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The Yamaha Silent Bass defined the modern electric upright bass. But Yamaha hasn’t been resting on their laurels (nor do they ever). The next-generation SLB300 Silent Bass ups the ante with ever-better authentic acoustic upright sound and playing feel in a semi-solidbody instrument that folds up compactly for travel with an elegant antique-style finish that looks right at home on concert stages, in the studio — and in your living room. Best of all, the SLB300 Silent Bass plays exactly like a double bass, requiring no change at all from your standard acoustic bass technique. Whether you’re an upright bassist seeking an instrument that’s travel-friendly or an electric player looking for an authentic upright playing experience, you owe it to yourself to check out the amazing Yamaha SLB300 Silent Bass.
With the SLB300, Yamaha has solved a headache traveling bassists have always had to deal with: finding space for your instrument. Upright basses, because of their bulk, are especially problematic. The SLB300’s slim body breaks down to fit in its included compact gig bag and will easily fit in your car. This is what bassists have long been looking for. And it’s from Yamaha, who has been continually developing this world-class technology for decades — so you know it will meet the most demanding professional requirements for playability and sonic authenticity.
We well know that silent practice all too often means tonal compromise. Enter the Silent Bass. With the SLB300, you’ll get studio-quality sound, courtesy of Yamaha’s advanced SRT powered system. Enhanced by the instrument’s semi-solidbody design — incorporating a hollow chamber with side slits — and the sampled resonance of a real double bass, this full-bodied, nuanced, and natural-sounding tone is ideal in any jazz or pop setting — or any time you want the sound of an upright bass.
Another benefit of the SLB300 Silent Bass is what it brings to your live performances. Plugged straight into an amp or PA system — and without a large acoustic body resonating from loud stage volume — feedback is nonexistent. You can play anywhere onstage with full confidence that your audience is hearing exactly what you hear when you’re practicing.
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