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James Hart · Saturday at 11:03 AM

Very similar, I like the ash body ones most I think... was very intrigued by the walnut body model.., that has a little something interesting in the tone the others didn't (I think). Could have been many other factors too though.

Dude can play, I'm sure he sounds amazing on a Squier too.

LadyLoveStingRay5 · Saturday at 11:02 AM

The all have that Fodera richness and not clarity. Some of them sound too mid scooped for my personal taste. Some are extremely balanced. Others are very mid prominent. None of them have that “just right” Fodera sound that I love.

I hear the just right Fodera tone from alder / rosewood with Seymour Duncan Dual coils ala Sharay Reed.

Engle · Saturday at 11:02 AM

Pdaddy1978 said:
The naming thing on old Japanese guitars and basses is hilarious.
But that is one cool example! Looks like someone took unusually good care of it.

Yeah, I like them, but I don't see the point of trying to nail down the name. If it's lost, just pick the logo you like.

-Asdfgh- · Saturday at 11:02 AM

If I had a valuable bass, I'd not be putting naked on concrete and balancing it tentatively against a wall.

Engle · Saturday at 11:00 AM

The combination of the pg colour with that burst...ugggh!
At least it has a truss rod.

brianrost · Saturday at 10:59 AM

DaveParker39 said:
I am completely new to the term "A" for a 1.5 nut width... did fender ship precisions out with 1.5" in the 70's? or is it shaved down?

It was a factory option, they called it "narrow neck".

KohanMike · Saturday at 10:58 AM

micguy said:
When you see something from an online AI that is surprising, remember, it only tells you what it has read on the internet - it knows literally nothing beyond that. It may be spot on, it may be dead wrong. Most of the time, it'll be something in between.

That was my experience looking for a replacement for my 20 year old Nikon SB600 flash. Did a Google search, AI came back with a specific third party model with lots of details, so I bought it from B&H. Followed the manual to set it up, but it was a big pain in the rear. Called B&H, talked to one of the pro photo specialists. He immediately said that AI gathered info from ads that company puts online. He said my old SB600 is actually better.

-Asdfgh- · Saturday at 10:58 AM

metron said:
Mostly for the intangibles.

As sung about by M. C. Hammer.

mpdd · Saturday at 10:55 AM

we refinished a hi flier bass at work, it was undoubtedly the only bass I have ever experienced that was heavier than an ash Bacchus

gustobassman · Saturday at 10:54 AM

Short run update- can confirm the new Subway+ Preamp DI performs well in weather over 105 degrees with high humidity.

Never, ever wanna do that again..

King V · Saturday at 10:53 AM

LadyLoveStingRay5 said:
I have noticed the tendency of the finish cracking. I’ve not seen it on Sadowsky, MTD, or builders I’ve considered.
It is puzzling. And it is one reason I have not gone down the custom build path. The wait is another factor. I’m pretty content with the Standard Classic that I picked up for a great price used. Finish cracks included.

The finish checking started to become a problem around 10 years ago or so when Fodera switched to the ultra thin satin finish. My 2 older Foderas (a 1997 Anthony Jackson and a 1994 Monarch) have no issues with the finish. My 2023 Monarch Deluxe checked all over the head stock and my 2026 Imperial Elite shows some minor checking around the tone control knobs.

All of my Foderas are players, so eventually some finish checking is going to be the least of the cosmetic issues they have. However my main gripe is with the response from Fodera on this which usually amounts to "something, something, climate" and a half hearted apology.

One would think with it being such a common issue that they would address it in the build process, but yet here we are.

mpdd · Saturday at 10:52 AM

i live in so cal, so 2 hours could be pretty close or it could be all the way out to the desert

SeneX225 · Saturday at 10:51 AM

sunbeast said:
That makes the experience you had even more baffling, because if you had a cord plugged into the second jack then you’d already be sending the sleeve to ground on that jack through whatever it is plugged into farther down the chain regardless of the state of the switch or having direct contact with internal grounds. Having multiple connections to the same internal ground doesn’t dilute output the same way driving multiple paths with your output signal might.

It baffled me as well, but the fact that the signal level was different is a tangible fact. Thinking about it, I think I thr first time around I wired the switch a bit differently and also may have had wired Add jack's ground not to Main jack, but to volume pot, but I don't see how it could have created such a difference.

Pdaddy1978 · Saturday at 10:51 AM

Where I live, Its a 2 hour drive to see a major league baseball game. And 2 hours to the beach.
Basically its 2 hours to.....anything .
A gig?......Many,many times.

MultiScaleMale · Saturday at 10:50 AM

Bass4LifeRS said:
Hello all.
Been thinking about getting a Stingray. I am thinking 4-string single H. No local shops have them, so will need to order online. There are so many cool Stingrays, it's almost criminal!

I mean, natural with black pickguard is a classic, and the black and maple, so cool and relatively neutral in a way. Then the 50th Molten gold is the wife's favourite. Costs a bit more but is limited in numbers and anniversary models have their own cool factor.

A bassist friend urges me to get a 2-band, like the 70's reissues. He loves the classic tones. I fear for a heavier instrument, and missing out on modern touches of the Special, like flatter radius, lighter weight, rosewood, revoiced preamp, cool sparkly colours and so on. Then there is the Pino signature, in fretted. Must be good right?
Darkrays and Commenford signature are not desirable to me, but still there are many cool colours.

What to do my friends? What to do.

I'd do #3.

Dr. Cheese · Saturday at 10:50 AM

Neck Diver said:
Never thought I’d see that. Would have been better with Bernard Edward’s on bass.

Bernard has been gone 30 years, as you probably know. Kind of like Darryl Jones with the Stones, Jerry Barnes has been playing with Chic longer than the original guy.

ThaCoast · Saturday at 10:50 AM

edsand said:
Has anyone found a bridge replacement / upgrade that works on an original G3 without altering anything? Replacements are around $250 on ebay, I don't need it THAT much. The 2012 release uses a different bridge.

2012 uses a 3 point, which is their "standard" bridge across all bass models for most part.

Original G3 had the bentplate/string through body only option, & yeah aftermarket replacements are far & wide to find. like this one, https://reverb.com/item/75246456-gibson-grabber-g3-style-replacement-bridge-vintage-nickel-finish.

Otherwise, any other aftermarket bridge you'd need to drill new holes into the body to use it, since most are fender screw hole layout (5 screws for most, 3 screws for their MIA bridge types which allow string through body).

Barcza · Saturday at 10:49 AM

Hi everyone,

I recently experienced an electric shock on stage while holding my bass, and I‘m looking for some technical insight from the community to figure out what went wrong and how to prevent it in the future.

Here is the setup:

Bass: 1994 Japanese-made Yamaha TRB (metal hardware/strings).
Cable: Premium Fender instrument cable.
DI Box: Passive DI box.
Signal Chain: Bass -> Cable -> Passive DI Box -> Analog Mixer / Stage Audio system.

What happened: A bandmate strummed the bass first, and it felt completely fine - no shock at all. But a moment later, when I grabbed the bass, it grabbed hold of me. I experienced a strong shock, and my hand locked up (tetanus effect) due to the AC current - I literally couldn’t let go of the strings. A bandmate quickly realized what was happening and pulled the cable out, which finally broke the circuit so I could release the bass. Even after the cable was unplugged, I could still feel a very mild tingling/buzzing lingering for about a minute.

Stage conditions I noticed: It was a small stage with a lot of tangled cables, and I noticed they were using regular household power strips instead of the heavy-duty, robust rubber distribution boxes ("distribution spiders") typically seen at larger festivals.

My questions for the electronics/tech experts here:

Why didn't it shock my bandmate when he tested it, but it locked my hand up when I touched it? (Assume body contact/ground path differences?)
Since the bass itself was not plugged into a wall outlet (only connected via instrument cable to the passive DI box and mixer), how did mains voltage get onto the strings? Was it likely a faulty mixer power supply, a ground loop, or a compromised DI box / poor stage power?
What is the best gear to invest in to completely protect myself from this happening again on small stages (e.g., portable PRCD/GFCI units, line isolators like a Lehle P-ISO, etc.)?

Thanks in advance for any technical advice or gear recommendations! Stay safe out there.

LadyLoveStingRay5 · Saturday at 10:49 AM

Dr. Cheese said:
I think he might be posting videos for a dealer of some sort or maybe he is the dealer.

That’s my thoughts as well but I can’t say for sure .

mpdd · Saturday at 10:48 AM

very cool, i've refinished some of their guitars, but never even seen a bass

Dr. Cheese · Saturday at 10:47 AM

Bass Viking said:
They all sound good. And I think he owns them all!

I think he might be posting videos for a dealer of some sort or maybe he is the dealer.

brianrost · Saturday at 10:47 AM

T. Michael Coleman used a Steinberger Q with Doc Watson.

Jimmy D. Brock played a left handed Rickenbacker with the Osborne Brothers.

Larry Cohen played a Ferrington ABG as well as a P bass with Tony Trischka and Skyline.

Greg Clinkingbeard · Saturday at 10:46 AM

dperrott said:
yep! This work isn't easy and bridges are tricky. I know clients don't want to hear it all the time but get a new bridge. Yea it's expensive but worth it.

I’ve di@*ed around with enough bridges trying to make some other guy’s dislexic fllustercluck work that I often just bite the bullet and make a new bridge. Very little patience anymore.

Hues · Saturday at 10:46 AM

Bad Love - Eric Clapton

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FLStudiobassist · Saturday at 10:46 AM

Bass4LifeRS said:
The Hot Honey makes for a very uniform looking bass so to speak, very cool, or warm . For myself, I threw a wrench into the ehh mix, and looked at an interview on the Scott's bass lessons youtube channel that Scott from SBL did 7 years ago with Scott Ball (VP) and Derek Brooks (Director of Artist relations) at Music man, and there Scott says they wanted the Special to be an ash instrument, and also "now that we've had all those years to sit back and think what is the best tonewood for the Stingray, it's definitely ash" (Derek). With this in mind i filtered searches on webstores, and it narrows the field a bit.

Thoughts on that?

I don’t know about tonewood but as far as appearance and weight goes, ash ticks all the boxes for me. My Stingray weighs 8.2lbs and is made of ash and to my ears, I generally only tend to buy instruments made of lightweight ash because I love the way they sound. Stingrays can be made out of Poplar, Basswood or even other woods and still sound incredible, however. It just comes down to personal preference

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