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Fodera Club Part II

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#587
Like many other things in life, it is all a question of trade-offs and what is most important to you. All things being equal, the longer the scale length, the more taught any given string will be at a given pitch (i.e. a 34" B will be under more tension when in tune than a 33" B, and a 35" under more tension than a 34").

The issue that really is key is -- what do YOU personally feel is "enough tension" that the string does not feel floppy and this is highly subjective and depends on many things including playing style (e.g. light finger-style work vs. heavy slapping). No B-string (not even a 33") should ever feel flabby and sound dead and/or diffuse if the instrument was properly made, set up and the strings are of high quality and fresh. However, even if all of that is properly done, someone with an extremely sensitive touch will feel a difference between scale lengths -- especially on a B-string. I certainly can.

Now I am just a 4-string guy and personally play only 34" scale basses, so I could not begin to tell someone where that line of "Wow this feels great, it's only a 33" scale?" turns to "This is okay, but I really wish the B was under more tension." But what I can say is before deciding something like that, understand yourself and what your goals for the instrument are...

1. Is the size of the instrument critical (i.e. do you have small hands, shoulder problems, travel a lot and want something compact and easy to carry on planes)?

2. Does your playing style tend towards a light right hand technique or are you dig in in a big way?

3. Do you like your strings to feel like they are under a lot of tension, or do you like a looser feel to them?

4. Do you record a lot / Tone? I am not going to touch this one personally because it can be a bit of a lightening rod, but there are top players in both camps. One camp is the longer the scale length, the better the sound -- especially on the B and E strings. The other camp while generally acknowledging that a longer scale length instrument might sound better in an absolute sense, feels that it is not significant enough and/or audible in the real world settings in which we play that it makes much of a difference. This said, I know at least two of our top players (who shall remain nameless) that have largely identical basses -- one they gig with and the other the take into the studio. You guessed it -- the 34" scale basses go to the studio and the 33's head out to gigs...trade-offs, gotta love 'em.

In the final analysis part of the art of building at this level is helping someone understand how each decision they make (and which scale length is a pretty big one) will effect the instrument that shows up on their doorstep a couple of years down the road. Couple that with the way Vinny, Joey and Vadym build them and you've got a very good shot at getting a killer instrument that perfectly meets your needs.
 
#588
Just Thumpin' said:
Like many other things in life, it is all a question of trade-offs and what is most important to you. All things being equal, the longer the scale length, the more taught any given string will be at a given pitch (i.e. a 34" B will be under more tension when in tune than a 33" B, and a 35" under more tension than a 34").

The issue that really is key is -- what do YOU personally feel is "enough tension" that the string does not feel floppy and this is highly subjective and depends on many things including playing style (e.g. light finger-style work vs. heavy slapping). No B-string (not even a 33") should ever feel flabby and sound dead and/or diffuse if the instrument was properly made, set up and the strings are of high quality and fresh. However, even if all of that is properly done, someone with an extremely sensitive touch will feel a difference between scale lengths -- especially on a B-string. I certainly can.

Now I am just a 4-string guy and personally play only 34" scale basses, so I could not begin to tell someone where that line of "Wow this feels great, it's only a 33" scale?" turns to "This is okay, but I really wish the B was under more tension." But what I can say is before deciding something like that, understand yourself and what your goals for the instrument are...

1. Is the size of the instrument critical (i.e. do you have small hands, shoulder problems, travel a lot and want something compact and easy to carry on planes)?

2. Does your playing style tend towards a light right hand technique or are you dig in in a big way?

3. Do you like your strings to feel like they are under a lot of tension, or do you like a looser feel to them?

4. Do you record a lot / Tone? I am not going to touch this one personally because it can be a bit of a lightening rod, but there are top players in both camps. One camp is the longer the scale length, the better the sound -- especially on the B and E strings. The other camp while generally acknowledging that a longer scale length instrument might sound better in an absolute sense, feels that it is not significant enough and/or audible in the real world settings in which we play that it makes much of a difference. This said, I know at least two of our top players (who shall remain nameless) that have largely identical basses -- one they gig with and the other the take into the studio. You guessed it -- the 34" scale basses go to the studio and the 33's head out to gigs...trade-offs, gotta love 'em.

In the final analysis part of the art of building at this level is helping someone understand how each decision they make (and which scale length is a pretty big one) will effect the instrument that shows up on their doorstep a couple of years down the road. Couple that with the way Vinny, Joey and Vadym build them and you've got a very good shot at getting a killer instrument that perfectly meets your needs.
Click to expand...

Thanks for the detailed info and answer, Jason, I may definitely think about it!! :bassist:
 
#593
black.rose1402 said:
One question to others fodera family members,

why, in your opinion, fodera basses are such desirable instruments?
Click to expand...

Yeah I would argue that for a good portion of the Fodera buyers it's "because X player plays them" and some combination of expense/exclusivity factor/looks, etc. But hey, it keeps them in business, so more power to them.

Although for me, I'd say it's because I think they make an incredible playing/sounding product that happens to be my favorite on the wood-necked market.

(Benavente and MTD/Tobias being the others that I think are different but more or less equal. Zons are my real home base though.)
 
#594
black.rose1402 said:
One question to others fodera family members,

why, in your opinion, fodera basses are such desirable instruments?
Click to expand...

I played almost all hi-end gear in the market, I just found Fodera suits my playing style better, also, their craftsmanship, every single details and the feel.

Frankly, the deposit I paid can purchase a pretty good hi-end bass in the market, but I still go for a Fodera and I definitely know what I'm doing. I think it is all because those factor I listed and I agree all bros's thought as well. :hyper:
 
#595
black.rose1402 said:
One question to others fodera family members,

why, in your opinion, fodera basses are such desirable instruments?
Click to expand...

Lol I forgot to tell why they are so desirable to me!

the feel, the necks, the fact that it 's so easy to pay that I don't have to "force" my playing or use any strenght, the smell.

I love to play my "new" 77 jazz, but the fodera are still the basses I prefer to play.
 
#596
There is still some kind of "secret sauce" in the Fodera basses that no other bass I've played has. I believe it comes from Vinny and Joey. All the little subtle choices they make in the process of building a bass seem to somehow add to up to more than the sum of their parts. Somehow, a Fodera made from the same stuff that, say, an Ibanez is made from would have something special that might not be quantifiable. And it's the kind of difference that you perceive when you compare Bach to Bon Jovi. Same 12 notes, whole different ball game. Not that one is BETTER...maybe it's a sophistication thing.
 
#597
thepontif said:
There is still some kind of "secret sauce" in the Fodera basses that no other bass I've played has. I believe it comes from Vinny and Joey. All the little subtle choices they make in the process of building a bass seem to somehow add to up to more than the sum of their parts. Somehow, a Fodera made from the same stuff that, say, an Ibanez is made from would have something special that might not be quantifiable. And it's the kind of difference that you perceive when you compare Bach to Bon Jovi. Same 12 notes, whole different ball game. Not that one is BETTER...maybe it's a sophistication thing.
Click to expand...

and that would be the pope pre? :eyebrow:






:ninja::D
 
#599
black.rose1402 said:
why, in your opinion, fodera basses are such desirable instruments?
Click to expand...

Many name players use them.
They are expensive.
The fact that one had to wait soo long to get one built, up until recently made them somewhat special too.

The fact that many are also good basses may also have something to do with it, although since soo many good luthiers are making such good instruments I am not sure that this is the reason. Maybe it is...:-)

That's my guess - the impression I get from talking with some people.
 
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