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I picked up this MG Sig from Glenn over at Austin Bass Traders and it is really a phenomenal machine...
It is Horse Chestnut over Walnut Body/Alder Tone Block and a fine Ebony FB over Ash Neck.
It has a thick, defined, richness to the tonal signature and is a really balanced instrument... Supremely resonant! Playability/ergonomics are quite quick and facile - this is a fast bass to get around on - really inspires chordal play and quick arpeggios.
I am seriously considering adding a second MG Sig to have one tuned E-to-C and the other B-to-G...
These are such superb instruments...
Best,
Mike
Great looking bass! Enjoy it
I also use a Mono M80 bag. It's the only bag I found recently that could hold my 36"-scale bass. Of course it holds my other basses with ease too.
A few years ago, when I was shopping for a bag, I specifically called Mono to get some info. They were very nice on the phone even though I couldn't commit to buying at that moment.
A few years ago, when I was shopping for a bag, I specifically called Mono to get some info. They were very nice on the phone even though I couldn't commit to buying at that moment.
I take two basses to almost every gig. Jazz gigs are one fretted, one fretless, rock gigs are fretted 4 and fretted 5 or fretted/fretless depending on the show. On very rare occasions I only take one instrument and I have an RB single bag but I don't really like it so I just use the Mono. It has separate compartments for the two instruments so using it with one bass works fine.
Damian Coccio
Supporting Member
- Apr 3, 2003
- 35,518
- 19,954
- Disclosures
- Editor-in-Chief, Bass Gear Magazine
Finally got my E5S out on a gig. These aren't the best pics, but all I have of this show. It was the last gig for my band of 25 years, Gingley JoH. The lead singer is moving out of state, but I'm hoping we can get him back from time to time.
No shots of me playing the Fodera, unfortunately. It would have been nice to see an action shot. I wonder how many Foderas get put to use playing Audioslave and The Cult...?
So, background shots only, but here goes:
Link Removed
Shots which obscure my face are typically my best pics...
Link Removed
No shots of me playing the Fodera, unfortunately. It would have been nice to see an action shot. I wonder how many Foderas get put to use playing Audioslave and The Cult...?
So, background shots only, but here goes:
Link Removed
Shots which obscure my face are typically my best pics...
Link Removed
Hey Jason, how does a bass service restore the color to a purple heart or pink ivory wood? Like do yall add dye or something?
Just Thumpin'
Commercial User
- Mar 7, 2008
- 4,534
- 1,664
- Disclosures
- Manager and Partner, Fodera Guitars (10/14/09 - 12/16/19)
The only way to restore color to woods like Pink ivory and Purpleheart is to gently remove the outer layer ox oxidized material.
In theory the finish that we are using these days (an acrylic lacquer) should not yellow and also should protect anything we paint with it from most of the light spectrum that would turn purpleheart brown. However, we've only been using this finish for the past 3 years, so we have to wait and see.
As for Pink Ivory, since it is a FB material, it does not get painted meaning that if it is regularly exposed to light it will oxidize and turn more brown in color over time. Keeping a bass with Pink Ivory as a FB in its case when not being played will slow this process greatly, but the only way to eventually reverse it would be to pull the frets and resurface the FB...a pretty traumatic thing to do unless the frets are worn.
J
In theory the finish that we are using these days (an acrylic lacquer) should not yellow and also should protect anything we paint with it from most of the light spectrum that would turn purpleheart brown. However, we've only been using this finish for the past 3 years, so we have to wait and see.
As for Pink Ivory, since it is a FB material, it does not get painted meaning that if it is regularly exposed to light it will oxidize and turn more brown in color over time. Keeping a bass with Pink Ivory as a FB in its case when not being played will slow this process greatly, but the only way to eventually reverse it would be to pull the frets and resurface the FB...a pretty traumatic thing to do unless the frets are worn.
J
I just received this pdf from Jason explaining the new Pope preamp. I have posted it on my website server to share on TBL with Jason's kind permission.http://www.steveyork.com/foderapreamp.pdf
Based on this I just switched the mids on my new Imperial from low/high to low/mid. I'm now able to cut out the nasty stuff and I'm getting exactly the sounds I was looking for.
Now the long winded part. Yesterday I installed a spectrograph program and compared my 2004 Emperor ll and my Imperial.
I have owned the Emperor ll for four years. It sounds like every good 70's Jazz bass that I have played. Setting both basses passive with the tone wide open I could see on the spectograph that the Emperor has a natural dip in the midrange similar to a smiley face eq curve .
The Imperial is pretty much flat across the spectrum.
I have been trying to eq the Imperial to emulate some of the sweetnes of the Emperor.
What I saw on the spectograph was that the eq on the preamp had signifacant effect on the frequency points an octave higher or lower. The low bass set at 60hz also heavily effected the sound at 120hz. The low mid at 460hz also effected 230hz.
I'm pretty sure that mid in my Emperor is set at around 1khz - 1.5khz. I ride this control a lot, so much so that Vinnie just had to replace the pot!
On the Imperial I was hearing and seeing the mid range control effecting the 1k point but it wasn't quite the same. It was in fact set to 2.5, but was effecting the 1.2 hz band.
Now that I have rest the Imperial to 1.2hz both basses are giving me the sounds I want. They both sound like Foderas, but I think of the Emperor as giving me the tone pallette of 70's Jazz basses, ad the Imperial as going into the 60's Jazz bass and P bass range, especially with the master tone set to a P bass curve. BTW, John Entwhistle always cut heavily at around 1k hz.
Of course the eq settings in a working situation depend entirely on the sounds of the other instruments encroaching on our space, not to mention acoustics, sound engineers and the dreaded cranked subwoofers! But it's great to have the tools and knowledge to keep calm and deal with it!
I hope this is of help to y'all!
Jason - I can't thank you enough!
PS. Of course I realize that a lot of people like "the nasty stuff!"
Based on this I just switched the mids on my new Imperial from low/high to low/mid. I'm now able to cut out the nasty stuff and I'm getting exactly the sounds I was looking for.
Now the long winded part. Yesterday I installed a spectrograph program and compared my 2004 Emperor ll and my Imperial.
I have owned the Emperor ll for four years. It sounds like every good 70's Jazz bass that I have played. Setting both basses passive with the tone wide open I could see on the spectograph that the Emperor has a natural dip in the midrange similar to a smiley face eq curve .
The Imperial is pretty much flat across the spectrum.
I have been trying to eq the Imperial to emulate some of the sweetnes of the Emperor.
What I saw on the spectograph was that the eq on the preamp had signifacant effect on the frequency points an octave higher or lower. The low bass set at 60hz also heavily effected the sound at 120hz. The low mid at 460hz also effected 230hz.
I'm pretty sure that mid in my Emperor is set at around 1khz - 1.5khz. I ride this control a lot, so much so that Vinnie just had to replace the pot!
On the Imperial I was hearing and seeing the mid range control effecting the 1k point but it wasn't quite the same. It was in fact set to 2.5, but was effecting the 1.2 hz band.
Now that I have rest the Imperial to 1.2hz both basses are giving me the sounds I want. They both sound like Foderas, but I think of the Emperor as giving me the tone pallette of 70's Jazz basses, ad the Imperial as going into the 60's Jazz bass and P bass range, especially with the master tone set to a P bass curve. BTW, John Entwhistle always cut heavily at around 1k hz.
Of course the eq settings in a working situation depend entirely on the sounds of the other instruments encroaching on our space, not to mention acoustics, sound engineers and the dreaded cranked subwoofers! But it's great to have the tools and knowledge to keep calm and deal with it!
I hope this is of help to y'all!
Jason - I can't thank you enough!
PS. Of course I realize that a lot of people like "the nasty stuff!"
Damian Coccio
Supporting Member
I just received this pdf from Jason explaining the new Pope preamp. I have posted it on my website server to share on TBL with Jason's kind permission.http://www.steveyork.com/foderapreamp.pdf
Based on this I just switched the mids on my new Imperial from low/high to low/mid. I'm now able to cut out the nasty stuff and I'm getting exactly the sounds I was looking for.
Now the long winded part. Yesterday I installed a spectrograph program and compared my 2004 Emperor ll and my Imperial.
I have owned the Emperor ll for four years. It sounds like every good 70's Jazz bass that I have played. Setting both basses passive with the tone wide open I could see on the spectograph that the Emperor has a natural dip in the midrange similar to a smiley face eq curve .
The Imperial is pretty much flat across the spectrum.
I have been trying to eq the Imperial to emulate some of the sweetnes of the Emperor.
What I saw on the spectograph was that the eq on the preamp had signifacant effect on the frequency points an octave higher or lower. The low bass set at 60hz also heavily effected the sound at 120hz. The low mid at 460hz also effected 230hz.
I'm pretty sure that mid in my Emperor is set at around 1khz - 1.5khz. I ride this control a lot, so much so that Vinnie just had to replace the pot!
On the Imperial I was hearing and seeing the mid range control effecting the 1k point but it wasn't quite the same. It was in fact set to 2.5, but was effecting the 1.2 hz band.
Now that I have rest the Imperial to 1.2hz both basses are giving me the sounds I want. They both sound like Foderas, but I think of the Emperor as giving me the tone pallette of 70's Jazz basses, ad the Imperial as going into the 60's Jazz bass and P bass range, especially with the master tone set to a P bass curve. BTW, John Entwhistle always cut heavily at around 1k hz.
Of course the eq settings in a working situation depend entirely on the sounds of the other instruments encroaching on our space, not to mention acoustics, sound engineers and the dreaded cranked subwoofers! But it's great to have the tools and knowledge to keep calm and deal with it!
I hope this is of help to y'all!
Jason - I can't thank you enough!
PS. Of course I realize that a lot of people like "the nasty stuff!"
Cool good info, thanks for posting!
Yeah Jason, a Fodera gig bag with a nice logo will be awesome. Something like a Mono or Reunion Blues Continental case would be awesome.
It looks cool to have the logo of the bass brand on the gigbag so people have a preview. The flip side is that I don't want people to know what kind of bass I have before I take it out. It sorta takes away the wow factor.
It looks cool to have the logo of the bass brand on the gigbag so people have a preview. The flip side is that I don't want people to know what kind of bass I have before I take it out. It sorta takes away the wow factor.
dunno.
i kinda figure that logos and so forth just say "steal me." same with gear bumper stickers. i prefer non-descript.
i kinda figure that logos and so forth just say "steal me." same with gear bumper stickers. i prefer non-descript.
they closed out their gig bags about 2 years ago or so. Nice bags but just that ... a gig bag. not the same protection as the HSC.
+1
My Fodera hard case has a huge Duck Commander sticker and an old CBGB sticker on it. Just to prevent it from being stolen.
It sounds like you went from wanting a Fodera gig bag to not wanting a Fodera gig bag in the span of the same sentence.
I'm not sue that many people know what it is. I've been playing my Foderas in Mexico for six years now. Not a single gringo has recognized them, or shown much interest, although I get a lot of gringos asking about my Lakland, probably because it looks like a Fender. On the other hand, every Latino musician has recognized the Foderas and commented, probably, at least in part, thanks to Anthony Jackson and Lincoln Goines.
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