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Fodera Club Part VIII

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#221
Tom7 said:
Laughing! +1. Very well said.

I might be guilty of this -- at least a little. But take a bass with 60s specs (pickup positions, alder body, rosewood board) and it's tone inspires different choices in me than a 70s spec bass (pickup positions, ash body, maple board).

I wouldn't say I "need" the tone to be inspired, but I am definitely affected by it.

It's like I want to stay within the character of the bass -- unless, of course the idea is to deliberately go contrary to it. But a bass's tone affects me and I like to use that if the situation allows me to.

However, I used to play French horn, trumpet and bass clarinet too in younger days, and while the notes I played were not my choice, they were the notes the composer or arranger wrote for me to play, I did notice that the arrangers and composers likewise seemed affected by the tones each instrument had because they would make very different choices for each instrument in the same piece. Consequently, I have never questioned the concept of letting an instrument's tone inspire my play. Until right now anyway.

Then again, I haven't had the luxury of playing original music much, like you get to do, Joe. When it is original, you get MUCH more leeway in what voice you want to have for your music.

But back to your earlier point, I strongly agree.

When a bass player plays to impress rather than express, then his bad musical choices pretty much make me not care if his tone was good or not.
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i dont ever really play any of my own stuff. i split my time playing in a cover band playing 70's/80's funk and r&b and an original pop act. i definitely think about tone but its only really to the extent of "do i use treble or turn it down":D
 
#224
narud said:
i remember the first fodera i bought was because i was maybe 19 or 20 or something, living at home, making money and able to swing it. i bought the damn thing because it was the most expensive bass out there so of course that meant it must be the best bass out there.:smug: hows that for a stupid-ass reason to buy something. 2500 or 2800 or something for an emperor 5 bolt on with duncan duals. those were the days!
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I can just about guarantee that wasn't the worst logic ever applied to an acquisition.
 
#229
Thought the TB members might appreciate these two vids:

One of my favorite Chick Corea tunes with Mike on bass.

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&

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It doesn't get much better than this if you are a CC fan. Splendid!
 
#230
OliveFodera said:
Thought the TB members might appreciate these two vids:

One of my favorite Chick Corea tunes with Mike on bass.

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&

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It doesn't get much better than this if you are a CC fan. Splendid!
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Now that's weird. The bass Mike's playing looks like it has a moveable pickup arrangement much like the one in his new Viceroy signature bass. But the video was uploaded in March of 2008. Was there a forerunner to the Viceroy?

BTW Mike, you rip.
 
#232
Yep that's mike's emperor that he experimented with different pickup placements. The bridge pickup area has a large route where he could move the pup around. I think after he found the spot he liked, they put a pickguard on it to cover the hole.
 
#234
It is always flattering to see other artists so clearly influenced by what Vinny and Joey have created. Imitation IS the sincerest form of flattery...art and design is one continual process of evolution and experimentation. Luthiery is an incredibly demanding and difficult trade. I wish anyone luck that chooses to pursue it. How can the world possibly be worse off by having an ever expanding group of talented people making us great basses? Obviously I have no idea what these things sound like, and really at the heart of the matter is blending the perfect balance of art, ergonomics and tone. If these instruments hit the mark as well as Vinny and Joey have (something that I am still in a fair degree of awe of...even after working side by side with them), this is a great thing for the bass world...

J

BassSaxMan said:
Jason, what is Fodera's opinion on this kind of thing? My guess is I will get a no comment but...

http://www.talkbass.com/forum/f8/new-mlaghus-basses-warning-very-large-pictures-786961/
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#237
Just Thumpin' said:
It is always flattering to see other artists so clearly influenced by what Vinny and Joey have created. Imitation IS the sincerest form of flattery...art and design is one continual process of evolution and experimentation. Luthiery is an incredibly demanding and difficult trade. I wish anyone luck that chooses to pursue it. How can the world possibly be worse off by having an ever expanding group of talented people making us great basses? Obviously I have no idea what these things sound like, and really at the heart of the matter is blending the perfect balance of art, ergonomics and tone. If these instruments hit the mark as well as Vinny and Joey have (something that I am still in a fair degree of awe of...even after working side by side with them), this is a great thing for the bass world...

J
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I personally think it's IP theft, but that's a mighty generous stance you have. I suppose the people who would buy those wouldn't be doing so in lieu of the real thing...
 
#238
BassSaxMan said:
I personally think it's IP theft, but that's a mighty generous stance you have. I suppose the people who would buy those wouldn't be doing so in lieu of the real thing...
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people have been "borrowing" from fodera for years. i remember talking to joey at one point about all the guys who started doing single cuts within a year of fodera doing them.

i got into once on tb with a guy who called a bass he was selling an "aj 6-string." he got pissy about it, but he stopped calling it that (though he was spewing about it in later ads for the same bass).
 
#239
I guess the most popular case on "borrowing" should be Fender's Instruments... I guess people always think of a point to start from.. just a case that people appreciated what Fodera is doing. Also, if I want a Fender, I will get a Fender, If I want a Fodera, I will get a Fodera...(which I actually do). just my 2c....
 
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