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Fodera Club Part XV

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#221
The walnut (top photo) will be:

Imperial/MG fretless 5-string (E-C)
walnut body, tone block, claro walnut top (non-solid)
ash neck, unlined ebony fb
33" scale, 24 fret, 17.5mm spacing
Dual coils, ebony ramp, D-tuner

The rosewood (bottom photo) will be:

Imperial/MG fretted 5-string (E-C)
walnut body, alder tone block, Brazilian rosewood top (non-solid)
maple neck, ebony fb
33" scale, 24 small frets, 17.5mm spacing
Dual coils, ebony ramp, D-tuner

Deposits in. Only question mark is wood pup covers but I can worry about that later. Both the koa Monarch and the MGS will go when these are done (the Monarch probably fairly soon) so I'll still be at 3 Foderas - these two Imperials and the YYD.
 
#222
at a certain level, it doesn't matter to me what it's really called.

something happens, something we train ourselves very hard to have happen. people have less-than-satisfactory ways of describing or analyzing due to whatever.

i don't like it when people say "diminished scale" (though i used it say it). i like "octotonic scale."

sounds the same.

a rose would smell just as sweet by any other name (or whatever the quote is).

so . . . motor learning it is.
 
#223
nostatic said:
The walnut (top photo) will be:

Imperial/MG fretless 5-string (E-C)
walnut body, tone block, claro walnut top (non-solid)
ash neck, unlined ebony fb
33" scale, 24 fret, 17.5mm spacing
Dual coils, ebony ramp, D-tuner

The rosewood (bottom photo) will be:

Imperial/MG fretted 5-string (E-C)
walnut body, alder tone block, Brazilian rosewood top (non-solid)
maple neck, ebony fb
33" scale, 24 small frets, 17.5mm spacing
Dual coils, ebony ramp, D-tuner

Deposits in. Only question mark is wood pup covers but I can worry about that later. Both the koa Monarch and the MGS will go when these are done (the Monarch probably fairly soon) so I'll still be at 3 Foderas - these two Imperials and the YYD.
Click to expand...

Sounds great.
 
#224
nostatic said:
The walnut (top photo) will be:

Imperial/MG fretless 5-string (E-C)
walnut body, tone block, claro walnut top (non-solid)
ash neck, unlined ebony fb
33" scale, 24 fret, 17.5mm spacing
Dual coils, ebony ramp, D-tuner

The rosewood (bottom photo) will be:

Imperial/MG fretted 5-string (E-C)
walnut body, alder tone block, Brazilian rosewood top (non-solid)
maple neck, ebony fb
33" scale, 24 small frets, 17.5mm spacing
Dual coils, ebony ramp, D-tuner

Deposits in. Only question mark is wood pup covers but I can worry about that later. Both the koa Monarch and the MGS will go when these are done (the Monarch probably fairly soon) so I'll still be at 3 Foderas - these two Imperials and the YYD.
Click to expand...

Congratz!!!! can't wait to see them, already... :hyper::hyper:
 
#226
nostatic said:
The walnut (top photo) will be:

Both the koa Monarch and the MGS will go when these are done (the Monarch probably fairly soon) so I'll still be at 3 Foderas - these two Imperials and the YYD.
Click to expand...

Wow, I guess I thought the MGS had made its way into your irreplaceable group!

It's amazing how things change though. I still love my YYD, but I just haven't been able to stop playing my NAMM Monarch since I got it. That bass is bloody magic to me.
 
#227
steubig said:
at a certain level, it doesn't matter to me what it's really called.

something happens, something we train ourselves very hard to have happen. people have less-than-satisfactory ways of describing or analyzing due to whatever.

i don't like it when people say "diminished scale" (though i used it say it). i like "octotonic scale."

sounds the same.

a rose would smell just as sweet by any other name (or whatever the quote is).

so . . . motor learning it is.
Click to expand...

Ah, but when you are tying to teach someone, there are two things that happen when you use the term "muscle memory".

1) people think is somehow built into their muscles
2) people think that using muscle memory implies that you are no longer controlling what you are doing. Like it means you're running on auto pilot.

But in fact what it means is we are DELEGATING motor tasks to the mechanism that is best suited to carry them out (letting it happen), instead of trying to consciously MAKE it happen by trying to directly consciously control our movements, which really isn't possible in the first place.
 
#228
thepontif said:
Ah, but when you are tying to teach someone, there are two things that happen when you use the term "muscle memory".

1) people think is somehow built into their muscles
2) people think that using muscle memory implies that you are no longer controlling what you are doing. Like it means you're running on auto pilot.

But in fact what it means is we are DELEGATING motor tasks to the mechanism that is best suited to carry them out (letting it happen), instead of trying to consciously MAKE it happen by trying to directly consciously control our movements, which really isn't possible in the first place.
Click to expand...

sure. if i used that term when i was teaching someone.

i generally go with the somewhat stranger, but possibly more accurate, "you're wiring yourself up" analogy.

for me i don't worry about it, i know what people are driving at.

as an aside, i wonder if this is a peculiarly western way of looking at it.
 
#229
pringlw said:
Wow, I guess I thought the MGS had made its way into your irreplaceable group!

It's amazing how things change though. I still love my YYD, but I just haven't been able to stop playing my NAMM Monarch since I got it. That bass is bloody magic to me.
Click to expand...

I'm actually a little shocked at how much I like the MGS. I don't pick up my RA much (it'll get a tune or two at a gig), and the YYD likely won't get gigged until the next Steely Jam show. Part of it is a desire to focus on 'shedding both physical aspects (getting motor/brain memory increased for 33" scale and 17.5mm spacing) as well as theory/technique. The extra string gives me options with the modes and various permutations, as well as now providing viable chord options. I've got basic chord shapes fairly down, now I need to add extensions and walking bass lines into things. It helps if I try and control other variables and stick to one bass while I'm working on that. I did that with 4-strings when I first started with Ant and am glad I did. Now I can expand things a bit.
 
#230
steubig said:
sure. if i used that term when i was teaching someone.

i generally go with the somewhat stranger, but possibly more accurate, "you're wiring yourself up" analogy.

for me i don't worry about it, i know what people are driving at.

as an aside, i wonder if this is a peculiarly western way of looking at it.
Click to expand...

I don't disagree with you.

I just like to avoid using terms that sort of sound "scientific-ishly" descriptive but don't really address what they're ACTUALLY referring to. Like muscle memory, when it's really motor learning, and "weight" when it's really "mass".
 
#231
thepontif said:
I don't disagree with you.

I just like to avoid using terms that sort of sound "scientific-ishly" descriptive but don't really address what they're ACTUALLY referring to. Like muscle memory, when it's really motor learning, and "weight" when it's really "mass".
Click to expand...

i get this.

this conversation reminds me that whenever i do start giving someone lessons, i always ask what the "most important chop" is . . . sometimes i get glazed looks (as you can imagine).

i always point to the space between my ears.

i think so many people let their fingers drive the bus, rather than their brains (and what all that entails). kind of a pet peeve of mine (of many, it's really more like a zoo).

anyway, tagential . . .
 
#232
Okay guys...a question...

The one thing I've not made an absolute final decision on is the headstock shape of my upcoming 5 B-G MG Shape bass. Jason says that for a 34" 5 B-g bass, they usually use the 2+3 arrangement, for the best B string tension. The other option I have is, apparently, the extended B 2+3 headstock, which, apparently, imparts even greater tension on the B string. I'm wondering, from all you Fodera fanatics, if you've experienced both the regular 2+3 and the extended B 2+3, and whether you thought there was a significant difference in the instrument. As Jason wrote me, it's all personal preference, but I need some of your personal preferences since I can't play 'em myself.
 
#236
curt basner said:
Okay guys...a question...

The one thing I've not made an absolute final decision on is the headstock shape of my upcoming 5 B-G MG Shape bass. Jason says that for a 34" 5 B-g bass, they usually use the 2+3 arrangement, for the best B string tension. The other option I have is, apparently, the extended B 2+3 headstock, which, apparently, imparts even greater tension on the B string. I'm wondering, from all you Fodera fanatics, if you've experienced both the regular 2+3 and the extended B 2+3, and whether you thought there was a significant difference in the instrument. As Jason wrote me, it's all personal preference, but I need some of your personal preferences since I can't play 'em myself.
Click to expand...

This might help you out....

https://www.google.com/search?q=extended+b+string&ie=UTF-8&oe=UTF-8&hl=en&client=safari
 
#238
curt basner said:
Okay guys...a question...

The one thing I've not made an absolute final decision on is the headstock shape of my upcoming 5 B-G MG Shape bass. Jason says that for a 34" 5 B-g bass, they usually use the 2+3 arrangement, for the best B string tension. The other option I have is, apparently, the extended B 2+3 headstock, which, apparently, imparts even greater tension on the B string. I'm wondering, from all you Fodera fanatics, if you've experienced both the regular 2+3 and the extended B 2+3, and whether you thought there was a significant difference in the instrument. As Jason wrote me, it's all personal preference, but I need some of your personal preferences since I can't play 'em myself.
Click to expand...

Mine has an 'Extended B' and it's awesome, the 'B' String felt less 'boomy' and easier to 'control' the volume. About the looks, I actually really like it since it's an 'original' Fodera idea
 
#239
antontanzil said:
Mine has an 'Extended B' and it's awesome, the 'B' String felt less 'boomy' and easier to 'control' the volume. About the looks, I actually really like it since it's an 'original' Fodera idea
Click to expand...

I agree. I'm actually about to put in an order for a similar olive top Imperial 5 Elite to what I have now but with a 33" scale, 17.5mm spacing, and a walnut back and I'm definitely going for the extended B headstock....very unique looking and cool concept. I imagine with certain tension strings the player would definitely feel a difference in B string tension given the extra string length if not a little more tone. But I guess I'll find out in a year or so! :crying:
 
#240
Mine is a 35" scale, it's a tone monster, I dare to say the B string on my Fodera is THE BEST among other Basses I have/had, and this includes US MTDs, Sadowsky, F Bass, Warwick, US Fenders, etc.

I say the best because I found it hard to get the same note articulation, or a note that sounds the same when you played it on the 'B' String as if you're playing it on the 'E' String.

An open 'E' string and an 'E' note on the 5th fret of the 'B' String never sounds the same, because of the string gauge, etc, but in MOST basses the difference between the two is very noticeable, the open 'E' sounds better to me, it got more clarity, vibration or whatever that just made it sounds better to my ears.

Yes, I know it's the length of the vibrating strings that made it sound like that. But my whole point is, on my Fodera, with the Extended 'B', the difference is still there, but not that much. Of course it's the whole construction, woods, etc, but IMO the Extended 'B' plays a role for that to happen as well.

Mike Pope made a whole explanation about this back in the old thread, but everyone must experience it themselves to get this idea. If I were to order a Fodera, I'll do the Extended 'B'
 
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