We set out to see if one could make a very cheap bass sound really good by using high-quality components for both the electronics and the hardware. And what we found is that yes, with the right upgrades, a very affordable bass can definitely be improved significantly in terms of sound quality...and more.

Now that we've completed the modifications and upgrades on this old Biscayne 205 bass from the early 2000s we're going to share some examples of how this bass sounds in real-world playing situations. I'll also give you my impressions of how it performed at a recent gig, which was a good test in a live band context. Finally, we'll discuss some things to consider if you're thinking about doing similar upgrades to a bass of your own. We want to give you a realistic sense of what to expect if you're considering a project like this.

~ JJ Monzon

Let’s hear the Biscayne in a mix!

Okay, to give you a better sense of how this Biscayne bass actually sounds now, I recorded a few sample tracks. I think these clips do a pretty good job of showcasing what this bass is capable of.

These tracks were recorded using a studio-style preamp, chosen because it's quite neutral and doesn't add much of its own color to the sound. I also included a couple of effects that are commonly used by bass players, just to give you an idea of how the bass would sound in a typical rig. The sound clips themselves are pretty raw – I didn't use any heavy EQ, just some gentle limiting to prevent any digital clipping during recording.

For the first clip, I was aiming for a funky kind of vibe. For this tone, I added some light multi-band compression. The bass's tone knob was turned all the way up, and the pickup balance knob was centered, so both the P and J pickups were on and blended equally.

I have to say, I really like this sound, which was a bit of a surprise to me. I always thought I preferred a PJ setup with mostly P pickup and just a touch of J blended in. But I found that, in recording, the sound of both Seymour Duncan pickups blended together really works well. The SJB-2 J pickup has enough output to hold its own against the SPB-2 P pickup, so you get a cool blended tone that isn't as scooped as a J Bass sound, but adds some clarity and sparkle to the P bass tone. It's definitely a unique tone and I think it works great for this funky context.

For the second clip, I wanted to see how the bass would cut through a really dense mix, specifically a mix with two guitars that are taking up a lot of sonic space. For this, I went with the P pickup soloed (balance knob all the way to the P pickup), tone knob wide open, and I used a pick for a more aggressive attack. This is your typical classic rock and roll bass setup. I added just a touch of overdrive to give the tone a little extra edge and sparkle.

As you can hear, the bass really has no problem finding its place in a dense mix. I didn't have to do any EQ at all – just set the levels so everything sounded balanced, and it was good to go. I feel like this P pickup, when using a pick, gives you plenty of classic rock’n roll P bass vibes.

Clip number three explores the P pickup again, this time still soloed, but with the tone knob rolled off completely. In this simpler mix, the resulting sound is really big and full. But what's interesting is that even with the tone rolled all the way down, because the pickup isn't overly bass-heavy to begin with, the tone remains focused and doesn't get particularly muddy. I really enjoyed this tone, and I think it's something that would be very usable in a live setting as well, especially for songs where you want a big round bass sound.

For clip number four, I wanted to test how this bass would cut through with a heavier, more distorted guitar sound and how it would react to using a "Rat-style" distortion pedal. In this slightly heavier musical context, I think the bass also does a really good job. It manages to retain a good amount of low end and really complements the overdriven guitar tones. They kind of "gel" together without becoming mushy or turning into an indistinguishable wall of sound. I think I can attribute this clarity and definition, even with distortion, to the character of the overwound Seymour Duncan pickups. They seem to have a way of staying focused even when you push them harder.

How did it perform live?

A week or two after finishing all the upgrades on the Biscayne, I had a gig lined up which would be the perfect real-world test! It was a medium-sized venue, the kind that uses a full PA system, around 300-person capacity. And the gig was with my psychedelic rock cover band, so it was going to be a full band mix with drums, keys, guitar, and vocals.

I'd used the Biscayne for rehearsals after the pickup swap, and I was really digging the hot P-bass tone as it seemed to fit the classic rock vibe of the band perfectly. But that was before the hardware upgrades – the bridge and tuners. So, I was a little anxious to see how it would all come together, especially the tuning stability in a live setting.

Just to be safe, and to ease my own nerves, I also brought along my Fender Jazz Bass project bass from the previous article series. You know, just in case the Biscayne decided to misbehave or something went wrong. Backup basses are always a good idea, right?

But from the moment we started soundcheck, my worries started to fade away. The Biscayne sounded really good through the PA. Impressively good, actually! One of the common problems you run into on stage, especially with a full band and a loud stage volume, is that if the bass's low end is too big or goes too deep, everything can get muddy and boomy. Especially in a larger stage where your bass is being fed into the floor monitors. You end up fighting with the EQ just to clear up the low-end mush on stage and in the house mix. But with the Biscayne, that wasn't an issue at all. Everything just sounded clear and well-defined right from the start.

I even got a pretty awesome compliment from our sound guy! He came up to me after soundcheck and said, "Hey, that bass sounds really good! I didn't even have to do anything to it in the mix!" That's always a great sign!

So, soundcheck went smoothly, we had a couple of hours before showtime, and then it was time to kick off the first set. And that's when the Biscayne really delivered. It was so easy to hear myself on stage. Again, that focused and slightly compressed nature of the pickups really came into play. The bass just cut through the mix effortlessly, not by being super bright or harsh in the upper mids, but by having a really solid, hefty dose of low-mid content and a tight, punchy low end. Even my drummer commented that it was much easier to hear me with the Biscayne compared to my other bass, which is always a good thing for band communication and groove!

We finished the first set, and in between songs, during the first few songs especially, I was constantly checking my tuning. But I was pleasantly surprised to find that the tuning was rock solid! Seriously, for the first three songs, I checked the tuning, and to my surprise, it hadn't budged at all! No retuning needed whatsoever. After that, I was so impressed with the tuning stability that I just checked it every other song or so, just out of pure habit and a little bit of paranoia. But honestly, I'm pretty sure the Biscayne could have easily made it through the entire 50-minute set without needing any retuning.

So, after playing the entire first set with the upgraded Biscayne, I can wholeheartedly confirm: this bass is officially gig-worthy! And not just as a backup bass, it's a legitimate gigging instrument in its own right! It's got a unique and cool tone that just works incredibly well in a live rock band setting.

Budget Considerations: How much is invested in the Biscayne

Here’s a breakdown of all the parts that went into transforming this bass into a serious gigging instrument.

• Fat Bass Tone Pre-wired passive harness: $65
• Seymour Duncan SPB-2 Pickup: $99
• Seymour Duncan SJB-2 Pickup: $89
• 4 Gotoh GB7 tuners: $68
• Leo Quan Badass III bridge: $99
• Parts Total: $420

If you wanted to get another Biscayne, you’d probably have to get it out of a dumpster or a friend’s closet if you’re lucky. Since finding a Biscayne is so difficult, a quick search on Reverb shows plenty of basses in the $100-$150 range that are built to a similar standard as the Biscayne 205.

This means that if you go the route of upgrading an entry-level bass, you’d have invested between $520 and $675.

At the sub-$700 price point, you won’t find any bass with the quality of these components. Granted, many basses in this price range nowadays feel great when playing them (that’s why they’re great upgrade platforms). But this Biscayne sounds exactly how I wanted it to sound, and it does exactly what I want it to do. Which is the best part of choosing your components. You can build a bass with the tone that you have in mind, which is not something you’ll ever get with a bass with OEM components (that are usually extremely cheaply and poorly produced).

Also, the time invested was quite modest, even with the installation of the bridge with the non-standard screw holes. If you have a bass that has direct retrofit options, like a Squier, then this is a project that you can complete over a weekend.

Would I have done something differently?

Having gone through this upgrade process twice now, I don’t really think that I would have done anything differently on the Biscayne. I feel like we really hit the mark with this upgrade project. The bass sounds and plays great. It’s reliable and even quite comfortable to play due to its low weight.

I think that what made this project such a success was being able to get such a good reference from the pickup demo video for the SPB-2. This demo really helped me define what kind of tone I would be approximating with the finished build. And using the matching SJB-2 J pickup was a no-brainer.

As expected, the P pickup’s tone will be the one that dominates the character of the bass. The J pickup in a PJ configuration just adds some extra flavor but doesn’t really change the character of the tone dramatically. So, if you’re considering upgrading your PJ, then focus on finding the P pickup tone that resonates with you the most. Whether that’s something vintage, modern, or somewhere in between, choose a J pickup that will match its output so that you can have a useful tone when both pickups are on.

In conclusion

As sentimental as this may seem, every time I play my Biscayne now, I smile. I love playing this old bass that got me started making music. That alone makes this entire project worth it for me. It’s like a trip down memory lane whenever I plug the Biscayne in.

And the best part is that this bass sounds legitimately awesome. It has a great tone, stays in tune, and is comfortable to play.

This makes this old bass a legitimate musical tool that I can take to whatever gig or session calls for this kind of tone, and I can have the confidence that it will deliver the goods.

So, if, like me you have an old bass lying around that still feels good and can be set up properly, then upgrading it is a really good option to get another awesome musical tool at a great price, with the added benefit that you can transform it into whatever you want it to be.

Now, the only thing I’m wondering is, how would this Biscayne sound with a preamp?