Pasini basses launches in 2021 as the evolution of Wood&Tronics basses, opened by Enrico Pasini in 2006 following on his 1997-to-2001 collaboration with Fodera Guitars (as their “Italian Ambassador”).

With his partner Erick Furlan, Enrico made a name for Wood&Tronics around the world through crafting 480 made-to-measure instruments in the unresting endeavour of research and refinement that define our hardwired evolutionary spirit.

Wood&Tronics and Pasini Basses now co-exist: the first continues offering the exquisite contemporary electric bass it has been known for, while Pasini Basses with the Epitome model focuses on a completely new dimension in bass design that magnifies the bassist’s expressiveness and uniqueness.

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A WORK OF INSPIRATION

1920s to early 1970s in Italy – The FAST-TO-THE-FUTURE ERA

It was a time of forward-reaching, thriving spirit embodied by motoring pioneers as Alfa Romeo, Maserati, Enzo Ferrari, coachbuilders Pininfarina and Zagato, Riva motorboats, who, together with legendary untamed pilots and drivers, blurred the line between epic humans and superheroes, and generated extraordinary aesthetic flair.

Stylistic depth always stems from thoughtful, inspired re-elaboration of something remarkable, and the Epitome model was indeed inspired by the spirit of that era, so similar to that of the legendary bass players who defied limitations and turned electric bass into the peculiar, multi-dimensional instrument it is today.

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EVOLUTIONARY BY DNA

As Wood&Tronics basses, of which Pasini Basses is the next-level branch, we accomplished
innovations that gave our players a blast with tone and dynamic performance.

The Epitome wasn’t born like yet another “bass model” - it was envisioned as a metaphor of a travelling machine, kind of a vector for the bassist’s expressive journey. Hence the aesthetics inspired by the golden era of motoring and flight, 1930s-to-early1970s, when the stylist commanded form to the engineer, thus establishing the harmony, fluency and balance of form so overshadowed by today’s globalised omologation.

Modern objects exuding that epoch’s influences instantly trigger enthusiasm and stir souls, eliciting such definitions as “iconic”, and “timeless”, demonstrating that accomplished aesthetic creation is the result of thoughtful, inspired re-elaboration of something remarkable.

“A functional object is fully accomplished only when it is a beautiful artistic creation” - Leonardo Da Vinci

The V.P.P. (“Variable Pickup Position System”) tone package.

Many bass players aren’t fully acquainted of how important the placement of the pickups is. Actually, the exact point where the bridge pickup lays on the body is absolutely critical in deciding the tone of a given instrument. Our proprietary Variable Pickup Position system allows moving the pickup inside its case along a range of four positions, corresponding to four iconic bass sounds: 1960s’ “Vintage J-style”, 1970s’ J-style, MusicMan-style and the throaty/growly tone typical of bassists such as Stanley Clarke, Mark King and Jimmy Johnson (a.k.a the “Alembic” sound):

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The “DUAL SONIC” tone package.

The essential version of the V.P.P. tone package: two completely different voices in the same instrument, PLUS a punchy tone to die for, selectable via a 3-way toggle switch.

The two coils in the bridge pickup are made respectively in ceramic magnet and Alnico 5 magnet, and spaced in such measurement that each one falls on a specific positions on the body: “Alembic-style” for the bridge-side coil, and Vintage “J-style” for the neck-side coil. And when used in pair, i.e. as dual coil, you get a gets chest-pounding attack under your fingers.

The “DUAL BODY” convertible design.

The most radical take on the subject of bass tone versatility.

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ARTISANRY FOR PLAYING PERFORMANCE

FULLY IN-HOUSE MANUFACTURING. All the woodwork is made in our shop using long time-seasoned, selected materials.

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NECK SHAPE. Based on the “J”-style (“oval”, or C-shaped) 1960s neck shape, only with a slighlty less radiused fretboard, our neck section is unanimously appreciated by bassists for its exquisite ease: “Neither too thick or too thin – just fluent and physical to the ideal degree” is what bassists of every kind and style say about it.

The way we build our necks follows precise angles leading to the ideal curve once the strings impart tension. There’s no need to follow the trend that sees plecking as a plus: that is only useful to fix a sloppy fretboard. The work is completed by graphite bars made with a special mold that enhances resonance instead of suppressing it, and by a fret leveling allowing the lowest action without buzz noises.

THE FEEL. Proportions, convenient weight distribution and free access to the highest fret result in a superior connection with the instrument, both standing up and sitting, for easy consecutive hours of playing.

THE FINGER RAMP. The radiused tablet placed between the pickups beneath the strings, essential to the playing style of such bass greats as Gary Willis, Dominique DiPiazza and Matthew Garrison, allows super fluent picking by limiting how deep your fingers dig in between strings. Your fingertips slip on the ramp’s surface, resulting in effortless right hand action, wether you play traditional 1-2 picking or multi-finger techniques.

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A few sketched preludes of things to come:

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