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Callowhill Basses? What do you think?

#25
I saw Maurice Fitzgterald live over the weekend playing this bass (or one very much like it) ...

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It sounded KILLER! (Awesome slap tone) He played this bass during the second set.

The bass he played on his first set? A Lakland 55-02. I asked him about the Lakland during the break and he told me it was the one with the new Lakland electronics.
 
#32
Well, I have been talking with Tim and I think we might get some serious JUNK started real soon. I was checking his website and he has updated it to include the JUNK. It also has his philosophy and story behind the JUNK. Here's the link: [Invalid or Expired Link Removed]
 
#33
CALLOWILL Site said:
The problem is that the Js are poorly made. They were then, and they are now. Back then, musician's were grateful for the tools available and didn't bitch and moan and whine about tolerances in neck pockets that exceeded the thickness of a piece of paper. That was part of why they were junky though, and why there is a higher expectation of J's now in the small company market. A number of other companies took the design and improved it by actually caring about the end result. Treating it not as a unit for sale by a dealer, but rather as a real instrument that will be cherished by the musician who plays it.

I make instruments with a similar construction to Leo's, as I like the strength, ease of fabrication, and tone of the basic blueprint though I've altered the contours to make the traditional bolt-on balance and sound better. Unfortunately, most folks can't afford the Infini, and MDM basses. Also, many of my players (being that I build primarily for pro session and touring players) actually like the "J" body style because they are used to it. They grew up with it.

REALIZATION:

I've had countless J basses on my repair bench over the years and I've noticed something about them which is kind of odd. THEY ALL SUCK. The reason die-hard vintage J owners love their refuse is the same reason they would complain about the cared-for good stuff. The inherent crappiness is what people actually love about these old hunks of garbage.
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Hmm. I'm sure this guy makes great basses but I've kinda got to disagree with most or all of this? Talk amongst yourselves.
 
#35
Mr. Majestic said:
I guess everyone has their own opinion. You always hear about how amazing the tone was on these older instruments, not how amazing the craftsmenship was. He may have a point.
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Without getting into anyone's personal experiences with Fender basses, I think it's sort of abrasive to say X company has made "all junk" for 50 years and doesn't care about its product or customers. Especially if you're somewhat profiting on the company's work. Just my .02. You're right of course, he is entitled to his opinion.

W
 
#36
Wilbyman said:
Without getting into anyone's personal experiences with Fender basses, I think it's sort of abrasive to say X company has made "all junk" for 50 years and doesn't care about its product or customers. Especially if you're somewhat profiting on the company's work. Just my .02. You're right of course, he is entitled to his opinion.

W
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Tim is an abrasive man lol. :p He's also one of the coolest, nicest, and most talented people I've ever met. I have played 4 seperate basses of his and own one myself. I've played everything from sadowsky to ken smith to fodera to pedulla and i can easily say this unequivocally: Out of the dozens upon dozens of basses i've played Only two have ever felt, played, or sounded near as good as my DH6. And only one is actually even with it.

here's a pic of mine:

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#40
I really think Callowhill, Sadowsky, Nordstrand, Mike Lull, and several other makers of J bass look-a-likes have very good intentions. Many of these makers have taken the original Jazz design and really fine tuned it to a much higher level. The one aspect of Fender that was truly amazing, was his ability to take a good design and mass produce it. He really was an innovator that changed the music world. But with mass production, many of the tight tolerances and scrutiny these higher end makers use are just unprofitible. I mean, there were thousands of necks and bodies made totally separate from each other, then brought together. I wonder how many different people worked on any one instrument?
I think what Tim is trying to say is that people who defend poorly made Fenders are quick to bash Sadowskys and Nordys for little stupid things, such as neck pockets, high frets, and finish flaws.
 

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