in favor of a more complex sound range.

The Mohave has a radiused top face with an Italian poplar top covering the entire body and the Kayenta model has a similar construction but with a fully carved contoured top in the same way we build the Moab and Acoustibass models.

The Kayenta will sport all mastergrade tops and a natural uncolored finish, which is a unique look that is so much appreciated and associated with Manne.
We are working now to build the first Kayenta bass with a mastergrade figured walnut top. You will see it next month!

The circuitry, with the two new blade pickups and the Glockenklang circuit offers the best solution to have the original sound of the basses coming directly from the bass itself passively but also an active control element.

This has been always our “bass” approach:
what you hear should be the bass, not EQ’s. Extreme equalization, both on basses and on amps are a main trend that we do not like to follow, as they sound so unnatural and forced, and leave no room to the actual original sound of the bass, without highlighting the features and tone character of the instrument.

So Manne blade pickups with their coil directly wound on the blades instead of on bobbins gives a fast, pure and detailed sound reproduction.

Together with the three-way micro-switch for each pickup (that connect the coils of each pickup in series, parallel, or split) gives you enough sound variations to let you avoid using the active tones.

The Glockenklang circuit is a neutral, passive oriented boost that we like to think of as a function for mostly giving “live” corrections on the stage to match the audience, the room and the global frequency reproduction.

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