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Six String Fretless -> Pedulla Hexabuzz


Gruuve

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Hey folks:

 

So, you know I've been considering whether a 6-string fretless might be useful for more upper range (versus re-stringing my 5 EADGC). I've snagged a used Pedulla Hexabuzz at a fair price, and I'm going to give it an extended audition in my own environment. :cool: Here's a couple pics:

 

http://www.ipass.net/davesisk/music/pedullafretless/PedullaHexabuzz_front2.jpg

http://www.ipass.net/davesisk/music/pedullafretless/PedullaHexabuzz_front1.jpg

 

I don't know if this particular 6-string is a keeper or not, but it's definitely a good candidate...I've lusted after the 5-string Pentabuzz for quite a while. First impressions are that I love it's tone (as expected), lots of low growl, mid burp, and high mwah. It's got quite a different vibe than the Steinberger Synapse fretless (which I've decided I love and actually wish was available as a 6-string) though. Playing them side-by-side, the Hex doesn't seem to have the same instantaneous attack that the Steinberger does...interesting, I guess that's a function of the FrettenStein's hollow graphite+wood composite neck and the phenolic fingerboard. (I'm now starting to wonder if perhaps I should be looking at 6-string Zon fretlesses...they seem have construction and materials very similar to the Steinberger.) However, I'll reserve any tonal and playability judgements until I put new strings on it and do some setup adjustments.

 

One thing I immediately notice though...this Hexabuzz is heavy, and it's quite neck-heavy with a tendency to neck dive. I don't recall that being the case with the Pentabuzz that I've played a couple times...I guess that extra 1/8" or so of neck width adds quite a bit of weight. Speaking of neck width, this thing feels WIDE to my left hand...the Pentabuzz felt comfortably wide, but the Hexabuzz may be uncomfortably wide. I can reach all the notes I typically use up and down the fingerboard, but it seems to create quite a bit of fretting hand fatique. I'm not sure I'll be able to manage the width in all honestly, but we'll see after I get new strings on it and have played it for a while. Getting the right strings (lighter gauge in this case) and setup my help a lot, or not. It may feel a lot easier after strings and me just adapting to it a bit.

 

I'm not going to post any sound clips yet...I'll do that after I get strings and setup done. Expect some clips in a few days or a week.

 

Anyway, if this isn't a keeper, it should be an easy trade or sell. It's nearly spotless and there don't seem to be any problems to correct. The tone is pretty killer even though it's vibe is quite different from the Steinberger.

 

Dave

 

Old bass players never die, they just buy lighter rigs.

- Tom Capasso, 11/9/2006

 

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Thank you for allowing me to live vicariously through you, Dave! Can you audition a fretless Wishbass for me while you're at it? Probably the only stone you've left unturned at this point.

 

ROTF! :grin: So many basses, so little time. For me, the search and discovery is part of the fun, so I actually really enjoy trying different things. (As long as I can do that and on-the-average break even, the "boss" allows my pursuits. ;)

 

I don't think I'll be trying a Wishbass, although I have looked at those (and Steve Wishnevsky is semi-local here in NC)...I think he builds some on-the-average pretty nice basses at bargain prices...BUT...I think his on-the-average lack of attention to detail would be quite maddening to me. I'm just that way, I guess.

 

I am putting a little study into Zon's at this point though. Based only on their construction and options (unfortunately, I've never seen one locally to try out), I certainly have the preconcieved notion that they might have a vibe quite similar to the Steinberger, both tonally and in terms of comfort/weight/balance and playability. I need to dig out some Michael Manring material and give that some very detailed listening (keeping mind that it's a "production" tone and his hands rather than mine)...if anyone has any Zon fretless sound clips they can point me to, I'll definitely give those a listen as well, I don't spot any on their site. The whole attack thing is a really important factor to me...it makes all the difference in terms of getting something to "sound right" to me. Some of the basses I'm considering aren't exactly cheap...they have to "sound right" (and "play right") or they just aren't worth their cost to me. It's a very subjective thing.

 

And, I should note that I'm thankful and feel quite blessed that I can even try some of these basses on "extended audition". As you might recall from last fall, life certainly presents some difficult challenges sometimes (and ones that really matter...ones that are around people rather than instruments), so I certainly have lots to be thankful for. :)

 

Dave

 

Old bass players never die, they just buy lighter rigs.

- Tom Capasso, 11/9/2006

 

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And if you don't like it you can always rent out the bass to a local Air Force training acadamy. They can practice their touch and go's on the fretboard.

 

Have you looked at any Smith fretless basses Dave? To date I've found no other fretless I enjoy as much as my Smith.

 

Not a huge fan. Definitely not a huge fan for that price tag. I'd rather buy a US built Spector, a Ric, and still have enough money left over for a year's supply of strings.

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You can have a used Smith for a lot less than a new one. I personally think the price for a new one is worth it. I've never touched a bass that is the equal of mine in build quality, barring other Smiths. I have absolutely no doubts that my Smith will still be an unbelievably awesome bass 60 years from now. The neck simply doesn't move on it. I've never had to touch the truss rod one time, in hot or cold, humid or dry, light gauge or heavy, it's simply perfect.

 

I could have had 8 $500 basses, or 4 $1000 basses that were "OK". But I opted to spend the money, and have a bass I'll love playing until I die. Since the day Ken delivered the thing into my hands I've never regretted the cost.

 

The only downside I've found is that it makes every other bass I touch, even well respected makes, look stupid compared to it. So, it's even harder to spend money on em.

 

That's been my experience. I'm not sure what you don't like about Smith basses. Please expound upon it so I can understand.

Feel free to visit my band's site

Delusional Mind

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Hey folks,

 

No, I haven't ever really considered a Smith bass. I will give them a quick look though.

 

I just got hold of some Sonus 4/1 sound clips from Zon basses. Oh my gosh...the sonic similarities between the Steinberger Synapse and the Zon Sonus 4/1 is astonishing! :o For once, I've made a valid assumption :freak:, and it's this: given their very similar construction and materials, the Synapse and Zon's should sound somewhat similar. And they do indeed. This may change my viewpoint a bit. I've asked them if I can post the Zon clips on this forum...stay tuned.

 

Wait a minute, I'm hijacking my own thread aren't I! :deadhorse:

 

Dave

 

Old bass players never die, they just buy lighter rigs.

- Tom Capasso, 11/9/2006

 

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Beautiful bass!! If you decide to sell please let me know. I've been looking at the PentaBuzz lately, but I wouldn't turn my nose up at a sixer.

 

all peace,

ransom

pray peace, all love and unity

 

"There are only two kinds of music; good and bad."

~Duke Ellington~

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You can have a used Smith for a lot less than a new one.

 

The fact that they don't hold their resale value usually isn't a good sign.

 

That's been my experience. I'm not sure what you don't like about Smith basses. Please expound upon it so I can understand.

 

To say "they're the poor man's Alembic" is way too easy and not a good reason to dislike them. So I won't. But I've heard others make that statement before.

 

I haven't played one where I was completely blown away by the neck/feel of the instrument. They're alright instruments. Nothing to get super excited about and certainly not worth it (to me) to plunk down that kind of scratch for one. My Lull basses all play/feel/sound better than any Smith bass that I've ever played and I've spent less on all three of them than I would have on one custom Smith. So there's that.

 

I'm not saying they are bad. I'm just saying they don't blow my skirt up.

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You can have a used Smith for a lot less than a new one.

 

The fact that they don't hold their resale value usually isn't a good sign.

 

It's not like you're going to find a BSR Elite for $300. A Smith that cost $4k new may sell for $3k and be just as good as a new one. That's actually better resale value than most high end basses I've come across.

 

That's been my experience. I'm not sure what you don't like about Smith basses. Please expound upon it so I can understand.

 

To say "they're the poor man's Alembic" is way too easy and not a good reason to dislike them. So I won't. But I've heard others make that statement before.

 

So to further that thinking, the mid-range basses are a poor man's Smith? Alembic and Smith have little in common in components used and build styles. If I had wanted an Alembic I would have bought one. While I think an exceptional bass could be worth $4-6K, I don't think any bass intended for actual use warrants costing more than an average new car. From woods to any functional components I can't see anything in Alembic's catalog that surpasses Smith quality and durability.

 

I haven't played one where I was completely blown away by the neck/feel of the instrument. They're alright instruments. Nothing to get super excited about and certainly not worth it (to me) to plunk down that kind of scratch for one. My Lull basses all play/feel/sound better than any Smith bass that I've ever played and I've spent less on all three of them than I would have on one custom Smith. So there's that.

 

I'm not saying they are bad. I'm just saying they don't blow my skirt up.

 

Fair enough. Obviously they blow my skirt up more than any other bass I've played. Everyone has their preferences, which is why I suggested Smith, as they are my preference. I know a Smith will last him a lifetime if he likes it and treats it decently.

Feel free to visit my band's site

Delusional Mind

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Alembic and Smith have little in common in components used and build styles.

 

So you've either never seen an Alembic bass or you haven't been to their website. That's alright. I'll wait here until you go look and get back.

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I haven't played one where I was completely blown away by the neck/feel of the instrument. They're alright instruments. Nothing to get super excited about and certainly not worth it (to me) to plunk down that kind of scratch for one.

 

I'm not saying they are bad. I'm just saying they don't blow my skirt up.

 

+1

Exactly how I have felt about every Smith I have tried, as well as the basses from F and Sukop I have tried. They'd be twice as nice at half the price.

 

Peace,

 

wraub

 

I'm a lot more like I am now than I was when I got here.

 

 

 

 

 

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First, that hex is quite nice. They are well-made in my experience. You'll decide whether it suits you or not. I do share bump's opinion that the neck width reminds me of a landing strip or aircraft carrier deck.

 

Second, hope that BenLoy posts. He has a fretless Zon. It is smooth and tasty in the extreme (though I am not a fretless person). Sweet. did I say Sweet?

 

And to add to the hijackers at the side of the road, I have played many Ken Smiths that I love. I love the feel, not always the sound. It strikes me that the tonal focus isn't my thing, but they are well made.

 

They are not a poor person's Alembic for a few reasons. One is that they don't share enough design points, another is that Ken Smith learned his craft working with other luthiers, and that he is a very independent individual who has his own ideas. A Smith is it's own thing (as are most basses).

 

And they are expensive. As are many other luthier's work. And they don't hold their resale - I think that's a function of the initial price rather than any other factors. I think the same is true for Sadowsky, and perhaps others. I don't deal with this facet too much, because I don't buy many basses. I also don't buy as a financial investment - I buy as a playing investment.

 

Maybe a Smith would work for Dave, maybe it wouldn't. Given his tonal requirements, I think not - but it's up to his ears.

 

Tom

www.stoneflyrocks.com

Acoustic Color

 

Be practical as well as generous in your ideals. Keep your eyes on the stars and keep your feet on the ground. - Theodore Roosevelt

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**NOW posted to the correct thread!!**

 

OK, let's compare (models chosen to match in price range and number of strings):

 

Alembic Custom 13646 $6,455.00

# Vermilion top, Maple pinstripe, Purpleheart accent laminate, Ash body

# Balance K body shape with Point carving and tummy shaping

# 5-piece Maple set neck with 4 Walnut pinstripes

# High gloss polyester finish, satin neck feel

# 34" long scale, Pau Ferro fretless fingerboard

# Pickups: Alembic MXY and FatBoy

# Controls: volume, pan, bass, treble, mono output

# 24K gold plated hardware

# Retail price includes hardshell case

http://us.st11.yimg.com/us.st.yimg.com/I/alembic_1938_26791897

 

 

Smith BB-5FE25 Fusion Elite 25th anniversary $6,500

NECK & HEAD: 7-Piece Laminated Aged Hardrock Maple & Bubinga with Graphite Inlaid Bars. Neck-thru. Also included, Matching Headstock overlay with Gold Plated Brass Truss Rod Cap a'la 1980's.

FINGERBOARD: Macassar Ebony with Abalone Pearl Top & Side Dots

BODY WINGS: "Highly Figured" 7-Piece Laminated Wings w/ Contrasting Laminates,

Top & Back Choices from "Ken's Private Stock" of Tiger Maple, Quilted Maple, or Figured Walnut

Core Choices: Western (Quilted) Maple, Tiger Maple, Mahogany, or Walnut

Note: For additional options see our 2007 Price & Options List

FINISH: Classic Hand Rubbed High Gloss Catalyzed Lacquer over Stradivari Gold Oil ("Ken's Secret Sauce")

HARDWARE: Gold Smith Hardware & Dunlop "Flush Mount" Straploks

ELECTRONICS: "NEW" Smith B.M.T. 3-Band EQ 18-volt Circuit:

Internal 4-way adjustable frequency DIP Switches for each Band

Including Series/Parallel Switches for each Pickup

Smith Custom Bass Humbucking Soapbar Pickups

25th ANNIVERSARY FEATURES INCLUDE:

 

* Ken's Private Stock of our most stunning grade of Body Woods

* Highest Quality Abalone Inlaid "S" Logo/ Top & Side Dots

* Gold Plated Brass Engraved Truss Rod Cap

* 25th Anniversary Engraved Control Cover

* Ken's New Design Fusion Cut combining the BSR & Limited BMT Bass shapes

* "NEW" Smith B.M.T. 3-Band EQ 18-volt Circuit

http://www.kensmithbasses.com/models/neckthru/FE5cw.htm

 

 

 

 

Ok, the Alembic and Smith's both have very different bridges, pickups, electronics, wood choices, body construction, etc. About the only thing they have in common is wood and metal are involved.

 

It seems, by your logic, Fender is a poor man's Alembic, MTD is a poor man's Alembic, Ibanez is a poor man's Alembic, Wal is a poor man's Alembic, Peavey is a poor man's Alembic, Fodera, F-bass, Dean, and everybody else who ever decided to slap some strings on wood are a poor man's Alembic!

Feel free to visit my band's site

Delusional Mind

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I've looked at the Ken Smith web-site...ya know, I don't doubt the Smith's are really nice basses, but visually the styling just isn't that appealing to me. Personally preference only here...no offense to any Smith lovers.

 

The more I pay for something, the more I expect all the pieces to fit me well. For a less expensive bass, I'm happy if the tone fits, the playability fits, and the comfort level fits...if it's cheap and great otherwise, it could be dog-butt ugly and I wouldn't care. For a more expensive instrument, those expectations rise...I expect more uniqueness and/or versatility of tone, remarkable playability, extreme comfort when playing it (meaning weight, balance, neck profile, etc.), and a much more extravagent finish and looks (although I do put looks last in the list, unless it's so butt-ugly I just couldn't stand it). So, it's not at all about good vs. bad...it's about how well it fits me personally.

 

Two of my most favorite basses so far I have stumbled on without specifically looking for them. One would be the Tobias Killer B-5 fretted, the other would be the Steinberger Synapse 5-string fretless.

 

I'm looking at the Zon basses in a little more detail now too. The Zon rep who sent me the sound clips has said they can take a 5-string body and neck (at least with the headless VB...probably some of the more traditional models as well) and turn it into a 6-string with a closer string spacing. Hmmm...I'll bet that wouldn't be exactly inexpensive, but it's probably worth asking. At this point, I'm thinking my right hand can adapt to closer string spacing (since I don't slap on a fretless) easier than my left hand can adapt to the wider neck.

 

The Hexabuzz is 5/16" wider than the 19mm Pentabuzz at the last fret marker, and that 5/16" seems to be just over the edge of where I have to start contorting my left wrist to reach lower-pitched notes. My wrist is starting to hurt a little from reaching, and that's usually not such a good sign. I'm going to examine placement and bass height, arm position, etc., again...but this +3" neck width might just be past my physical limits.

 

Dave

 

Old bass players never die, they just buy lighter rigs.

- Tom Capasso, 11/9/2006

 

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I see obvious design similarities, especially with the neck-through Alembics and Ken Smiths. Hippie sandwich style with very similiar (and vast) wood choices and custom electronics.

 

But then again, if I remember correctly, Delusional Mind, you think every bass looks like a p-bass.

 

Yes, *almost* every bass out there is based on the same basic shape, and fenders happen to fall into that category.. Let's not drag that whole mess back out..

Feel free to visit my band's site

Delusional Mind

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Its nice to be able to pay then decide if you like it. My budget calls for extensive research and lunchtime excursions to the local stores to annoy the sales people.

 

But, I must say that most research that I believe comes from the pages of this forum. Thanks for the details.

 

 

  • There is a difference between Belief and Truth.
  • Constantly searching for Truth makes your Beliefs seem believable.

 

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I'm looking at the Zon basses in a little more detail now too. The Zon rep who sent me the sound clips has said they can take a 5-string body and neck (at least with the headless VB...probably some of the more traditional models as well) and turn it into a 6-string with a closer string spacing. Hmmm...I'll bet that wouldn't be exactly inexpensive, but it's probably worth asking. At this point, I'm thinking my right hand can adapt to closer string spacing (since I don't slap on a fretless) easier than my left hand can adapt to the wider neck.

 

Zon basses are quite heavenly. I'd buy one if I was in the market for another nice fretless.

 

It seems, by your logic, Fender is a poor man's Alembic, MTD is a poor man's Alembic, Ibanez is a poor man's Alembic, Wal is a poor man's Alembic, Peavey is a poor man's Alembic, Fodera, F-bass, Dean, and everybody else who ever decided to slap some strings on wood are a poor man's Alembic!

 

I actually didn't "use that logic". You were the one that started down this road. I actually stated that I thought that was not a good reason to dislike something. I was simply pointing out that I've heard people make that statement/comparison before. I personally don't take any stock in it.

 

Perhaps you're taking this a little too personally because you have so much pride in your bass.

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I agree with Brian, here. Sounds like you are taking this personally.

 

I don't like Ken Smiths, Alembics, Zon, Warrior, Roscoe, and plenty of other boutiquey expensive basses. I would take a nice Fender copy (or Japanese Fender) or a Warwick over them, regardless of price. That's just me.

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Its nice to be able to pay then decide if you like it. My budget calls for extensive research and lunchtime excursions to the local stores to annoy the sales people.

 

But, I must say that most research that I believe comes from the pages of this forum. Thanks for the details.

 

 

Oh believe me, I spend quite a bit of time researching and visiting local stores when I'm looking for something. There's no Hexabuzz's available locally, so I had to go on my experiences with the Pentabuzz (from a local store) for this one. And it sounds and plays exactly like I expected. I had not idea how wide a neck is too wide for me where a 6-string is concerned, but I'm still figuring that out!

 

Dave

 

Old bass players never die, they just buy lighter rigs.

- Tom Capasso, 11/9/2006

 

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I do love my Smith. I've made no effort to hide that fact. The fact I enjoy it as much as I do directly relates to the thread at hand.

 

I'm just trying to debunk the idea that *you* brought up in this discussion about Smith's being a poor man's Alembic. It's too easy to say something like, "It's too easy to say, 'yadda, yadda, yadda', so I won't" in a discussion, which injects the idea into the discussion, while trying to divorce yourself from association with it.

 

I asked why you disliked Smith basses and that comment was part of your response.

 

A concept was introduced to the discussion. I'm shooting it down. If you don't like the way Smith's play/feel/look/smell/taste then that's your opinion, and I respect it. I obviously don't agree with it in my experiences.

 

You insinuated I was ignorant about the subject when you posted the comment that I had never seen an Alembic or been to their website. I had, in fact, both played one, and researched them thoroughly when I was in the market for a high end bass. (Their custom quote page hasn't really changed much in that time, nor has Ken Smith's web page). The Alembic I played (at a studio) was a fine bass, but it didn't have the tonal quality I like nor did it melt in my hands like butter the way the Smith I had tried did.

 

You (bumpcity) made this personal with that insinuation. I'm divorcing myself of this now.

 

Dave, I stand by my recommendation you at least try a Smith, even a used one. If you don't like it then great, at least you tried it. You may prefer an Alembic, or even a $100 SX fretless. Try em all if you can. There's a lot of wonderful basses out there in fretless land..

 

Feel free to visit my band's site

Delusional Mind

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Dave, that bass is a class looking!! :love: It does take a little while to develop your hands around the neck of a 6 but it will come. Does the extra range inspire you differently?

 

Hey SeamyD...it's definitely a looker. So far, the 6th string isn't inspiring me. I'm focused on trying to reach the notes rather than thinking about music... :mad:

 

However, I just got the strings that I ordered. I'll try to get those on tonight and see how much difference the lighter gauges make in reduced left hand work.

 

Dave

 

Old bass players never die, they just buy lighter rigs.

- Tom Capasso, 11/9/2006

 

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What's the string spacing on that thing at the bridge again? I've found the hardest thing about moving to a 5er is the closer spacing. It really only bugs me when jumping from the B to D or G string, or the E to G.. Shorter jumps I seem adjusted ok, but those longer jumps keep throwing me off..

 

The width of the neck is already a little uncomfortable on this 5, so I think it's doubtful I'll ever move to a 6. I like wide string spacing (19mm on my Smith 4, it's 16mm on my Brice 5 which seems to be the minimum I think I would be comfortable with) so to get a 6 with spacing I would feel good with would mean a fingerboard worthy of service as an aircraft carrier deck.

Feel free to visit my band's site

Delusional Mind

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Hey guys:

 

The default string spacing is 17.5mm, but it's a ABM bridge with some adjustability in string spacing (nice!)

 

So, I've put some new lighter gauge strings on...D'Addario Nickel wound rounds in these gauges:

 

Note Part# Tension

C XLB028W 31.6

G XLB040 33.7

D XLB052 33.1

A XLB070 33.7

E XLB095 34.4

B XLB130 34.5

 

Big improvement in ease of play...the lighter gauge (excepting the B-string) plus the balanced tension feels VERY nice. I've adjusted the saddle height just a bit, and adjusted the string spacing so that the B, E, and A-strings are as close to the C-string as they can get...there's a slightly noticeable difference in ability to reach all the notes now. (I haven't measured it, but this probably puts the string spacing at around 17mm.)

 

Also, I realized from checking in the mirror that the bass was actually sitting a little high on me, which was forcing me to bend my left wrist a little more than I'm accustomed to, so I lowered it about 2" and now it feels more comfortable. I think the string change, string spacing and saddle height adjustment, and hanging it just a bit lower are making a big difference. The neck still feels really wide, but now it *might* not actually be uncomfortably wide. We'll see as I continue to play it.

 

One point of irritation (and I have this with a LOT of basses) is that it's still *feels* a little neck heavy. Now that I've lowered the strap a bit, it doesn't exhibit a tendency to neck dive (at least not with a wide leather strap on it). But it still *feels* neck heavy to me...not exactly sure why yet, maybe I've just gotten used to the incredibly light neck and the perfect balance of the Steinberger. But, for the price these Pedullas sell for, it ought to be absolutely positively perfectly balanced...in my not-so-humble opinion. In their price range, I guess I just expect extreme attention to detail. I think it meets that expectation in every case except for the slightly neck-heavy feel. I know I'm splitting hairs here...but it does list for over $4K!

 

UPDATE: Or another thought...maybe it's not so much lack of balance that I'm feeling...maybe it's the high polar moment of inertia. What the heck is that, you say? It's the resistance to turning against the axis of the neck. For instance, if I'm standing and I turn my body to the left, the neck resists starting to swing to the left and resists stopping the swing to the left. The neck has lots of mass. The headless Steinberger with it's extremely light and hollow neck has almost all it's mass in the center and thus a very low polar moment of inertia...you can turn your body to the left for instance, and the bass neck doesn't at all resist that movement, it's right there. This might actually be what I'm feeling rather than a balance issue. I'll kept my pocket-protector and slide-rule out next time I play it. :whistle: (Yes, I know...but I did say that I realize I'm being nit-picky about this. ;))

 

I like a wider string spacing on a fretted bass (18mm - 19mm)...it makes slap much easier to execute cleanly (for me...obviously not true for everyone). However, for fingerstyle only, I can definitely live with closer string spacing on a fretless, especially if it means the neck is less wide.

 

Anyway, now I think I can actually sit down and really explore whether 1) I like 6 strings better than 5 strings on a fretless, and 2) whether I like the Pedulla's vibe better than the Steinberger's vibe. For me, I know a bass is truly a keeper when I just can't put it down. I haven't experienced that feeling with the Pedulla yet, but maybe the tweaks I've done will induce that.

 

All that said, I'd still love to get my hands on a Zon 6-string fretless just to try. I've never had the pleasure of playing one, but I already know I really like the tone, and everything else about those sure sounds like an ideal match for what I know that I like. I'm about 85% sure that a Zon would be a perfect fit to me (only question is the neck profile...I know the neck width on the 6-string). (Maybe I should ask the Zon rep what the bass's polar moment of inertia is, eh? :cool:) If anyone has a Zon fretless 6-string that they might be interested in trading, PM me.

 

Dave

 

Old bass players never die, they just buy lighter rigs.

- Tom Capasso, 11/9/2006

 

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But it still *feels* neck heavy to me...not exactly sure why yet, maybe I've just gotten used to the incredibly light neck and the perfect balance of the Steinberger. But, for the price these Pedullas sell for, it ought to be absolutely positively perfectly balanced...in my not-so-humble opinion. In their price range, I guess I just expect extreme attention to detail.

 

Physics get in the way here; 6 tuners on a headstock are tough to deal with unless you add a signficant amount of weight on the body.

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