Wow gang, you all have been posting A LOT!!! I am outta here this morning and over the coming weekend to attend Bass Player Live out in Hollywood, so I am going to try to answer all of the inquiries that have been made in one post. Please forgive me if I omit something!
1. Yes, as Joel correctly answered, we will still make ANY of our earlier models, including the AJ Double Cutaway. Pricing is the same as for an Emperor Elite with the same number of strings...
2. On wood selection: There are many other luthiers that take wood selection very, very seriously. Since I have not worked directly with them, it would be impossible for me to fairly compare our practices and theirs...
We buy only from sources with which we have had long relationships, we scrutinize every piece that is going to become a part of an instrument, and we throw away anything that doesn't sound good when we tap it...but again, many luthiers do this.
One way that I DO think we are materially different (and of course, I could be wrong because I have not visited every luthier's shop) is that we do NOT keep our wood in anywhere near ideal storage conditions. Great tone wood and exotic top woods have become incredibly expensive over the past 10 years and consequently, most luthiers with which I am familiar protect their wood stash from extreme changes in humidity and temperature to avoid it cracking, splitting and/or warping. There is nothing as depressing to look at as a gorgeous, presentation grade piece of wood that has split during a very dry winter and become unusable.
Vinny (and thus the Fodera shop), on the other hand has a "trial by fire" mentality about our wood stash...our shop has no climate controls. So, the summers can be 100 degrees and humid and the winters can get down to 45 and be VERY dry. Our building is part of a large factory / warehouse complex and the Landlord is not legally required to provide heat unless the temperature outside is under 38 degrees...by the way, we all work in the same conditions as the wood is stored. Have I mentioned that this past summer was absurdly hot?? We had one day where the temperature inside the shop was over 105 degrees...
Because of this the wood goes through extreme temperature and humidity changes for the seasons it is with us before becoming an instrument -- in many cases that time is well over ten years. BTW, PLEASE don't allow your already built Fodera to go through these kinds of changes is possible...although the wood can theoretically stand it (it has before being used in your bass), the finish is much more fragile!
We end up having a fair amount of waste (lots of $$) due to this lack of climate controls, however, the theory is that we would rather have the wood crack, warp, twist and / or otherwise become unusable BEFORE we build an instrument with it rather than when it is part of your bass. The thinking is that if our wood was stored and aged "ideally" (i.e. very little fluctuation in temperatures or humidity levels), what would happen to it the first time you take it to a gig on a tropical island in summer??
3. Lincoln Goines' Basses: First, contrary to an earlier post, Lincoln uses the 34" scale in the studio and travels with the 33" scale. He also has three Foderas...2 fretted and one fretless. Finally, in terms of his electronics, he DOES have a "normal" Fodera / Pope preamp in each bass. However, the controls are mounted in a way that he can change the preamp settings from the back of the instrument...
I think that was it for questions that needed answering...
As always thanks for your support!!
J
It was the first Fodera I've ever played. It felt nice but I'm not too crazy about its tone (pretty bare bones, only has one knob). However, it played like absolute butter. I dunno if it was the strings or the set-up, but my right hand had some natural bounce to it that made it easier to play faster.
It gives a more bouncy/supple feel.
