therealting

I’m not even certain you could fit a bridge into that and get it to intimate, the gap from the neck doesn’t look long enough to me.

I love Godins - I have three - but to me they are more of a small-bodied acoustic bass than a semi-hollow electric like the Starbass.

You could, as some of us here have done, split the difference and get a medium scale 😊

“A really good delve” is my favourite new euphemism

You can’t get sh!tter than a counterfeit Ritter

@Stub Mandrel Is it Warwick we need to blame for that one?

Uh oh, I’m in trouble. A five string medium scale P/J for under £300?

Wonder what model it is.

Because these have a J pickup that’s properly balanced with the P 😊

He bought one a few posts up 🙂 This one.

Lord of No Strings

I guess they had to balance that with missing out on having it at Winter NAMM at all. That’s where many of the distributors and buyers around the world do their business, so missing it could have been much more disastrous than Internet punters giggling 😊 I will say I’m surprised they didn’t just sand the headstocks down in the custom shop and apply a logo quickly. Perhaps Roger - a scrupulously ethical and moral man - felt that would be dishonest and he’d rather keep it real. Lots of companies show prototypes at NAMM with handwritten labelling and the like. If they sound and feel good enough, then the aesthetic details are sorted out in time to meet shipping deadlines in the summer etc. Regarding NYC / Metroline - Roger himself has always said that the Japanese ones are just as good as the NYC ones, just missing chambering and some of the options. I love my MV4, it’s been around the world and is so so so good.

@wateroftyne It does seem like a silly thing to overlook, but I imagine they had a shedload of things to pull together and get right in a short period of time. I’ve been to Roger’s shop and met him, it is a small operation (and about to get smaller of course), so I imagine he and his team have had a lot to juggle with the downsizing and all. Quirks on NAMM prototypes are fairly typical. He must have decided that the rest of the instrument’s quality speaks for itself. Much better to have people at the show saying how great they sound and play, and when retailers start stocking them it will be easy enough to look at the photo and see that the headstock logo has been fixed.

If they turned up without the MetroExpress prototypes, then we would all be saying how Warwick obviously can’t get its act together and Sadowsky is doomed to fail. If they’ve taken the prototypes then they must obviously play well and sound great, and people will obviously know that the logo was a lower priority and easily fixed in time for the production run.