Bassics Magazine Review - Issue #39 2005

Godlyke Deity Bass

By Jeffrey J. Blount

I can vividly recall a time when instrument choices for bassists were limited to the handful of basses that have since become vintage classics. Over the past 30 years or so, the choices have increased considerably. In fact, I would venture to say that instrument choices for bassists today are staggering, with the vast array of wood, electronic and design configurations, as well as extended range options. Overwhelmingly, the most critical factors in narrowing the selection have been (in no particular order) sound, feel and overall craftsmanship – qualities which separate the industry leaders from the rest of the pack.

Relatively new to the bass market, Godlyke, Inc. recently introduced the Godlyke Bass Collection, led by its flagship Deity model. I must admit that awaiting delivery of a bass named Godlyke Deity evoked high expectations.  Well, as my grandmother used to tell me “if you have nothing good to say, say nothing”! Thankfully, there are a lot of good things to say about the Godlyke Deity 4-string Bass.

Craftsmanship
Hand-made in Japan, the Godlyke Deity immediately impresses with its solid construction and flawless attention to detail. Just one look at the instrument signals evidence of a well-crafted, high-quality instrument. Although not extremely lightweight, it is very comfortable for extended use on stage. The model provided for review had a beautiful AAA Flame Maple body accented with gold plated hardware for a classy, yet understated modern look, while its pickup configuration honored tradition. The sleek ebony fret board, as well as the dovetail joint provided further evidence of fine craftsmanship. A peek beneath the back-plate revealed a well-organized and shielded control cavity, with a separate compartment for the two 9-volt batteries. The Godlyke website makes note of the fact that no CNC tooling was used in the construction of the Deity Series. This is not a bass for beginners.

Constructive Feedback:
Although a minor observation, the large brushed chrome pole pieces of the pickups provide obvious contrast with the gold-plated hardware theme of the instrument. If available, gold plated pole pieces would provide great visual continuity. Of course, this is a purely aesthetic issue, whose merits are also highly subjective.

Sound
Tonally, the Deity was equally impressive, with solid low-end and crisp highs. Using the blend knob to solo the bridge pickup provided a warm, punchy and full MM-styled sound with excellent mid-range presence. Soloing the neck pickup provided a surprisingly usable tone, with many tonal possibilities between the two extremes. Unplugged, the neck is snappy and alive, which is a testament to the qualities inherent in the wood of the ash body, ebony neck and excellent fretwork.

Constructive Feedback:
Locating the adjustable mid-range to the knob layout would provide greater adaptability to playing or song requirements, as well as live venue acoustical challenges.

Note: Since this review was conducted, Godlyke has added a new preamp circuit with the midrange cut/boost knob on the instrument’s face and the Notch filter as the trimmer. This preamp also ahs two pickup level control trimmers for fine tweaking of output and balance, and all three trims are accessible via small holes in the backplate. Also, the neck is now 1mm thinner overall.

Feel
What a beautiful neck! Although admittedly, I have a preference for the traditional jazz-styled neck radius and spacing, the Deity’s flatter neck was quite comfortable and inviting. It practically played itself. The frets were well set and the neck provided clear and concise articulation of each note.

Constructive Feedback:
Again, considering my affinity for jazz-styled instruments, the placement of the neck pickup in proximity to the end of the neck provided a slight challenge for slap and pop style playing. The space provided felt a bit cramped for comfortable playing in this style. However, a skilled player will naturally overcome this challenge with a slight adjustment in their right-hand placement.

In Conclusion:
Undoubtedly, a majority of the professional bass community has gravitated toward a relatively small selection of instruments, mostly with a preference for traditional features and values. If you’re looking to distinguish yourself from the crowd without sacrificing quality and tradition, I recommend that you add the Godlyke Deity to your listing of basses to try.