Reviewed in January 2000 issue of Bass Player Magazine
Mike Lull Modern 4V
By Gregory Isola
Workmanship is a make-it-or-break-it deal in this price range. Even average construction should be darn good above the $2,000 line. Good news: Mike Lull's basses are built for keeps. Our Modern 4V had a super-solid Fender-style neck/body joint, carefully mounted hardware, and a beautifully applied metallic finish. One of our tester's volume knobs was a little loose (a relatively easy fix), and we thought we detected some minor fret lifting around the 12th fret, but even our .005 feeler gauge couldn't wiggle its way beneath any of the medium-size wires. (Mike Lull responds: "Our frets are pressed and glued in place, which makes it near impossible to lift out of the fingerboard.") The 4V is a winner in the looks department, too. The combination of that aged-looking "mint green" pickguard and striking maple fingerboard perfectly convey its vintage-meets-modern aesthetic.
The sonic flexibility and impressive attention to detail (see photo) Lull brings to his electronics are to be expected, if you're spending three, four, or even five grand on a bass. Discovering such quality at this price is a delight.
At an even eight pounds, the 4V makes for one comfy J-style. All the familiar Jazz attributes are here, fast neck friendly control layout, and sweet body contours, but the Modern's real playability plus is it's light weight. Surprisingly, the 4V is also quite balanced, exhibiting very little headstock dive when played sitting down. (Those Ultra-Lite open-back tuners are a good call.) Also impressive: Lull's setup job. Right out of the case, our test bass played like your favorite pair of sneakers.
Plugged into a variety of amps, from small combos to an 8x10 stack, the 4V gave up an impressive array of classic Jazz tones. Testers partial to 60's soul and 70's funk lined up beside lovers of 80's and 90's hi-fi sheen. Like the best vintage Fenders, the Lull excels at producing noteworthy clean tones, from bright and snappy to warm and burnished. Two exceptions: One tester cited the 4V's pick-friendly grind in active mode (bass volume: 70%, treble volume: 95%, bass tone: 50%, treble tone: 70%), and several players loved the gritty warmth that came from blending both pickups at 75% and rolling off both tone controls to around 40%. This is definitely a groove-inducing tone.
When discussing the 4V's tone, it's worth mentioning playability again. Sure, a great-sounding instrument helps, but tone really does come from your fingers, and some player-friendly basses elicit better tones then others. The Lull's sleek, creamy-smooth neck encourages all sorts of left-hand articulation, and the light, snug-fitting body invites a variety of right-hand attacks. Whether your plucking is feather-light or you like to dig in deep, the 4V feels right.
The 4V isn't cheap, but when you consider the workmanship, materials, and setup savvy the makes this bass such a winner, you may wonder how Mike Lull does it. Certainly a comparable instrument from some of the bass world's higher-profile luthiers would cost you much more. A bargain at 2,300 bucks? Maybe so.
