skej21

We just had an encore precision that had the most ridiculously high action. Soon after I left, it died and never got replaced.

[quote name='JapanAxe' timestamp='1383171793' post='2261273'] This thread has been well and truly hijacked, but surely: cheap + class D = trouble? [/quote] Yeah, sorry! The 1x12" and the 150w head retail at £500 for the pair, so not that cheap but I think you're right... It's asking for trouble!

[quote name='stingrayPete1977' timestamp='1383158273' post='2261004'] It is a rig of champions why fender are pulling the plug on genz when class d amps are becoming king and companies like barefaced can't make similar cabs quick enough I will never know!!!! [/quote] fender have released their own range of lightweight cabs (for example 24lbs, 500w, 1x12 - also a 2x8 and a 4x10) and small class D heads (150w and 350w) in the rumble range. I imagine this means they still want to benefit from the shift to small class D stuff but under their own, cheaper range rather than keeping the more expensive Genz Benz branded gear. Shame.

Tort! Its a classic combo for a reason.

Yup. It's like being a learner driver. You rarely seem to see learner drivers but the second you are learning to drive, they're everywhere!

[quote name='Clint' timestamp='1382608632' post='2254232'] I've had a couple of rare-ish basses before which I've imported from the USA. I had a beautiful custom G&L JB2 bass which at the time was a brand you'd never see over here. I haven't ever seen another USA JB2 in the flesh in the UK and especially not one as beatiful as the one I had! Currently I have a beautiful Pelham Blue Gibson Midtown bass and I was told by the shop i ordered it from that I was lucky to get it as they more or less discontinued the pelham blue model after they offered them for sale (true but mad as its the most beautiful version!). He told me that no others had been officially imported (sales ploy?). Anyway it sounds great, looks cool and because of its rareness I thought it would be a sound investment! Since getting it I have only used it once and now I'm starting to think it may be best if I do get rid of it and buy something else that I may use more...decisions! [/quote] Beautiful! That isn't sales patter either. Pretty much all of the midtown range was released then discontinued within a 2 month period and the limited edition Pelham blue midtown stuff was really tough to get. Great catch!

[quote name='Dr.Dave' timestamp='1382802487' post='2256743'] Sound crew are important folk who can be of the greatest help to musicians - we need to be able to rely on them - BUT , the relationship is one of manager to support service employee. Pecking order. We are the fountainhead and they take their instruction from us. [/quote] Interesting... I have the completely opposing view. No matter how good my music/playing sounds, it's those guys who dictate how the audience hear it, so I try to keep them sweet. To be fair though, most engineers know a LOT more about how to make you (the musician) sound good and any that I've encountered have always been more than accommodating when I've requested to use certain bits of my own gear. Then again, they might only object if they feel the instrument/mic being provided by the act is unsafe/untested or will be a poor sound source compared to the gear they have ready to use!

It looks super cool. Buy it!

[quote name='jezzaboy' timestamp='1382731899' post='2256160'] How do you avoid being stung? Buy off of someone on here with good feedback. Buy new from a shop. [/quote] And finally, start a thread on here questionning the authenticity of the instrument and take advantage of the wealth of knowledge BEFORE putting in a winning bid!

The solution appears to be obvious. Sell the Sandberg and buy a better short scale, like a Gibson SG bass?

Wow. If they can't even manage the return of your money, that's very poor!

Fantastically gifted players but I find their arrangements boring and technical for the sake of it. We all know they can play play but they have about as much soul as a Sibelius midi arrangement IMO.

From what I've seen, people are happy to walk in, spend an hour or two of someone's time, expertise and advice for free, try to haggle and bend staff over a barrel before walking out and buying it online because it was a tiny bit cheaper. Last time I was in a guy wanted 20 off a £100 harmonica. The guy offered him it for £84 as that was the lowest he could go and the guy walked out saying 'what a joke, I'll just get it online'. I suppose that's just the way the world is these days!

Listen to Upright players too. Dave Young playing with Oscar Peterson here (track really kicks off at about 2:30 and Dave Young's solo is fantastic); http://youtu.be/wzMD---rmtk Also listen to Eddie Gomez, Ray Brown and John Patitucci. I'll leave the rest open for someone else to make suggestions lol.

[quote name='highwayone' timestamp='1382444145' post='2252154'] Might be joining a 60's style band and have been trying to think of some basses that may fit the look. I Can only think of a few like the violin bass and the Epi Jack Cassady. Can anyone name any others similar in looks to the Epiphone? Cheers. [/quote] Another +1 for the Allen Woody Rumblekat! How about a Fender Coronado or maybe a Gretsch bass, like a Broadkaster?

[quote name='molan' timestamp='1382477887' post='2252772'] I think the 'for me' is the most significant part of this post. I couldn't disagree more with the rest of it. I gigged a Fodera for years in a soul functions band and it was possibly the best tone I've ever had in a band situation. Able to sit perfectly in the mix and bags of tonal variation that allowed me to cover dirty funk, classic soul and more modern pop with ease. I recently sold it to a top session player who covers mostly jazz, funk and Latin and it can handle those genres just as easily. Sure Foderas cost a lot of money but all these top session guys don't buy them because they look pretty or so they can show off down the dog and duck. They buy them because they have the potential to sound fantastic in the right hands [/quote] Couldn't agree more. Every Fodera I've heard and played has been great and perfectly suited for a variety of musical settings Personally, I think some people have very poorly managed expectations when it comes to Foderas (and other expensive basses), usually down to a lack of research. They somehow expect that by spending a relatively large sum of money on the instrument, it will result in a bass that sounds exactly like the sound in their head... But then do nothing to help communicate that sound to the builder. A prime example was my guitarist's friend, who thought if he just bought an expensive Suhr it would his dream guitar, simply because it was expensive! IMO, if you're buying an instrument like a Fodera you should put as much time and dedication into the research of how you want it to sound as they put into bringing that vision to life for you. If you don't, you cannot then complain retrospectively that the instrument wasn't right for you because of X, Y and Z because that is down to your lack of input. The people making high end basses might charge a lot and they can do many things but reading your mind is not one of them!

For me, it would be a Fodera Emperor 4 with either a walnut or ebony top. Just stunning.

Fender CS '64 Jazz Bass, Candy Apple Red with matching headstock.

If it's a maple fingerboard, it is likely to be finished meaning that lemon oil is not needed as it will have nowhere to soak in. Lemon oil is usually used on open, unfinished woods (like rosewood) as it soaks in and remoisturisers the wood. With a finished wood like maple, lemon oil will not soak in and can stain the finish if used excessively. Just use a damp soapy cloth and then polish it.

I always thought that Fodera were known for NOT giving any kind of freebies to endorsers. Those guys endorse the products and pay for them because they believe in them. Im also pretty sure that Foderas are finished and won't wear that quickly. Also, US dollars aren't doubled to get the British prices. £1000 is roughly $1500, so if anything the price in pounds of stuff on that list is about a third cheaper (plus postage etc). Personally, I agree about the sound. They are stunning basses both aesthetically and in terms of quality and worth every penny from that side if things but the thing that would stop me from buying one is that I PERSONALLY don't like the sound and sooner or later it would bug me enough that id sell it.

They have dramatically redesigned a lot of the earlier models which may mean that you can only find the 'newer' Venus model in image searches?

[quote name='LukeFRC' timestamp='1382047070' post='2247377'] If I were a small boutique bass maker, like fodera, or even small scale like Letts or something, I would team up with a local shop for each territory and let them do the customer facing side, they get a few instruments in stock for folk to try and so on. the public get to try your stuff, they're happy. the retailer gets a cut and a sale, they are happy, the builder gets to do less talking to the unwashed public - they are happy. [/quote] But often in that process, greed rears it's ugly head an the builder wants to take as much profit as possible for his/her incomparably excellent product...

At which point do you guys get to name and shame because from the sound of this, I'd personally like to avoid any dealings with whoever it is. Especially as I'm currently looking at buying some boutique pedals!

If you purchased the bass via the Internet/phone, you have 7 working days from the point that it arrives with you to return the bass if it's not to your liking under the distance selling act and they are legally obliged to refund the money to you. Then you have the cash to oh and buy something you do want More info here; http://www.which.co.uk/consumer-rights/regulation/distance-selling-regulations/