D’Metri Basses HJJ 21-5: A Headless Bass Built for the Modern Player
D’Metri Bass Guitars is a new company that is based in Chicago, Illinois. This new company has built its first United States built bass, a headless model HJJ 21-5. The model name is derived from the fact that both pickups are jazz type pickups; the neck has 21 frets; the reviewed bass is a five string tuned BEADG.
As a bassist who has lugged oversized flight cases through enough airports to last a lifetime, the transition to a headless instrument is a welcome change. But let’s be honest: headless basses often look like futuristic oars. That’s why this Olympic White headless five string jazz bass feels like such a triumph—it’s a masterclass in blending futuristic space-saving utility with classic-cool aesthetics.
Although this new bass model is based on the jazz bass, it has its own unique designed proprietary electronics and a sound that set it apart from all other jazz basses on the market. This bass was conceived, designed and specified by prominent Chicago bassist Jauqo III-X, who brought his knowledge and experience gleaned over decades.
I had the privilege of seeing this bass while it was in development. I even played it after its first assembly, prior to the body being painted. What initially struck me was its appearance. The bass had visually balanced proportions. Next, I looked at the design and implementation of the headless system at the nut and found it was very well done. The overall workmanship of the build is first class, and the fit and finish exceeded my high expectations.
D’Metri Bass Guitars elegantly did away with the usual jazz bass control plate by mounting the bespoke Bartolini preamp in a control cavity from the back of the body. Additionally, the pickguard is tastefully shaped to be smaller than most other basses. It beautifully continues the line of the neck near the B string to just beyond the neck pickup. Another elegant touch is the company’s name plate just above the fingerboard where the neck overlaps the body.
The truss rod adjustment uses the “spoke wheel” design. It is a design that is effective and does not require a specific allen wrench. Graphite rods were installed on either side of the truss rod for neck strength and stability. Great attention was spent on achieving a very comfortable neck profile, making this bass immediately comfortable to play. Six bolts firmly secure the neck to the body.
Aesthetic
There is something deeply satisfying about seeing Olympic White on a jazz bass. It connects the instrument to bass history. While the silhouette is streamlined and compact, the finish gives it a vintage soul. Of course, other colors will be available.
The workmanship is immediately evident the moment you run your hand down the neck. The fretwork is exquisite, and the neck-to-body joint is so tight you’d think it was grown that way. It is a boutique bass without the pretentiousness—just solid, high-tier lutherie that makes you want to play for hours — and I did just that!
Electronics
The heart of this bass is the Bartolini preamp and pickup system, and it’s a game-changer for this 5-string.
The Pickups: These deliver that signature Bartolini “dark-yet-clear” growl. On the low B-string, many jazz basses get “woolly” or lose definition, but these pickups keep the fundamental note punchy and tight.
The Bespoke Preamp: This isn’t a “one size fits all” circuit. It is designed specifically for D’Metri Basses. The EQ points are musical—the treble adds “air” rather than hiss, and the mids can go from a scooped modern slap tone to a fingerstyle bark that cuts through any mix. Even when the EQ is flat, this bass has a full, articulate and powerful sound.
Hardware
A headless bass is only as good as its bridge and tuning system, and choosing Hipshot hardware was the right call.
Tuning Stability: It’s rock-solid. You can dig in as hard as you want, and the pitch doesn’t budge.
Ergonomics: The tuning knobs are smooth and provide enough resistance to feel precise. Plus, the weight distribution is perfect—the dreaded “neck dive” is non-existent.
In Use
I took the D’Metri Bass Guitars HJJ-21-5 to my Gospel Music gig. The band was made up of a Hammond organ, keyboards, tenor sax, drums and bass. Ergonomically, the bass was immediately comfortable and I felt like I could play everything I can play on my main bass.
Where this bass really stood out was in how incredible it sounds. With the EQ set flat, I had a big articulate sound with a beautiful low mid presence. Once I engaged the EQ, it found it to be extremely powerful and versatile. I found the use of the EQ to be optional as the bass naturally sounded great with the EQ set flat. The bass was able to hold its own in a band with a Hammond organ. I took an opportunity to set the bass on my knee while seated without a strap and it balanced perfectly.
Controls
The controls are simple and intuitive. They are laid out as stacked Front Pickup Volume/Active Passive Push-Pull, stacked Bridge Pickup Volume/Tone, stacked Bass/Treble and stacked Low Mid/High Mid.
Gain adjustment for each pickup as well as for an overall gain for the entire system is available inside the control cavity. The control cavity is shielded and neatly wired.
Please contact D’Metri Bass Guitars for more information and current pricing.
