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How versatile is a Fodera bass?
- Thread starter Dr. Cheese
- Start date
Had basically the same config that Sharay Reed plays now.
That seemingly-endless amount of tones ... was the 'problem' that made me get rid of it.
Fit finish/feel of the asymmetrical neck carve: absolute perfection.
There was one tone setting I stumbled upon, that was as thick/present as any of my flats-equipped Sadowsky/Olinto P5's, but with rounds.
That bass sounded absolutely flawless, but we don't always know why we throw certain trophy BASS back, do we? Just an instinct to send it down-stream and get back to the P that brought you to the dance in the first place.
I've never won the lotto, but the Anthony Jackson (RIP) Signature, with a tone-control, might be a sign.
That seemingly-endless amount of tones ... was the 'problem' that made me get rid of it.
Fit finish/feel of the asymmetrical neck carve: absolute perfection.
There was one tone setting I stumbled upon, that was as thick/present as any of my flats-equipped Sadowsky/Olinto P5's, but with rounds.
That bass sounded absolutely flawless, but we don't always know why we throw certain trophy BASS back, do we? Just an instinct to send it down-stream and get back to the P that brought you to the dance in the first place.
I've never won the lotto, but the Anthony Jackson (RIP) Signature, with a tone-control, might be a sign.
You sound a bit like me. I tend to like basses with maybe two or three really good sounds. That just makes it easier for me.
Same, I have never liked "versatile" basses. I love my Manne bass because it has a really unique sound unlike any other bass I've ever played. That also means there are situations where the tone doesn't work and I think that's okay because I also own a P bass.
there's definitely a reason I find myself on your threads a lot lol.
Simple P/J/MM sounds for this guy.
Much like I'll take a cast-iron cooked pecan pie over just about any type of cake/dessert.
All of which I'm sure that Fodera can nail, including the 'pea-can' pie
I'm with you guys on this notion of "versatility."
For me, I guess it's nice that I have this wide range of usable tones made available through adjusting the EQs and balancing the pickups. But after I find my sweet spot at the beginning of practice (or whenever) where I fit nicely in the mix, it's pretty much "set it and forget it" for the rest of the night. Adjust here and there to fine tune along the way, sure. But if you're doing that all night long, you're listening to yourself WAAAAY too much and not listening to everyone else.
For me, I guess it's nice that I have this wide range of usable tones made available through adjusting the EQs and balancing the pickups. But after I find my sweet spot at the beginning of practice (or whenever) where I fit nicely in the mix, it's pretty much "set it and forget it" for the rest of the night. Adjust here and there to fine tune along the way, sure. But if you're doing that all night long, you're listening to yourself WAAAAY too much and not listening to everyone else.
This bass sounds great in this player's hands and I appreciate the versatility, but it's way too much bass for me. I'm a meat and potatoes four-string player. A G&L L-2000 was too complicated for me. But to each his/her own.
I fiddled around in a store with a P/J Yin Yang 4 and while it was perfection in many ways as stated above I couldnt get into the tone(same with Alembics). Too many switches and options I dont need. I will stick with my simple P, J and 83 Steinberger L2
My Monarch is amazingly versatile.
It, like any musical instrument, is as versatile as the man or woman playing it. There indeed may be some finite limitations mechanically or electronically, but that still leaves lots and lots of room for imagination. Often when I've been presented someone doing something outside the box, guess what? They were in a box I never knew existed.
- May 20, 2002
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- Provided content for Genzler Amplification
Wonderfully crafted basses. Depending on the woods and electronics, capable of a wide range of tones, or a few really good ones. As they are a custom bass shop, they can certainly craft an instrument to your liking. I don't personally own one, nor do I desire one. Though they are marvelously crafted, they aren't the tool for me.
Count me in as well, I like a super simple set up…too many options leads to endless fiddling, I tend to not vary my sound a whole lot. A 3 band Stingray is about as complicated as I go
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I could be the smartass to say that versatility is in the player, rather than the bass. But while that's true to a certain extent, it's ridiculous to deny that the bass itself is crucial to tone. Imagine Chris Squire or Marcus Miller using a Hofner with flats... 
Back on topic: I easily succumb to option paralysis, so yeah, I prefer basses that perform fewer tricks.
Back on topic: I easily succumb to option paralysis, so yeah, I prefer basses that perform fewer tricks.
I now own one just like Sharay Reeds. That bass is the best instrument I’ve ever had in my hands . Practically plays itself . It might be the one you threw back into the water.
It is very versatile. There is nothing I can’t get out of it except for what I have my other 3 basses for. It’s not Fretless , it doesn’t have flats , and it isn’t a shorter scale with different pickup placement.
If I had to go down to one bass, this would be it. Worth every penny.
I did not buy this bass because it was versatile. I buy what inspires me to pick it up and play it.
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My P Bass of Doom.
While looking complicated was very simple. 3 pickups humbucker, original P, Jazz bridge pickup. A volume for each one and phase switches for the P and J pickups. At least it looked complicated back in the 70’ when I did it
It's quick and easy to get a good sound by blending pickups together and maybe putting a pickup out of phase to get a different sound.
While looking complicated was very simple. 3 pickups humbucker, original P, Jazz bridge pickup. A volume for each one and phase switches for the P and J pickups. At least it looked complicated back in the 70’ when I did it
It's quick and easy to get a good sound by blending pickups together and maybe putting a pickup out of phase to get a different sound.
Thinking of Sharay Reed, it seems that he has found the tone likes and he doesn’t change it. That is always an option too.
@LadyLovesStingray5
I bet your bass plays like a charm.
Godspeed!! That was one I had to let go of, to pay for more GAS-related shenanigans. It still haunts me. Not a single bad word to say and I can't imagine what an Imperial or Emperor of my own customizations would do to me ... and I told the judge I wouldn't engage in that type of tomfoolery any longer.
But would you play it in front of Billy Cobham, Ala' a young Will Lee?My P Bass of Doom.
While looking complicated was very simple. 3 pickups humbucker, original P, Jazz bridge pickup. A volume for each one and phase switches for the P and J pickups. At least it looked complicated back in the 70’ when I did it
It's quick and easy to get a good sound by blending pickups together and maybe putting a pickup out of phase to get a different sound.
Isn't that the 'true' bench mark of tone?
Not 'best for metal', or 'punchy', but 'would Billy Cobham whup my @$$?'
And then there's how we define versatility. For me, I prefer versatility more in functionality than tonal variety (I'd rather have a few amazing tones than a bazillion mediocre ones).
For example, I don't need a bunch of tone shaping, tone coloring electronics like the Fishman Fluence system, but I like having an active preamp (preferably with a passive bypass) on my bass.
Many people prefer passive basses for recording (some recording equipment isn't built to handle a hot active signal) but active for live playing (less sound drop off than passive when using a long cable or a wireless system). And if you're playing a venue without a sound engineer, having an onboard preamp allows you to quickly and easily EQ to a room. But if there is a good sound engineer, you can run the bass passive and let them work their magic.
I personally prefer passive for recording and active for live playing, but with modern equipment being better attenuated (e.g. my Axe IO actually has an active/passive switch) an active bass can be recorded without making a signal so hot it can't be tamed.
If I can run my active bass completely flat (or in passive mode) live, then fantastic. Makes my life easier. But if I need to EQ to a room or something, I can do so from the bass (which is helpful if the amp is behind the drums or in some awkward-to-reach location on stage). Better to need-and-not-have than have-and-not-need. Even if an active bass is run flat 90% of the time, there is still that 10%.
As for Fodera as a brand... it has jazz stalwarts like Tom Kennedy playing them as well as metal monsters like Ryan Martinie. So it's safe to say a Fodera can run the gamut. It's all in the player.
For example, I don't need a bunch of tone shaping, tone coloring electronics like the Fishman Fluence system, but I like having an active preamp (preferably with a passive bypass) on my bass.
Many people prefer passive basses for recording (some recording equipment isn't built to handle a hot active signal) but active for live playing (less sound drop off than passive when using a long cable or a wireless system). And if you're playing a venue without a sound engineer, having an onboard preamp allows you to quickly and easily EQ to a room. But if there is a good sound engineer, you can run the bass passive and let them work their magic.
I personally prefer passive for recording and active for live playing, but with modern equipment being better attenuated (e.g. my Axe IO actually has an active/passive switch) an active bass can be recorded without making a signal so hot it can't be tamed.
If I can run my active bass completely flat (or in passive mode) live, then fantastic. Makes my life easier. But if I need to EQ to a room or something, I can do so from the bass (which is helpful if the amp is behind the drums or in some awkward-to-reach location on stage). Better to need-and-not-have than have-and-not-need. Even if an active bass is run flat 90% of the time, there is still that 10%.
As for Fodera as a brand... it has jazz stalwarts like Tom Kennedy playing them as well as metal monsters like Ryan Martinie. So it's safe to say a Fodera can run the gamut. It's all in the player.
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Always funny to see a bunch of guys who hate active basses gather together to talk about how high-end basses a useless trash.
Okay dude, we get it, you don't want to replace your P-bass with flats with a high-end singlecut boutique bass. Good for you.
Okay dude, we get it, you don't want to replace your P-bass with flats with a high-end singlecut boutique bass. Good for you.
