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  1. That's a really nice example. The only thing I'd say is that it's not a 1984 model. The serial number puts it at 1986-87, and the bridge, pickups and paint job indicate more towards 1987. GLWTS.
  2. You're both mistaken. Meddle is the best, although unlike any of their later work it doesn't have the concepts running through it. I think the Wall and Animals are ok overall and brilliant in places, but when Rick Wright checked out they were missing a key musical ingredient. Just my opinion of course.
  3. Demis Roussos - not a lot of people know he played bass. Or that he was in a progressive rock band (Aprodite's Child) before becoming a '70s suburban housewife staple.
  4. I remember reading copies of Bass guitar back in the '90s. You would see used Wals in the classifieds for under £1000 all the time. Yes, they became unobtainable new around the time the whole Tool thing took off; back in the '90s they were just basses rooted firmly in the 1980s, and were no more sought after than Jaydees and so prices were similar. I used to see them at pub gigs all the time back then. However, those electronics are unique and if you want that sound I feel too that nothing else will do. Also, with a waiting list like they have, they have no choice but to ask high prices. If they came down to even around the £3000 mark they would be inundated with orders and would either have to outsource production or see the waiting time for a build stretch even further into the future. Also, if you do spend money on a Wal, new or used and don't like it, you won't lose any money if you sell it on (although who knows what COVID might do to the market). @CamdenRob , your bass looks great; sure it sounds great too.
  5. No idea. I'd guess it's probably real but has been refinished by an owner or perhaps the Japanese shop.The body doesn't look cheap to me, it doesn't have the neck heel carve but not all of them did. I just don't think the finish is particularly attractive. I don't think it's a carbon fibre neck either, just carbon effect lacquer as you say. I honestly don't think anyone would fake an NYC. Contrary to what some people believe, the vast majority of Fodera copies are poorly executed Chinese jobs that no-one would ever confuse with the real thing. If someone had access to Fodera pickups/hardware and the luthiery skills and wanted to fake a bass they'd probably do a custom, not an NYC, as they could charge a lot more money for it. So, it's almost certainly the real thing, with an unconventional refinish. The pickups with the Fodera butterfly on them are Lane Poors.
  6. Couple of pictures to show what I mean. Here's one with the dual coils, and an early looking 4 string with the Schaller roller bridge and what look like Lane Poor pickups. There are probably quite a few exceptions to the standard and custom specs.
  7. Yes, sending the wood there and back does sound odd, and I'm sure there is plenty of high quality wood in Japan, but Fodera take their wood stock very seriously (I've actually seen it) and I have no reason to doubt them. They inspect and select, and age all the wood they buy so purchasing and shipping directly to Japan wouldn't be an option. Back when the NYCs were being made, their shop was a lot smaller than it is now, with maybe only 4 or 5 people building there, and they had horrendous (2-3 year) waiting times for instruments, so it made sense to build them separately I suppose.
  8. As far as I remember the deal was this: Fodera would send some woods to a custom shop in Japan. The same shop also had some links with F Clef and Bottomwave early on, but apparently in later years they were only building Fodera NYCs. The actual NYC model was designed (or more like refined, as it's basically a Jazz clone) by Vinnie Fodera, and the Japanese luthiers in question were trained at the Fodera shop. When the bodies and necks were carved, they would send then back to Brooklyn where Fodera would install the hardware, pickups and electronics, inspect the fit and finish and do the final setups. They mostly have Seymour Duncan Jazz pickups (probably the same models that go into the customs), although some seem to have dual coils, which I presume would also be Seymour Duncans from the custom series and would almost certainly have been an upcharge. They had a two band version of the Pope preamp. They seem to mostly be ash body/maple fingerboard and '70s pickup spacing, or alder body/rosewood fingerboard and '60s pickup spacing. They made both 4 and 5 string versions but the 5 strings seem to be more common.They are fine basses, although at that price point they were competing with Sadowsky, Mike Lull and the Fender custom shop. Victor does indeed have one. Also, I believe that Jamareo Artis played one on the recording of Uptown Funk, so no arguments about how good they sound in a track
  9. The two biggest overrated offenders for me would have to be Pearl Jam and to a lesser extent the Foo Fighters. This is not simply because I don't like them; there are a few bands/artists who, while I personally do not enjoy their music (The Spice Girls, The Pogues, Free, Soundgarden, The Mavericks and Nickelback to name an eclectic few), I can at least appreciate why others would enjoy them. It's also not a genre thing, I happen to think Nirvana were brilliant writers and I like lots of alternative rock. But they're just so boring. The melodies, harmonies and dynamics are not necessarily bad, they're just complete cardboard. Utterly dull. The fog-grey 2005 Ford Mondeo of music. Serious music for people who don't really like music. In terms of underrated, rather than going for obscure acts whose lack of success eludes me, I would rather mention popular writer who are often dismissed as lightweight. Abba, Gary Barlow, Nick Kershaw, all are extremely skilled writers who craft great music. Take That's Everything Changes has more melodic and harmonic interest than Pearl Jam's entire back catalogue. I'm not the only one who seems to think so: https://www.laweekly.com/pearl-jam-are-the-most-boring-band-in-20-years/
  10. That's lovely. YOB for me. If it wasn't for this lockdown... If it's still around when things get back to normal I'll be sure to hit you up, but GLWTS at this point. I don't suppose you're interested in partial trades by the way?
  11. I'm sure he played a Telecaster bass on this track, or perhaps an early single coil precision. It's not a split coil precision to my ears anyway. It also sounds like the tone control is wide open - I remember reading that Motown bassists would record like that, but the engineers/producers processed the sound the treble got rolled off Jamerson himself said something about it being better to be able to take treble away from a bright sound during mixing than having a signal you would have to add to later (I'm sure someone else could quote him better). These days people trying to get that '60s Motown vibe just keep their town all the way down.
  12. Elites. I hated them in the '90s when I first tried them. Picked up a set to try again recently and still couldn't stand them. Can't really say I've disliked any other sets, although I don't like steels with brighter sounding basses.
  13. Lovely bass - if it's still around in a month or so (when money will allow) would be very interested. Can I ask one thing - is that an olympic white or see-through blond finish? I'm guessing olympic white was a much more common colour in the late '70s, but on your bass you can see the wood grain under the finish, and it also looks darker where the ashtrays were: on most olympic white finishes you would expect it to be lighter under the ashtrays. If it is factory original see-through blond it must be a pretty rare example - I can't recall seeing any others.
  14. That's a cracking deal. Vintage/Custom Shop specs for MIM money. If I had the ready cash I would jump on this. Good luck with the sale!
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