Club Moollon

[kenny ames]

Funny to read through this thread as I have my 2nd Moollon J coming and also have an extremely nice Japanese metro J5.

They are just two completely different things. I love the sadowsky for its hi-fi smooth jazz/fusion sound that brings me back to the 90s. The build is sensational but yes, sadowskys are not mojo basses. Also the 5 string version of the sadowsky is very light in the hands. My moollon J5 I owned was heavier and not the same thing at all in terms of tone. I preferred the moollon for many things ,but the sadowsky is a complete joy to play for many reasons as well.


I think this stuff boils down to taste and also what kind of music you play. I mainly produce now and don’t tour so my rock days are over. I record on neo soul and funk records and make house music. If you all know Fred Falke he was a fender guy and also used a sadowsky 5. A lot of this for me matters the vibe of the track and also what kick drum is driving it. It’s a whole different thing sitting in the mix properly with a 909 opposed to a real kit.

So for me these are such different basses that I personally love having both sounds and would never really compare them. All that said I love the warm thickness of a vintage Fender so much and the Moollon’s are just the vibiest. I have a great preamp in the Jad Freer Capo where I can Eq in some weight and add saturation to the tone ( amazing on passive basses) and that hits a neve pre into an 1176 before conversion. So needless to say, this moollon J is going to be sound absolutely awesome. I’ll be playing it constantly.

Shout out to the Moollon crew, I was one of the members in the early pages of this thread so it’s good to be back.

I think you stated that most eloquently.

Both are great basses. Both can get the job done. But for me there can be just a tad of sterility with Rodger’s stuff. Which can work for most things but YJ’s stuff has a more musical organicness that just kills.

99% of the people that hear anything I do aren’t aware of any difference. We’re splitting hairs for sure, but the YJ’s stuff inspires my playing. Rodger’s stuff gets the job done. And I’m sure if you go to Cub Sadowsky you’ll hear the inverse of that.

And I much prefer the nitro finish. It lets the tone breathe. Unlike the poly.

And love being able to leave my basses plugged in and not fear draining the battery.

Having said that, one of my gigs is Voices of Rock. Ex-singers from Kansas, Journey, Boston and Chicago. Wall of guitars, keys, BGV’s etc…. The Moollons can’t get over in that environment. So, the right tools are a Spector and Alien Audio.

Right tool for the job.

But anything/everything less bombastic gets the PV or JV.

My 2 cents. Worth every penny.

 

[drewphishesp]

difference was only about .38 lbs so i didnt wind up doing it

 

[AngelCrusher]

I think you stated that most eloquently.

Both are great basses. Both can get the job done. But for me there can be just a tad of sterility with Rodger’s stuff. Which can work for most things but YJ’s stuff has a more musical organicness that just kills.

99% of the people that hear anything I do aren’t aware of any difference. We’re splitting hairs for sure, but the YJ’s stuff inspires my playing. Rodger’s stuff gets the job done. And I’m sure if you go to Cub Sadowsky you’ll hear the inverse of that.

And I much prefer the nitro finish. It lets the tone breathe. Unlike the poly.

And love being able to leave my basses plugged in and not fear draining the battery.

Having said that, one of my gigs is Voices of Rock. Ex-singers from Kansas, Journey, Boston and Chicago. Wall of guitars, keys, BGV’s etc…. The Moollons can’t get over in that environment. So, the right tools are a Spector and Alien Audio.

Right tool for the job.

But anything/everything less bombastic gets the PV or JV.

My 2 cents. Worth every penny.

Totally agree with all of this.

And I forgot to mention I've been starting work on some 90's atmospheric jungle style records with some folks, really just leaning into the entire aesthetic of CDs with legacy digital art, huge resampled Rompler pads, drum breaks, fusion jazz influences..etc. And the Sadowsky is just incredibly inspiring for that sound. But that's a pretty niche sound, at least right now. But since I also will play on smooth jazz stuff ("cheesy" jazz is making a small comeback in the underground due to more advanced drum sequencers and so many great legacy Korg/Roland rack units floating around for cheap) I get to use it a good amount.

Regardless I was reading some people were trying to make a Moollon slap like a Sadowsky and it's not gonna happen. A passive J slap tone is still one of the greatest slap tones ever, but if someone wants that authentic Sadowsky Ash/Maple J slap tone, they need to call Roger. I am super picky about that stuff and attempted to get that sound with his preamp pedal and passive J's many times. While it sounds great, that exact sound in my head was not happening until I bought the Sadowsky, and then the quest was over.

I do notice for fingerstyle tone, the Sadowsky sounds fantastic but takes more work to be audible in a mix. Whereas I am 100% sure the Moollon will have no issues there. 90% of the time I play with fingers so it's safe to say I'll be using the Moollon an awful lot. But there is something about the craftsmanship and that more sterile 90's hi fi sound that I simply must have sometimes, and the Sadowsky is king there for me. Something about how perfect the necks are in terms of shape, straightness and immaculate fretwork is just a fantastic contrast to a vintage bass. I really appreciate both basses for being such radically different interpretations of a jazz bass, but like everyone here I do lean more towards warmth and mojo a lot of the time.

I just sold a new Fender reissue P with flats to help fund this Moollon J. At some point down the road I may be looking at getting another P style bass, because I used the hell out of that sound on house records. After a little preamp EQing and some low pass filtering, I could get it sounding nice and fat and sitting where a synth bass would be. But I think I can put a set of my Hi Beams on this Moollon J, roll back the tone, tweak the preamp a bit and get a great sound too that could actually be a little more malleable and burpy in the high end while still giving me the warm low mids I love in a vintage J.

Was looking at Fender CS's but I just had to come back to Moollon because they have that vibey feel out of the box. And this one I have coming is 15 years old, so its going to have that played in feel that I love. Fenders just feel so new in the hand that they don't inspire in the same way, unless you find a killer used one locally that you can try before buy.

 

[kenny ames]

Totally agree with all of this.

And I forgot to mention I've been starting work on some 90's atmospheric jungle style records with some folks, really just leaning into the entire aesthetic of CDs with legacy digital art, huge resampled Rompler pads, drum breaks, fusion jazz influences..etc. And the Sadowsky is just incredibly inspiring for that sound. But that's a pretty niche sound, at least right now. But since I also will play on smooth jazz stuff ("cheesy" jazz is making a small comeback in the underground due to more advanced drum sequencers and so many great legacy Korg/Roland rack units floating around for cheap) I get to use it a good amount.

Regardless I was reading some people were trying to make a Moollon slap like a Sadowsky and it's not gonna happen. A passive J slap tone is still one of the greatest slap tones ever, but if someone wants that authentic Sadowsky Ash/Maple J slap tone, they need to call Roger. I am super picky about that stuff and attempted to get that sound with his preamp pedal and passive J's many times. While it sounds great, that exact sound in my head was not happening until I bought the Sadowsky, and then the quest was over.

I do notice for fingerstyle tone, the Sadowsky sounds fantastic but takes more work to be audible in a mix. Whereas I am 100% sure the Moollon will have no issues there. 90% of the time I play with fingers so it's safe to say I'll be using the Moollon an awful lot. But there is something about the craftsmanship and that more sterile 90's hi fi sound that I simply must have sometimes, and the Sadowsky is king there for me. Something about how perfect the necks are in terms of shape, straightness and immaculate fretwork is just a fantastic contrast to a vintage bass. I really appreciate both basses for being such radically different interpretations of a jazz bass, but like everyone here I do lean more towards warmth and mojo a lot of the time.

I just sold a new Fender reissue P with flats to help fund this Moollon J. At some point down the road I may be looking at getting another P style bass, because I used the hell out of that sound on house records. After a little preamp EQing and some low pass filtering, I could get it sounding nice and fat and sitting where a synth bass would be. But I think I can put a set of my Hi Beams on this Moollon J, roll back the tone, tweak the preamp a bit and get a great sound too that could actually be a little more malleable and burpy in the high end while still giving me the warm low mids I love in a vintage J.

Was looking at Fender CS's but I just had to come back to Moollon because they have that vibey feel out of the box. And this one I have coming is 15 years old, so its going to have that played in feel that I love. Fenders just feel so new in the hand that they don't inspire in the same way, unless you find a killer used one locally that you can try before buy.

Yeah, man. A Sadowsky will get you that 80’-90’s Tom Scott west coast thing like none other.

But as you said the Sadowsky fingerstyle needs a little love to cut through the mix. For me I’m not a fan of soloing a pickup to cut through. Feel I always lose some fundamental. So, I’ll adjust the pickups accordingly.

And yes, nothing beats a passive jazz for slapping. A Sadowsky starts getting a little too square wavie in the highs.

The Sadowsky, IMHO has some compression somewhere in the circuitry or at least that’s perceived to my ear. Again, not a bad thing. Especially if you’re Wanting the Marcus/Wil Lee thing.


Again, what I may not care for is what someone else is trying to emulate and vice versa.

 

[Twice19]

Has anyone measure the weight on the YJ made tuning machines? Having some back issues and wondering if res o lites are even worth it

Tuners are pretty heavy. Each tuning machine roughly the weight of a masterlock. Just swap the originals back on when you want to sell. Not sure it'll affect tone, but swapping will affect tension and the feel of responsiveness on the string. Those heavy tuners are a solid anchor.

 

[drewphishesp]

They were drop ins. I did the e string and it would have required a hole drilled and I know what to do and how to do it but not defacing this thing for .36lbs

 

[AngelCrusher]

Any of you with the classic jazz 4 using DR steels like hi beams? Mine came with daddario nickels and I really like them. Just curious if the nice low mids are still there with steels, since I have a pack sitting here.

Going to put sunbeams on my Nash p. Still looking at getting a Moollon p and putting flats on it at some point.

This Moollon is easily the best jazz bass I have owned. I had the j5 years ago and it was really really great but the 4 string is special.

 

[Bassic Needs]

I like the Pure Blues that YJ recommends. I haven't tried other strings yet.

 

[AngelCrusher]

I like the Pure Blues that YJ recommends. I haven't tried other strings yet.

Yeah those may be the way if I don't like the Hi Beams. Believe the Blues are nickel. Ill just experiment a little. I only ask because I rarely change strings that often anymore. I like worn in rounds, and of course flats stay on for years.

 

[Bassic Needs]

Yeah those may be the way if I don't like the Hi Beams. Believe the Blues are nickel. Ill just experiment a little. I only ask because I rarely change strings that often anymore. I like worn in rounds, and of course flats stay on for years.

I have Hi Beams on my SBMM and they are definitely more coarse feeling.

 

[RudyTardy]

I like the Pure Blues that YJ recommends. I haven't tried other strings yet.

Sunbeams if you want a similar feel with a slightly more scooped mid.

 

[600 Ohms]

Sunbeams if you want a similar feel with a slightly more scooped mid.

Lo Riders if you want slightly more mid than PBs.

 

[AngelCrusher]

Lo Riders if you want slightly more mid than PBs.

How do the pure blues compare? In terms of tone and tension.

 

[RudyTardy]

How do the pure blues compare? In terms of tone and tension.

NLRs have a stiffer recoil due to the hex core and present slightly more mid forward in the 800-1kHz band.

 

[AngelCrusher]

NLRs have a stiffer recoil due to the hex core and present slightly more mid forward in the 800-1kHz band.

Thanks. That sounds good. I guess for lower tension I’d have to go sunbeams. I’m not 100% sure I want lower tension soon yet though. The strings I have on this one are dadarrio nickels. They play quite nicely but I’ve always been more of a DR fan.

Since I have the hi beams I’ll throw those on soon and see how I like them. I played them extensively on my sadowskys and they were great. But every bass seems to like different string tyoes. I tend to like sunbeams more on a Pbass for whatever reason.

 

[600 Ohms]

Thanks. That sounds good. I guess for lower tension I’d have to go sunbeams. I’m not 100% sure I want lower tension soon yet though. The strings I have on this one are dadarrio nickels. They play quite nicely but I’ve always been more of a DR fan.

Since I have the hi beams I’ll throw those on soon and see how I like them. I played them extensively on my sadowskys and they were great. But every bass seems to like different string tyoes. I tend to like sunbeams more on a Pbass for whatever reason.

Pure Blues are also slightly lower tension (round core and all that). I’d consider them “Flat EQ” curve. All three are great strings. I prefer 45-105 in PB or Sunbeams but 40-100 NLR is roughly equivalent.

 

[AngelCrusher]

Pure Blues are also slightly lower tension (round core and all that). I’d consider them “Flat EQ” curve. All three are great strings. I prefer 45-105 in PB or Sunbeams but 40-100 NLR is roughly equivalent.

cool, sounds we have the same tastes there. I may have to pivot to the Sunbeams I already have. Also a sleeper could be the Dunlop super brights.

Im debating flats versus rounds if I get a molloon P. For the J, im definitley sticking with rounds. I guess this is the age old debate everyone goes through with P basses. Read in here most folks are going with flats on theirs, I believe. Is that still the case? Rounds have been making a comeback with me personally, but that flat sound can be so nice.

 

[Mayo Fan]

There's a J5 for sale in Europe. My gear fund is not in a place where I could afford it at the moment, but it made me wonder if there is a big difference with a J4 in sound and feel? In my mind a 5er is more modern and doesn't fit the vintage vibe of a Moollon Classic. Is it just me?

 

[AngelCrusher]

There's a J5 for sale in Europe. My gear fund is not in a place where I could afford it at the moment, but it made me wonder if there is a big difference with a J4 in sound and feel? In my mind a 5er is more modern and doesn't fit the vintage vibe of a Moollon Classic. Is it just me?

I had a J5. It's awesome, but I much prefer the 4. 5s inherently sound different than 4's in my experience. I suspect it is a combo of the larger necks, different sized pickups..etc. The sound was more compressed than the open, more resonant sound of the J4.

That said if I went back to 5 strings, Moollon would be one of my final choices because it has so much character and vibe to the sound. The thing about a lot of more hi fi 5 strings is they sound great solo, but in the mix they can disappear due to the lack of warmth and low mids. That is not an issue with the Moollon, which is what makes it special. If you want a more hi fi sound on 5, I'd go in a different direction.

 

[RudyTardy]

I had a J5. It's awesome, but I much prefer the 4. 5s inherently sound different than 4's in my experience. I suspect it is a combo of the larger necks, different sized pickups..etc. The sound was more compressed than the open, more resonant sound of the J4.

That said if I went back to 5 strings, Moollon would be one of my final choices because it has so much character and vibe to the sound. The thing about a lot of more hi fi 5 strings is they sound great solo, but in the mix they can disappear due to the lack of warmth and low mids. That is not an issue with the Moollon, which is what makes it special. If you want a more hi fi sound on 5, I'd go in a different direction.

To add to this: if the Hi-Fi J5 is the vibe you're after, just go for the Moon LG5 and get it over with