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Club Moollon

#401
Kai Sanchez said:
Can you go into more detail about your Moollon compared to the Sadowsky's?
Thanks
Click to expand...

I know your question was for Kenny, but I'll chime in since I recently picked up a Sadowsky Metro Will Lee 5 (and I used to own a Sadowsky Tokyo 5). In short, they are somewhat different animals. The Sadowsky has a broader tonal palette thanks to the active electronics, and it records very nicely and has a very manageable weight and balance. It is more in the "modern" category sound wise, although the vintage tone control can get you away from that somewhat. I would describe the Will Lee 5 as sounding a bit "compressed" overall. It still feels a little strange to me, I'm sure in part because of the downsized body, and because it is a pretty new instrument that hasn't been entirely broken in. I haven't had as much of an immediate bonding experience with it compared to when I acquired my Moollon, but I think I'm gradually growing into it - it has sounded great and has served me well on the few gigs I've used it on so far.

My Moollon J-Classic V is my default grab-and-go, always dependable 5-string. Tonally it is very similar to my '64 Jazz Bass. I would say that it is much more of a pleasure to play than the Sadowsky. It's hard to describe exactly why, but it has a vibe and an overall feel that is just more inspiring, and maybe because it is reminiscent of a Fender in so many ways it just feels like home. The Moollon also has a much better B string than the Sadowsky, more solid and balanced with the other strings. On the Sadowsky, there is actually a bit of a dead spot at the "D" on the low B string, which the active electronics somewhat compensate for.
 
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#402
JClassic 5 has the best natural B string. If I still cared to use 5's I never would have sold mine. In fact, selling it sucked because it was the best paint job I ever had in my life, but these basses are expensive, and I am not a collector.
 
#403
Well, many factors come into play. Model, wood combos, single coil/humbucker etc, etc. For me Rogers stuff is Fender brought into the modern day. YJ’s stuff seems pre-CBS w/ a B string. The BP revue is pretty spot on, IMHO. I’ll try and compare my Moollon JV to a Sadowsky w/ similar wood combos.

Alder/rosewood/Sadowsky vs alder/ebony/Moollon.

Sadowsky is great. Strong fundamental, pronounced lower mids. Records great. There’s a loss of articulation when the preamp is engaged. Heck, even some loss in passive mode. That’s just it, Rogers basses lack the openness and airy ness that a good Fender has. Again, in my opinion.

The JV is your favorite ‘62 jazz bass with the B string you’ve been looking all your life for. Deep, strong fundamental. I can play in the first four positions on the neck just on the low B and it’s as clear as anywhere else on the neck. No hollowness or crappy overtones.
Again, not sure where the magic lies. The 20 coats of nitro, YJ’s own pickups, 1/4 sawn neck or that he makes his own tuners and bridges. Why is a Big Mac a Big Mac?? poopy analogy. But first thing I could think of. (Been on the road for 5 weeks. Cut me some slack).

For the record, I’ve had a long and wonderful relationship with Roger for over 20yrs. I’ve a ‘93 JJ5 that was my number one for many, many years. Will go to the grave w/ me. His basses are extremely hard to beat. Especially the early 90’s-2000. The attention to detail is exemplary. Best fretwork in the business. And the best customer service you could ever ask for. Been a fan for along time. Was telling Hugh McDonald yesterday, that I havent been this excited about playing a bass (my Moollon) since I discovered Sadowsky’s in ‘96.

Saw a fan shot video a couple of months ago. The bass through an iPhone in about a 3k seat theater absolutely killed. All the ghost notes came through the FOH!!! It was scary. I’d gotten comfortable being lost a little in the sonic gumbo. Not w/ the Moollon.


Anyway, hope that helps.

My 2 cents. Worth every penny.
 
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#404
Joe Clark said:
Speaking of articulation, I've never played a more dynamic bass that responds so much to technique. On my P-Classic, the fundamental is SO deep sounding that on acoustic gigs, I can pluck lightly at or on the fretboard and get upright vibes. The fretboard and body is so dang resonant.

I've owned US Lakland, Sadowsky, Fender Custom Shop, Pedulla, and Music Man, as well as spent quality time with Alleva Coppola's and F Basses. Some apple and oranges type comparisons with the F Bass and Pedulla, but from a craftsmanship perspective, my Moollon hangs with and oftentimes exceeds the aforementioned.
Click to expand...


Spot on, man.
 
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#406
Damn!
Thanks guys for your reviews. In almost 30 years I've gone from Fenders to a Ken Smith and 2 Foderas and back to fenders. The last 10 years I've been playing Fenders exclusively, 70's J and P basses. About a year and a half ago I got a Sire to cover my 5 strings need, even though it sounds great it is heavy! (10.5 pounds). I've played a few Sadowsky's and while they are top notch basses I didn't feel that immediate feel of love at first sight/sound I got with the Smith, Fodera, and my 78' Fender Jazz that is my main bass. With all I've read about the Moollons I'm getting closer to pulling the trigger.
 
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#409
SethD said:
Why quartersawn necks, given that everything else is so faithful to pre-CBS specs? (I realize there are some pre-CBS Fenders that have quartersawn necks, but in general...)
Click to expand...

I’ll admit I’ve wondered this too given that otherwise these are extremely purist pre-CBS recreations... I’ve heard and appreciate the justification regarding ebony over rosewood fret board but nothing about the 1/4 sawn neck over flat sawn. In any case, I love the neck on my P classic.
 
#410
FLORINS said:
I’ll admit I’ve wondered this too given that otherwise these are extremely purist pre-CBS recreations... I’ve heard and appreciate the justification regarding ebony over rosewood fret board but nothing about the 1/4 sawn neck over flat sawn. In any case, I love the neck on my P classic.
Click to expand...


Not sure. Maybe Andi will chime in.
Have owned 1/4 sawn necks before and didn’t care for em.
On the Moollon I guess it’s part of the gumbo.
 
#411
Aye, I was just as curious about this one. Here's what Boss had to say (my paraphrase from a very lengthy conversation we had this morning, so not exactly verbatim).

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"Indeed, quarter sawn necks were very few and a bit of an anomaly among pre-CBS Fender stock, and as they were cut and assembled in a predominantly arid climate in Southern California, not too much of a long-term issue was to be expected, and the integrity stands. That said, over here with the Korean peninsula having four distinct seasons and temperature/humidity range not unlike New England, I chose quarter sawn for the way that it responds in the extremes. Not a matter of grain strength, but rather long-term behavior and ease of correction. But not just any quarter sawn cuts that come my way, as I have to be conscious of grain patterns on them as well, to be assured of integrity of the neck's behavior.

All in all, quartersawn maple "bends with more uniformity" than other cuts, so corrections in neck relief have a greater propensity to respond without twisting/warping. I feel that this makes it a better choice for frequent temperature/humidity changes that follow the seasons, and repeated adjustments as needed.

From my experience, birds eye and flame maple cuts are by far more prone to warping in one direction or another under extremes (the grain will bend the way it wants to). Good quality flat sawn maple cuts are excellent, but still not quite as balanced in response to correction regarding the above.

Lastly and on a related note, many years ago I tested many truss rod materials and thicknesses prior to deciding what is now used on all my guitars and basses, and have found that the old ones are simply better suited for the voicing: narrow, vintage-diameter truss rods allow the "woody old" sound to resonate better from neck to body rather than absorbing the natural resonance, and so the neck integrity needs to work gently in tandem with a thinner truss, rather than having stronger/thicker/dual-action truss rod being able to strongarm the neck into shape, whatever the weather. The pre-CBS design is admittedly a 'fragile' one at that when compared to modern construction and super sturdy truss rods employed, and thus Moollon basses require a bit more care, but it's part of the suite of components that I feel proves that a well-made passive bass can naturally sound so huge without preamp assistance."
 
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#412
Ultradust said:
Aye, I was just as curious about this one. Here's what Boss had to say (my paraphrase from a very lengthy conversation we had this morning, so not exactly verbatim).

------------------------------------------------------------------------------------------------------

"Indeed, quarter sawn necks were very few and a bit of an anomaly among pre-CBS Fender stock, and as they were cut and assembled in a predominantly arid climate in Southern California, not too much of a long-term issue was to be expected, and the integrity stands. That said, over here with the Korean peninsula having four distinct seasons and temperature/humidity range not unlike New England, I chose quarter sawn for the way that it responds in the extremes. Not a matter of grain strength, but rather long-term behavior and ease of correction. But not just any quarter sawn cuts that come my way, as I have to be conscious of grain patterns on them as well, to be assured of integrity of the neck's behavior.

All in all, quartersawn maple "bends with more uniformity" than other cuts, so corrections in neck relief have a greater propensity to respond without twisting/warping. I feel that this makes it a better choice for frequent temperature/humidity changes that follow the seasons, and repeated adjustments as needed.

From my experience, birds eye and flame maple cuts are by far more prone to warping in one direction or another under extremes (the grain will bend the way it wants to). Flat sawn cuts are excellent, but still not quite as balanced in response regarding the above.

Lastly and on a related note, many years ago I tested many truss rod materials and thicknesses prior to deciding what is now used on all my guitars and basses, and have found that the old ones are simply better suited for the voicing: narrow, vintage-diameter truss rods allow the "woody old" sound to resonate better from neck to body rather than absorbing the natural resonance, and so the neck integrity needs to work gently in tandem with a thinner truss, rather than having stronger/thicker/dual-action truss rod being able to strongarm the neck into shape, whatever the weather. The pre-CBS design is admittedly a 'fragile' one at that when compared to modern construction and super sturdy truss rods employed and thus Moollon basses requires a bit more care, but it's part of the suite of components that I feel proves that a well-made passive bass can sound so naturally huge without preamp assistance."
Click to expand...



I ❤️ YJ!
 
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#413
All of the JV talk is making me want to order another Moollon, lol.

Quick question for you guys in the States that got yours. How long did it take for it to arrive to you roughly? Mine shipped on March 15th and was processed through a facility in New York on March 18th but the updates seemed to stop after that so I am just curious if you remember how long yours took. I apologize in advance but I just can't wait to play this bass and admit I am a bit impatient, lol.
 
#417
Mine took about 5 business days. I think mine was flown directly into O'Hare from the EMS hub. A buddy of mine that owns a record store has said that customs/shipping out of NY can take awhile longer. I'm excited for you to get the bass! You'll love it. And I agree, the Jazz V talk has me feeling some kind of way.
 
#418
Joe Clark said:
Mine took about 5 business days. I think mine was flown directly into O'Hare from the EMS hub. A buddy of mine that owns a record store has said that customs/shipping out of NY can take awhile longer. I'm excited for you to get the bass! You'll love it. And I agree, the Jazz V talk has me feeling some kind of way.
Click to expand...

Thanks Joe. It's tough when the bass is so close yet so far, lol.
 
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#419
Yeah, we've unfortunately seen some very slow delays in the past few months for a number of parcels specifically entering via JFK, and from EMS tracking info, it's fairly clear to us that it's just a matter of being held for whatever reason while in line for customs clearance. We initially thought it was just had to do with the year-end/holiday mess, but just last month a Brooklyn recipient had to wait 2 weeks for a bass to clear, before being handed over to USPS.

We can only hope that it's not the new normal...
 
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