Aria Pro II SB-1000

1980 - the first edition of this model I think. 24 fret, 4strings. Neck through body. Body is a dark ash with a walnut strip next to the neck, heavily lacquered. Neck is maple-walnut-maple-walnut-maple . Fingerboard is jacaranda.
Single pickup, active bass with noise canceling. Controls are vol, tone, toggle active on/off and a 6 position rotary switch for active tones. Runs on 2 9 volt batteries. Noise cancelation is always on and if your batteries go flat you will get no sound. Very solid, chunky brass hardware. Came in a big rectangular case with leather strap.
I bought this new in 1980. It was as expensive as a Fender jazz, but better built with superior hardware.

Piano like sound with excellent sustain. Almost too bright with new strings. Virtually noiseless. Good for recording and live work.

Superbly set up as new. I have left it untouched all these years. Low action, a joy to play. I have not played a better bass.
Beautifully built.

I am not a professional, but it has given me 27 years of good service with no adjustments or repairs required apart from replacing the volume pot ten yeas ago. I have never required a backup - but I do need to carry spare 9 volt batteries.

I have been playing 28 years. I bought this bass after trying every new bass available in Wellington, New Zealand. It was down to a choice between this and a Fender Jazz. Luckily I resisted the "Brand" bass and got a fantastic instrument. If it were stolen or lost I would try to find another, make my own, or consider a Peavey Cirrus or Grind 4 string.
I wouldn't call this fantastic value because it was comparatively expensive at the time, but it was (and still is) an instrument of exceptional quality. You couldn't get a better factory made bass.

This early 1980's Aria Pro II Super Bass SB-1000 features a honey-blonde body that resembles white oak, but most suggest is actually Ash, with a 7-piece laminated thru-neck. The neck contains (top to bottom) a 1/4" walnut strip, a 1" strip of maple, a 1/4" walnut strip, a 1/4" maple strip, another 1/4" walnut strip, another 1" maple strip, and the final 1/4" walnut strip. The fingerboard is rosewood with round mother of pearl inlays and 24 nicely uniform frets. The neck is closer to Jazz-style than P-Bass but offers room for all styles of playing. The nut and bridge are heavy-duty solid brass. (I've heard that a few featured gold plated hardware but mine does not) The tuners are chrome-plated, closed, smooth, precise, and show no signs of wear. There is one black composite enclosed pickup, a bronze active-passive toggle with a crisp snap, six preset positions, and two pots. There is also an LED indicator on the body. The strap buttons seem to be aluminum, and are sufficiently large to hold on a strap without locks or snaps. On the back, there are two gold brushed aluminum panels held in place by screws. The left panel has three larger screws with metal threadholders embedded in the wood of the body (to allow for frequent battery changes without wearing out the holes) and covers the dual 9-Volt batteries for the active electronics. The right panel has five smaller screws and offers service access (never needed in 25 years) for the electronics (pots and active). The pots are marked M 500k A 20K Ohm 13 B. The wires are very neatly arranged and tied off with tiny plastic cable ties - neater than the guts of most modern Computers. The interior of this electronics component is painted a dark battleship gray. The finish of the instrument is a clear deep urethane or varnish showing zero ambering. The head bears the script "Specially Designed & Approved By ARIA Research Development LAB. Original Custom Body Pat. No. 555719" The top of the head resembles an opened book or a bird in flight (sort of low-profile wide letter "W"). The front of the head is veneered to match the main body, a nice detail touch. The truss adjustment cover plate is unfinished, open grained, appears to be rosewood, and held in place by one black screw.

The sound is piano-like, with eternal sustain. Super-quiet electronics on all settings active and passive, and nil fret buzz make it ideal for studio use. Six active pre-sets range from dark to bright. Powered by dual 9-volt batteries, you can still run it through the passive input on the amp. I bought it for jazz use, but find myself using it to rock out and also love the brightness it brings to finger-popping funk. You can bring out the lowest end of the sound by using the EQ or Amp settings.

The action is flawless, never changed from the factory. It's low to the neck, and allows for fast action similar to the Jazz or Rickenbacker. The controls are tight, snap in place with precision, and the pots offer fine gradation. The tuning pegs are smooth, precision-geared, and hold solidly. At one point I left this instrument in its case for several years and through several residential relocations, and was shocked to find it in perfect tune when I took it out for rediscovery. The finish is a deep clear urethane or varnish, perfect except for 3 small chips each about 1/8" round.

This is probably the heaviest-made bass guitar I've ever seen, and can easily withstand all the road has to dish out. I've babied mine, it's never seen hard action on the road so see other reviews from road warriors. The bridge and nut are heavy duty solid brass, and take ball end strings. The tuning machinery is chrome plated, closed design, smooth and precise. It holds tune under varying temperature and humidity conditions and through both long-term storage and transport. The strap buttons are large, aluminum, and held in place by heavy duty screws. The electronics controls snap into place with authority. The pots are smooth, quiet, and offer precision. I've seen other reviewers mention changing out the plug, but mine is still quiet and clean after 25+ years.

The website offers very little info to go on in terms of model and part ID. Never tried to contact the company. Never needed any service to the instrument in 25 years of ownership though, so not an issue for me.

I lucked into this instrument, and bought it immediately after trying it out in the shop. I'd been using a Precision Bass, but had used a Rickenbacker on loan from a pal which suited me better. This instrument played like a cross between the Rickenbacker and Fender Jazz, which was perfect for my needs at the time in a jazz big band. I love the easy action, superb sustain, quiet frets, and smaller than P-Bass neck width. I moved on to rock and pop and the instrument's sound and feel kept pace. I am not a metal head but I am told Cream and Metallica's bass players used this model. I would definitely repurchase.

I've *almost* sold this instrument several times over the years since I am not a pro player, and sometimes think I won't pick it back up. However, every time I go out to sell it I change my mind because I know I'd never find a suitable replacement at reasonable cost again.

built 1977 (possibly rebuilt in 78 - see action fit and finish section) by Mastumoku, Japan.

4 sting 24 frets

solid brass bridge, solid brass nut

single pickup active preamp with 6 preset sounds (switchable to passive)

"Shark Attack" jazz style body

solid body, wood type? can't say but this sucker is heavy - looks like mostly ash with mahogany laminates

neck is very very thin across the fret board (strings actually run almost parallel the whole length and the profile is half way between a rick 4003 and a Jazz.

bolt on neck... wow hold up wait? Bolt On neck? on an SB1000... well kind of - technically this is an "SB750" which was a "prototype" SB1000 and made a short appearance in Aria's 78's catalogue, very few made but except for bolt on neck identical to the original 78' SB1000's

Seriously this is a pop beast... it can rock and rock hard (Cliff Burton the bass god from Metalica played one so you know it CAN rock hard).

The weight and solid construction means this thing sustains like a piano.... the notes just hangs there for what seems forever..... learn to dampen or things get messy (unless you like over-rung notes)

Passive the sound is very bright and snappy perfect for 80's pop.
Active the sound goes from classic "dull woody" 60's sound (think Jack Bruce circa Cream) all the way up to rip your hears of screaming bright funkadelic tones of an Alembec viz Stanley Clark.... this is not surprising as both Bruce and Clark (and others including Jet Harris) were consulted in the design stages.

funny thing is alone most of the preamp set tones sound kind of "weak" and "dull" but firing up with a band it sits so nice in the mix, perfectly clear but not overpowering that all is forgiven and obviously well chosen settings.


Very versatile indeed.

I have um... let me count... 13 other basses - from MIJ and US Fenders, Musicmans, Status, Rickenbackers, Gibson and other Arias this is my all time favorite sound wise.

OK this was almost 20 years old when I bought it so factory settings? out the window....

best made bass I have ever ever ever owned knock down flat leaves for dead my Musicman's and Rickenbackers and even my oh so nice for their price MIJ Fenders just fade in comparison

Construction wise this is a total over kill monster. I mean look this thing weighs more than BOTH my Rickenbacker 4003 AND my US Jazz - it's a solid, no compromise, piece of carpentry that gives it killer tone (and unfortunately killer back aches).

fretboard is masterful, the neck almost perfect feel and speed- it actually joins the body with a heal - like a double bass does... this means the contact area is large and in three dimensions - it may be a bolt on rather than a through neck but this thing has probably 3 times the contact area in the 3D join than any other 2D bolt on neck I've ever seen.

finish even 20+ years on is outstanding Brass bridge is oxidising but not so you'd get paranoid more a natural aging.

Some issue with the neck/body though... .. not bad just weird. Last time I was in Japan I took it to a music shop that specialises in vintage Matsumoko hardware. they say that the body is number 7 built in '77 the year before this was officially made and the neck is number number 8 built in '78 and not the original neck - strong possibility this is was a factory prototype used to test different neck shapes and configurations. These guys had never seen a "real" 750" in the flesh and offered me outright more than 10 times what I payed.. Nope not happening sorry guys

Survive live playing?
Damn this thing would survive World War 3... the previous owner played in a casino cabaret band for more than 14 years - 2 shows a night 7 days a week and it is still solid and rocking away.
The only real question is if the player will survive using it for a gig - get a good thick padded strap - look at pictures of Cliff Burton with his and you see he has a folded sweat towel placed under the strap.

I can use it for maybe 4 songs standing before having to swap to a lighter bass.

Electronics are just starting to go after over 30 years (slight buzz and clicking) it's a shame it's a totally sealed tamper proof unit no repairs possible :( - it will be a sad day indeed when I have to swap them out for aftermarket parts.

forget it - they had no idea what this was - took me a good year and two trips to Japan to find a catalogue and some old fliers and find people who knew just what this was.
Anyway I've owned lots of Aria's and never liked their after-sales support.
Aria stopped selling kit of this quality years ago when they off shored most of their production contracts - don't get me wrong some good stuff is out there the current SB1000's are still nice basses but still short of the legacy set by the original Matsumoko made units.

love everything but the weight ... but the weight help makes the tone.

if you find one.. buy it... never, ever, sell it.... it may not be the only bass you'll ever need but it will be damn close

I believe this was made is 82, bought it in 84 for 200 quid. 4 strings. Solid body, through neck. Nice glossy laquered finish, although I have knocked a few bits and bobs over the past 22 years. It's a passive Model and has a single/twin coil switch for the pickup. Have been asked if it is the John Taylor Model (Same colour and styling) I love the neck on this guitar, as I have tried many differenjt ones over the years, but still keep using this guitar, my beauty. The neck on a fender presicion is like a plank of wood in camparison.

Very versitile sound from this guitar. Used to use a 300watt Laney Combo (4x10) then onto a trace elliot, then a Fender BXR 250watt and now an ashdown 100watt and a Behringer V-Amp. The sounds and sustain that I get from this is amazing. Using it for Rock and a folk band I work in. The end product regarding the sound is a beautiful warm tone, but with a bit of adjustment on the amp, a brighter sound is achieved.

Cant comment on the factory setting up, but I set it up a few months after I bought it, and the action is good and low with no fret buzz. Everything abut this bass is the DB's to me!

I use it for both stage and studio. One studio I recorded at didn't like the bass, so used a cheap Rockwood Prescision Copy which the engineer loved, but I didn't! Strap buttons are OK but would suggest that they are replaced with locking strap buttons.

Never had to have any contact with Aria.

Been playing for 26 years. I also own a Crafter Electro/Acoustic Bass. Saving for a Rickenbaker 4003

I have an early 80's SB 1000. It has a through neck and one pickup (twin coil?) right in the middle of the body.The electronics are active and take two nine volt batteries. It has brass nut (maybe belonging to a freezing cold monkey?) and a brass bridge.

I've been using this bass for about nine years. I've played rock, jazz and funk with it and find the sound versitile with plenty of punch and top end. I tend to compensate for lack of bottom by pushing up the bottom end on the graphic equaliser on the Trace Elliot GP7 amp I use.

I had this bass set up for me after I bought it second hand 9 years ago. The action is really low and there is no fret buzz what so ever. I much prefer the action and intonation on this bass to my Musicman Stingray

This bass never goes out of tune!!
The only problems I have had with it are the battries giving up mid song while gigging, and with that the sound goes! You vcan even switch it to passive to complete the song. When this was my main gigging bass i used to chance the batteries at least every three gigs.

The Jack socket needed replacing last year, my brother has an SB 600 and his jack plug is noisy and I suspect will also need replacing.

I never got it repaired by the company, but the local guitar shop I use had no problems getting the new socket I needed.

I recently went back to this bass after using the stingray for the past two years and much prefer it's playability.
I am considering buying an SB 900 and would replace this bass if it were stolen.

Another consideraTION IS THAT IT IS A REALLY SOLID BASS but also this makes it VERY HEAVY especially after you've been playing a gig for two hours. Not one for the weak.

I have owned an SB-1000 since 1981 when I bought it. At this time I bought this bass I couldn't aford an Alembic. It has the neck-thru body design made with nice laminated woods. It has active EQ with a single humbucking pick-up and a rotory switch that will get you a nice variety of sounds. The neck has 24 frets and is thin with low action.

As far as sound goes, it can get brighter than you can stand and has a great low midrange punch but if it lacks anything at all it would be deep low bass tones. electronics are quiet as can be.

this bass came setup perfect for me, I have never had to adjust anything since the day I got it. finish was flawless and so was everything else.

this bass has been as solid as a rock for me for more than 20 years!!! It has some chips of the clear coat missing where the bass sustained a bump or two but this ahs served as my main bass up until last year when I started collecting basses. I always gigged with this bass with no backup. Neck is still as straight as the day I bought it. Almost forgot, I had to replace the input jack on this bass once but that's it.

They are nice @ Aria but never able to help.

I been playing bass since 1974. I own 26 basses and if memory serves me right 4 of them are the Aria SB series. I will always have at least 1 of these basses until the day I die!!

Built around 1980, this is one nice looking bass guitar. A clear laquer finish allows the wood to show through. The neck is the classic Aria SB straight through type in white wood with brown striping. The body is a lovely dark golden wood (Sorry, I don't know the types) and is solid and heavy. The neck is thin, narrow and light and seems to go on forever and the fingerboard is rosewood. It has 4 strings, 24 frets, a solid brass nut and a very solid brass bridge (strings over). There is one very large pickup, bass and treble knobs, an active tone selector knob with 6 positions and a switch to bring the tone selector in and out. The electronics are powered by two PP3 type 9V batteries which are required (no batteries - no sound) and don't last long. The machine heads are schaller types and are very smooth and positive. They can also be locked. Included with the guitar was a custom hard case, allen keys to adjust the truss rod and bridge action, and a spanner to lock the machine heads. What was missing was a screwdriver to open the battery compartment!!

Well the sound is the bass sound of the 80's. Jazz funk, new romantic. A bit light on the bottom end but bags of middle and treble - but I am using very light gauge roundwound strings. Maybe thicker gauge or flatwounds would help? A very warm sound which goes great with ADT, Flange, Chorus, etc. The bass and treble tone controls give some control and the active EQ selector seems to boost different frequencies to give interesting sounds but the range of sounds is limited. If you want thick heavy blues bass or reggae, use the bass boost on your amp.

Set up was fine but I lowered the action. You can get it right down it is really easy to adjust and no fret buzz. The pickup is the pickup, there is no adjustment and it does its job. You can't miss it - it is a large lump of plastic right in the middle of the body but it looks OK. From the factory there were no flaws - the bass was superbly finished - it was a shame to take it out gigging - it looked good enough to hang up as a work of art.

It can stand live playing and is pretty handy in the studio. The guitar is built to last and it has. The only problem is the batteries. It takes two of them, and when either of them runs out, the sound goes. There is no warning so mid tune you can suddenly go very quiet!! There are three screws to remove to open the battery compartment (solid brass cover mind you!!). Don't lose the screws - you need them to put the battery cover back on. Not easy in low lighting!! Fresh batteries for each gig should sort you out (you can use up the old batteries at rehearsals or in your radio). It would be nice to have a battery low LED or some kind of external power supply. Other than that, the guitar is very dependable and stays in tune forever. I have just taken it out of its case (after 12 years and two house moves) and it is still in tune!!

I have never needed customer support.

I used the guitar for 10 years for semi pro work. It is super to play. With the thin neck and low action you can play very, very fast and tapping is a breeze. It is excellent for slap and other percussive techniques too. The body is very solid and heavy but the neck is virtually weightless so it sits quite nicely on the shoulders and is not tiring to play. The guitar neck is very long and it is easy to knock into other musicians if you are a bit lively on stage! The case is a big beast and takes up a fair bit of width in the car but hey, it does an excelent job of protecting the contents. I love the look, the sound and the incredibly thin neck. The only thing I don't like is the battery situation, and why didn't they provide a screwdriver for the battery compartment?