• TalkBass has been independent since 1998. Add your voice.
    Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
    Join free Log in
    Want zero display ads or expanded classifieds tools? Compare plans.

Fodera Club Part XIV

Status
Not open for further replies.
#21
As promised, porn.

aj6presmaple3.jpg

imperial6purpleheart2.jpg

imperial6purpleheart3.jpg


And in the bed shot!

foderaaj1.jpg
 
#22
steubig said:
be brave! take it tomorrow!
Click to expand...

I will spend a few minutes with it before I head to load in. If it doesn't totally confound me I'll take it as a backup and maybe pull it out for one or more of the no-brainier songs like Josie and Reelin' I've never been known for particularly sound judgement :D
 
#29
Any difference in volume was purely due to the builds as Matt tried his very best to play all identically and the recording levels were kept identical for all three instruments. Additionally, they were all played passively (preamp disabled) with the volume and tone controls wide open...

Now, one point...as those of you that have listened can tell, the differences are definitely there but they are subtle. How can words possible do the differences justice? Yet our ears and brains have no problem with "subtly different." It is spoken language that gets in the way...

Jason
 
#33
roadkill2309 said:
very sexy. I've always thought that those needed cloverleaf tuners, but all in all, it's a fantabulous take on a more Fendery style.

But I really know nothing about those. I can't find them on the Fodera site. Are they discontinued?
Click to expand...

The NYC series was the precursor to the Standards. This one one of the last NYCs out the door, from last June. Original execution was some rough carving done in Japan, by luthiers trained by the Fodera folks, then the rest of the work done in NYC. Standards, in fact all, Foderas now 100% Brooklyn born. They did update the NYC line over the 10+ years the offered them, and this one is about as good as it gets. The finish work on this bass is perfect. It pushes me to play with more articulation, better technique, rewarding that effort with fantastic sound.
 
#34
Just Thumpin' said:
Any difference in volume was purely due to the builds as Matt tried his very best to play all identically and the recording levels were kept identical for all three instruments. Additionally, they were all played passively (preamp disabled) with the volume and tone controls wide open...

Now, one point...as those of you that have listened can tell, the differences are definitely there but they are subtle. How can words possible do the differences justice? Yet our ears and brains have no problem with "subtly different." It is spoken language that gets in the way...

Jason
Click to expand...

Okay, I've finally got 'round to giving them a listen, and I have a few things to say:

1) After giving those a listen (several times in some cases), I'm still a dedicated believer in bolt-ons. What has changed here is that I wouldn't necessarily disregard a Fodera that was a set-neck or a neck-through if I came across one somewhere that really needed to be bought. Would I order one? Probably not--but since I saw the accent line on the dovetail in the other thread, I like it a whole lot more. I'd feel comfortable making that decision on a purely aesthetic basis *because*...

2) I don't think the differences among the three are big enough to count, outside of a TB argument. Look, I'm known for saying that some of the stuff we argue about on this board (Braz RW vs Indian, for example) are the bass equivalent of going to the mats over how many angels can dance on the head of a pin. In this case, add a band or one amp over another and these basses may as well be the same instrument. If I won the lottery tomorrow, and my Fodera *had* to be one, I'd flip that gold coin I mentioned and not even feel a twinge over it.

3) All three of these basses sound better than they did in the recordings. I know it. I've read most of this thread on an iPhone, so I don't remember what was said, but I'm assuming that these pups and pres are essentially what Richard Bona uses (but I haven't really checked on that, so I may be wrong). I find that the slap sound especially was pretty lacklustre, but I could detect a rich zing and thump waiting to blossom when one of those axes got played in a live setting, with the controls set up right.

I'm a writer, so my chances of having the scratch together to call up the shop and say 'build me the olive-topped Emperor 5 I've been dreaming about' are slim to none in this lifetime. So maybe what I'm saying here should weigh less on the conversation than what the guys who can open their wallets would say. But the fact is that, even with the quilted maple and the gold hardware (two things I don't really like), I'd be proud to rock any one of those. They sound that close, or at least would in a live or band recording situation.
 
#37
Just Thumpin' said:
Any difference in volume was purely due to the builds as Matt tried his very best to play all identically and the recording levels were kept identical for all three instruments. Additionally, they were all played passively (preamp disabled) with the volume and tone controls wide open...

Now, one point...as those of you that have listened can tell, the differences are definitely there but they are subtle. How can words possible do the differences justice? Yet our ears and brains have no problem with "subtly different." It is spoken language that gets in the way...

Jason
Click to expand...

However, the differences are significant enough that even I, "The Man with the Non-Golden Ear," can hear them. I like it, actually.
 
#38
thehess said:
The NYC series was the precursor to the Standards. This one one of the last NYCs out the door, from last June. Original execution was some rough carving done in Japan, by luthiers trained by the Fodera folks, then the rest of the work done in NYC. Standards, in fact all, Foderas now 100% Brooklyn born. They did update the NYC line over the 10+ years the offered them, and this one is about as good as it gets. The finish work on this bass is perfect. It pushes me to play with more articulation, better technique, rewarding that effort with fantastic sound.
Click to expand...

Ah, all becomes clear. I'd been wondering about those. I'd forgotten about just how recent the Standards are. Your bass is pretty as hell. How's the neck on those?
 
Status
Not open for further replies.

Latest posts

Top Bottom
Back