Godin A5 Bass Ultra Fretless B-Stock

I picked up the Harley Benton B-450FL BK to explore a fretless voice without spending a fortune, and I was mainly after a responsive neck and usable active electronics. My background is in session and gigging bass work, so I judged this instrument for playability, tone variety and how well it sits in a mix.

First Impressions

Right out of the case the B-450FL felt heavier than I expected but balanced well on my strap - it has that solid alder body feel. The neck finish and modern D profile were comfortable for thumb-over technique and for sliding around the fretless surface, while the high-gloss black finish and Tai-Chi inlay looked much sharper in person than the product shots suggested. Setup was close to playable, with only minor action and intonation tweaks needed to suit my playing style.

Design & Features

The B-450FL follows a classic construction - an alder body with a bolt-on Canadian maple neck and a black walnut fretboard, long-scale 864 mm length and a 42 mm nut width. Visually the high-gloss black, black hardware and Tai-Chi fretboard inlays give it a modern, understated look that suits rock, fusion and contemporary styles. Practical touches like side dots on the neck help with position finding on the fretless board and the die-cast machine heads hold tuning solidly for standard and drop tunings.

Build Quality & Protection

The construction is remarkable for the price point - neck joints are clean, fretboard leveling and finish are tidy for a fretless instrument, and the hardware is robust looking. I had no loose fittings and the nut and bridge were installed square, though like most affordable instruments there are small cosmetic tool marks under closer inspection. For stage use I felt comfortable taking it out without worrying about immediate failing parts, though I would still recommend a basic setup at arrival for optimal intonation on a fretless fingerboard.

Playability & Usability

Playability is where this bass really shines - the modern D neck profile and the slightly rounded fretless board make slides and microtonal playing feel natural rather than slippery. Action can be lowered for a fast, slap-orientated approach or raised slightly for more sustain when fingerstyle is required, and those side markers are a lifesaver when you need to lock into precise positions on stage. The nut width and string spacing felt familiar to anyone who plays long-scale four-string basses, which makes transition painless.

Electronics & Controls

Electrically the B-450FL is equipped with two humbucker pickups and an active preamp with balance, bass and treble controls plus a push/pull function on the volume to switch active/passive modes. In active mode the EQ gives a respectable range for shaping low end and presence - I could coax a warm, rounded upright-like tone as well as snappier modern slap-friendly tones. The push/pull passive option is useful for battery-free simplicity and a more vintage, raw output, although the passive output is noticeably quieter and less flexible than the active sound.

Sound & Tone

On the fretless board the B-450FL has a pleasing, vocal-like growl when played with finger dynamics and a rounded, woody bloom on low notes. With the onboard EQ pushed modestly it cuts through a band without sounding thin, and for studio work I found it sits nicely under guitars and keys with just a touch of compression. If you want a glassy, highly articulate modern tone you can get there with EQ and pick technique, but the instrument's natural warmth is the standout characteristic for me.

Real-World Experience

I took this bass to a rehearsal and then tracked a few short parts in my home studio - it held tuning well through heavy playing and the electronics stayed consistent across hours of use. In a mix the fretless character gave slurs and legato lines a convincing human quality that I ended up preferring to some pricier fretless instruments I had used for quick parts. For live playing the only adjustments I made were tightening the action slightly and stepping up to coated flats to prolong the fretless feel and reduce finger noise over long sets.

The Trade-Offs

The biggest compromises are the fairly generic-sounding stock pickups and the active preamp - they do the job and are versatile, but they lack the refined nuance of higher-end electronics. A professional setup and swapping strings or even pickups can transform the B-450FL into a much more refined instrument, but that does push the total investment up from the very attractive base price. Also, as with many budget fretless instruments, absolute perfect fretless intonation takes time and setup work to dial in for advanced microtonal playing.

Final Verdict

Overall, the Harley Benton B-450FL BK is a compelling proposition if you want a long-scale fretless with active electronics and solid build at a very accessible price. I would recommend it to gigging players who need a reliable fretless platform, hobbyists who want to explore fretless technique without a big spend, and studio players looking for a warm, woody fretless tone that can be shaped with basic EQ. If you demand boutique electronics or a perfectly finished fretless board out of the box, plan on a setup and minor upgrades, but for most players the B-450FL is an outstanding value.

I spent several weeks playing the Harley Benton B-550FL BK as my go-to fretless for practice and small rehearsals, and what struck me first was how complete it felt for the money - a long-scale 5-string fretless with active electronics and a comfortable neck that lets you explore a wide tonal palette. I come from a background of playing both fretted and fretless basses, so I was focused on intonation, feel, and how usable the onboard electronics are for dialling a convincing fretless voice in a band mix.

First Impressions

Out of the case the B-550FL BK looked and felt more solid than I expected; the high-gloss black finish and the “Tai Chi” inlay give it an unexpectedly classy look for an affordable instrument. The neck felt familiar and approachable - a modern D profile that balances speed and comfort - and the side dots on the fretboard are essential for a fretless, which I appreciated right away when shifting positions. My initial plug-in test confirmed the electronics are practical - active with push/pull on the volume for passive backup - and the humbuckers delivered a full low end with surprisingly clear mid detail.

Design & Features

The B-550FL is built around an alder body with a bolt-on Canadian maple neck and a dark walnut fretboard, long-scale 864 mm, and a 45 mm nut width - a specification set that immediately told me this was aimed at players who need real low-B definition. Controls are straightforward - volume with push/pull active/passive, a balance (pickup blend), and simple bass and treble controls - which makes getting usable tones quick without menu diving. Hardware is black and utilitarian: die-cast tuners and a solid-looking bridge; factory strings are sized .045-.125 which gave me a balanced tension across the 5-string without feeling floppy on the low B.

Build Quality & Protection

The fit and finish on my sample was tidy - neck joint snug, body contours smoothed for comfort, and no obvious gaps or rough fretboard edges to complain about. The high-gloss paint showed a couple of very minor assembly marks under close inspection, but nothing that affected playability or setup; for a bass in this price bracket I felt the workmanship was impressive. The electronics cavity and battery compartment felt solidly routed and the push/pull pot engages crisply, which gives me confidence about long term usability if the bass is looked after.

Playability & Usability

As a fretless the B-550FL is forgiving yet precise - the action I set up was low without buzzing, the fretboard surface is smooth and allows for glides and microtonal work without catching. The side dots are a small but crucial usability feature that made shifting and intonation far less stressful than on a fretless with no markers. Weight-wise it sits comfortably on my shoulder for extended practice, and the neck profile gives me enough thumb contact for both fingerstyle and pick work.

Electronics & Tone

With the active circuit engaged the bass responds well to EQ - a little boost in the lows fills out the low B while a slight treble cut smooths the top end for that classic fretless roundness. The humbuckers are punchy and relatively low-noise for passive-style pickups, and in passive mode the tone is still usable and musical, which is a useful safety net if the battery dies mid-rehearsal. I found the pickup blend very effective for moving from a thumpy neck-dominant sound to a more articulate bridge focus for slap or popping, though the onboard EQ is simple - bass and treble only - so I relied on my amp/DI for finer shaping live.

Real-World Experience

I used the B-550FL in small band rehearsals and low-volume gigs and it cut through the mix nicely without sounding edgy or thin - fingers, flats, or picks all produced usable tones once the preamp was adjusted. The long-scale low B has punch and clarity, which is essential in a five-string fretless, and I was able to get warm, singing slides and the woody sustain fretless players look for. For recording I got very usable DI tracks after a bit of EQ and mild compression - the pickups and preamp captured a full-bodied signal that responded well to modest post-processing.

The Trade-Offs

You shouldn't expect boutique-level appointments - there are limits if you compare it to high-end fretless instruments, especially in the nuance of the preamp and the absolute final polish on hardware - but those trade-offs are honest given the price. Intonation on a fretless ultimately depends on setup and player technique; I spent time setting string height and checking nut/registering for the best results, and players expecting a perfect fretless out of the box might need a setup or a fingerboard finish tweak. Also, the 2-band EQ is limited compared with multi-band preamps, so if you need very surgical tone-shaping you will rely on pedals or amp EQ.

Final Verdict

Overall, the Harley Benton B-550FL BK is an excellent value proposition for players who want to explore a 5-string fretless without a large investment - it delivers a playable neck, solid low end, and functional electronics that work well in rehearsal and modest live situations. I recommend it to hobbyists, gigging musicians on a budget, and as a practical second fretless for players who already own a fretted 5-string and want to expand their tonal toolkit. If you need boutique-grade nuance or the most advanced preamp, look higher up the range, but for what it offers at this price I found it hard to fault.

I came to the MetroExpress 21-5 Hyb BK FL LH hoping for a lightweight, road-ready fretless 5 that could cover vintage P warmth and modern J punch without breaking my back or my budget. I'm primarily a session and gig player who needs an instrument that is easy to move around onstage, plays well with fingers and picks, and gives me usable DI and amp tones right away - this Sadowsky aimed squarely at that brief and, for the most part, hit it.

First Impressions

The moment I picked it up the MetroExpress felt surprisingly light and balanced for a solid-body 5 - it has that thinner, ergonomic Metro shape that sits close to the body and doesn't get in the way when I'm moving. The neck felt slick and playable from the first minute, and the fretless fingerboard surface was well finished - no burrs, and it responded well to subtle finger placement and slides. Overall the build conveys "economical professional" - you can see where cost-savings were made, but nothing that destroyed the initial excitement of playing it.

Design & Features

Visually the left-handed Solid Black finish is glossy and clean, and the hybrid P/J pickup layout gives me immediate tonal choices - the neck split-P for that rounded, classic low end and the bridge J-style for thump and midrange presence. The bolt-on roasted maple neck with a Morado (pau ferro) fretboard has a comfortable C profile and a 12" radius that lets me move quickly across the board; string spacing at the bridge feels modern - neither too cramped nor absurdly wide for five strings. The electronics are straightforward - Volume, Blend, Treble and Bass with a push/pull to bypass the preamp - which I appreciated for its simplicity and for keeping tonal decisions fast on stage.

Build Quality & Hardware

Construction is neatly executed: the okoume body is light, the roasted maple neck is stable and the Sadowsky bridge and open-gear tuners are functional and do their job without drama. The quick-release bridge saddles and the Just-A-Nut III give practical setup access, and the included PortaBag and hex tools are a nice touch for players who move frequently. That said, my experience and what I've seen in the community suggests QC can be variable - some players report nitpicks or early batch issues, so I inspected mine carefully on arrival and set it up to my specs before gigging.

Playability & Usability

On the fretless board the string action I settled on allowed clean slides, clear harmonics and precise intonation when I leaned into it - the neck profile and nut width are comfortable enough for thumb-over technique and for wider five-string fingering. The 34" scale and roughly 18 mm bridge spacing at the saddle give a familiar five-string feel; I was able to play tight, precise fingerstyle lines and then switch to picked runs without changing my setup. Upper-register reach is good up to the final positions - the heel is unobtrusive, which I appreciated when doing melodic fills up the neck.

Sound & Electronics

Tonally the MetroExpress lives between vintage and modern - the P-style neck is warm with clear mids that don't get woolly, while the bridge J-style (noiseless design) adds the snap and attack I use for funkier parts or when I need a cut through the band. The active 2-way Sadowsky electronics are boost-only and work best as color and punch boosts rather than surgical EQ carving; I mostly used modest treble lift for slap and a bass bump for thick, sustained tones. I did notice that aggressive treble boosts with a soloed bridge pickup could add hiss in some units - my example was fine for typical use, but players chasing extreme EQ may find the preamp's character limiting.

Real-World Experience

I used this bass across a few rehearsals, a small club gig and some DI tracking; it adapted well to each context. DI tones were immediate and usable - I often only needed a touch of compression and reverb in the mix, and the onboard preamp helped the DI sit nicely without additional EQ. Onstage, the instrument's lightness made long sets less tiring, and its hybrid tones meant I didn't need to swap instruments between ballads and funkier numbers. In the studio it responded well to different string types - I preferred roundwounds for presence and clarity, but flatwounds smoothed the top end beautifully for upright-adjacent tones.

The Trade-Offs

If you want flawless factory consistency you might be cautious - there are documented reports of early-batch QC issues that include pickup balance oddities, noisy electronics under heavy treble boost and occasional hardware quirks. Also, the electronics are boost-only, which means you won't get the sculpting precision of a full three-band preamp if that's your workflow. For players who prefer a completely boutique finish and hand-checked perfection out of the box, a higher-tier Sadowsky or custom instrument might be preferable - but for the price and usable tones, the MetroExpress offers a lot of value if you accept a little hands-on setup might be necessary.

Final Verdict

The MetroExpress 21-5 Hyb BK FL LH is a practical, versatile fretless 5 that gives players a convincing range of P and J textures in a lightweight, gig-ready package - it's especially attractive for players who need immediate, usable tones without the bulk or price of a flagship instrument. I recommend it for session and gig players who want a workable fretless five with punchy DI and stage-friendly ergonomics, but I advise buying from a dealer with a good returns policy and checking the electronics and setup carefully on arrival. If you get a nicely set-up example, you'll have a reliable and voicable bass that punches well above its cost.