molan

Just a thought - would my 32” JV P be of any interest? Very rare to find an original 32” JV bass.

69th anniversary - a ‘future’ classic 😉

Contemplates selling vintage Fenders to fund Fodera purchase. . . 🤦‍♂️

If anyone can do it then Roger is the man 😉

I think Roger is only too aware of the issues coming from the Warwick made instruments and is working hard to eradicate them. From everything I know about him, he will take this very personally and be trying his utmost to make sure that all instruments bearing his name are worthy of it. Of course, some of this will be teething issues of new production but you didn’t really have to be much of an expert to predict that Warwick wouldn’t meet Roger/Yoshi’s exacting standards. The thing that gets me the most is the simple problem of weight - Sadowsky instruments are almost legendary in being light in weight whilst retaining a full and deep inherent bass tone. Someone at Warwick QC decided to ignore this core element of the Sadowsky brand and allowed instruments to be made with heavy lumps of wood. They then let them out of the factory without owning up to people that they were bloated and overweight. This simply never happened with Yoshi’s Metro basses. Some of the limited runs were heavier than others - like the 70’s ash bodied Miller-style natural wood ones. However, dealers were told in advance that these were going to be made using heavier, denser, ash in order to firstly nail that classic late 70’s tone and also to deliver really nice looking pieces of natural ash. Warwick simply didn’t seem to care about this and just flogged overweight basses to dealers without a care. . . Personally I’m looking forward to owning one when all the Warwick-related issues are sorted

Wow, I love these Fodera buckeye burls.

You don’t measure volume in watts - that’s like saying you measure distance in litres. I do remember the days of cheap & nasty hifi manufacturers using watts as a measure of volume but they were selling to people who knew nothing about hifi 😂 It always creases me up when people say a particular speaker is ‘louder’ than another because it’s “500watts” and the other is “300 watts”. Apart from the fact the wattage figure is for power handling, it’s the decibel sensitivity of the speaker that makes the difference rather than any watts measurement.

Certainly quite a while ago. Trace Elliott was always called ‘Try Selling It’ in our store - believe me, it wasn’t easy either. Only thing harder to sell was a Hartke 8x10😂

I spoke to Trickfish a lot in their early days and was really impressed by their professionalism, enthusiasm and dedication to bringing new products to market that ‘worked’! I found Richard Ruse to be a great guy and genuinely inspirational to work with. It was such a shame that he left us early and didn’t see all of his vision come to fruition. I’m afraid I’ve only heard their cabs at demo volume and, of course, we all know that’s nothing like a gigging environment. However, I certainly know who I’d spend my money with as the rest of the team there seem to share Richard’s genuine dedication to delivering a class product for the gigging bassist 😉

That definitely looks like he same one I had. At the same time I had a black Flea that I really should have kept. It had a pair of Lane Poor pickups, a boost switch and a funky inlay of Randy Hope-Taylor at the 12th fret!

Nice, I really like 33” scale basses. I have a 32” scale Squier JV P bass that’s so easy to play. Still has the punch of a P bass. Maybe slightly shorter than I’d think is ideal for me so 33” is a nice in-between scale.

Every Lull I’ve owned has been lovely to play. Wish I still had my old gold sparkle P.

Looks very similar to my ‘64 but I think this one must be a fair bit lighter. Great gigging weight

I certainly used to own a Modulus VJ but I can’t remember much about it now. Cost me just £650 back when I bought it 🤦‍♂️

I think the bass I’ve owned longest is, technically, one of the ones that cost e least but only because of the state I bought it in. It’s a ‘64 P that had been stripped and refinished in a horrendous natural lacquer that looked & felt like Ronseal. The neck was particularly hideous and sticky (although the fingerboard is lovely). I bought it in pieces from the USA where someone had started a restoration but ran out of money. It turned up, in the original ‘64 case that’s obviously been gigged within an inch of its life, with all the bits in little ziplock bags, right down to original screws and wiring loom etc. It sat in pieces whilst I tried to think of what colour to have it finished in. One day I was randomly chatting to a luthier friend and asked who he’d recommend for the refin and what he thought of possible colours. He asked to take a look and found traces of the original Olympic White in the neck pocket and cavity routing. He had officially stopped doing refins but, by complete chance, had one last quantity of nitro left and it was Oly White! He volunteered to finish it off and put it all back together at a ‘mate’s rate’ price. Took about 2 years before he was entirely happy with the finish but he did an amazing job. The nitro has aged quickly and is already fading and checking beautifully. On a personal note it has an attachment as it’s the bass my gorgeous grandson chose (out of a rack of about 12) when he told me he wanted to learn to play when he ‘grew up’. Unfortunately we lost him later that year but I’ll always remember that day and have a pic of him trying to play it somewhere. Can’t imagine I’ll ever sell it.