For sale Sadowsky NYC 'Musicman' 5-string Unchambered Ash/Brazilian Rosewood

GIG NOTES ON THIS BASS:

1) ROUNDWOUND NICKELS

Right out of the box, it had the best action I've ever felt.
As if Roger had me in mind, and laid out a perfect medium-action.
Like all of the NYC basses I've been honored to own/play, I could really feel the notes in my chest when I played it un-amplified, and the natural acoustics of Team Sadowsky's build, allow you to hear every note unplugged all the way down to the lowest notes of the B-string. To me, and Roger explains this more articulately, this quality/factor really matters in an electric instrument.

One of the best 'unboxing' moments I've had, bar none. I didn't eat lunch the day, but was definitely satiated.

I went right to a gig with this instrument, after unboxing it at work, and had to get laser-focused on my technique all night, because of how revealing this platform is. I can kind of 'hide' inside that nice big sound of Roger's J5 and PJ 5's I've owned. This one is closer to the 'Modern' or M5-24 territory. Clear and focused midrange that will catch you slipping if you aren't practicing before the gig the day of because you got crushed by the Oil Patch that day (me).



2) D'ADDARIO CHROME FLATS

I didn't do enough gigs with this setup, but the ones I did put me even closer to my favorite Stingray player, Saint Bernard Edwards (RIP). The low B notes, which to me separate the 'good' 5-strings from the 'extraordinary' grade 5-strings, are almost impossible to beat with this setup. I ran it in 'single' (switch down) all night, with the treble/VTC off, and the bass boosted a bunch, and I would walk down chromatically from Low Eb to Low C and the pitch was dead-on, in a way that was natural and effortless.

Normally, with my Olinto P5/Sadowsky PJ5, with flats, I have to really play differently to articulate those notes.

Personally, I loved the sound this bass makes when playing slap on flats, but it does take away from the natural aggressive sparkle it has with rounds. I would go back to 'series' mode in that case and get close to some of those classic slap tones.


Hope this helps!
Dunked my phone in a pool over the weekend, and can't work rideshare until my new phone arrives ... so there ya go!!!

Not sure where the 'bump' feature disappeared to on here, so here ya go: BUMP.

BEHIND THE SCENES NOTE: As soon as this crop of basses sells, I am DONE here at Talkbass.

The redesign of the site itself ... the people 'excommunicated' ... LOTS of reasons.

Every note on here, much like the finish itself, has a “Caribbean Sheen”

excommunicated?

Not in the market at the moment, but that thing looks amazing and sounds even better!

Beautiful bass and great seller

If anyone has some trades plus cash, send them my way. Going to only evaluate things I think I can sell.

I always get like this with these instruments:

Bought them for musical projects/ambitions that were never realized.

Feel bad when they end up just sitting here, when I know there is someone out there who could make an entire career on this instrument

Trades?

I’m always into a “lesser “Sadowsky five string plus cash.

Alleva Coppolo/FBass/etc

PM's replied.

I had a kind of 'conversion experience' with a John Taylor Signature Dingwall 5.

ELMON'S DINGWALL CONVERSION

It's got the 2-Band with a 'VTC' thing that I just have to have, and click the link for more hyperbole.
But ... I think this 'Musicman'-influenced bass here, is about as good as it gets, for full range, across-the-fret-board clarity.

1) Top slot for the best-finger style tone, with the tone rolled-off, in any kind of mix I've put it in.
2) Slap tone that can get into Flea/Louis Johnson territory enough to make me happy, and with that 19MM Spacing.

I hope to find other ways to re-state this, just to keep my engagement number up for the Revlon people. They pay in 180-day pay, but hey, it's a gig. Gotta use these good looks before they spoil. Maybe Maybelline has something going.

This might be a bit of ‘over-share’, but I, am on a new path.
I’m backing off from playing cover-gigs.
That inner-14-year-old, who came of age in the Ironic, ‘I would never sell out’ 90’s, is screaming at me to get busy writing new songs with people, or get busy dying. Hopefully that level of hyperbole might make it into a bass groove or a vocal hook.


I have also been getting better every day in my fiction-writing.
I work at that, more than I do the bass these days.
I obsess over pens and Tops legal pads.


So ... I gotta be completely honest about what these for-sale threads will help finance.
Full-disclosure type of deal.
With these proceeds, and the debt it will pay off, I am going to work less during the day, and spend more time creating.

TIME, is the only currency I really care about.





More time to record lo-quality Youtube clips.

And … best of all, and again, full disclosure of what your money will effectively 'buy', ALL of us:


More time to go through every single one of my comments on this site, going back years now, that have me championing 34” basses with 19MM spacing and wide nuts, and assume my true form as an extended-scale, fanned-fret, 18MM ZEALOT.






I’m surprised that the ‘G.A.S’ this relieved me of, didn’t propel me through the ozone layer, where I can then lord down upon you about my conversion experience.


I can’t wait to reply to every single one of my own strongly-worded comments regarding my ‘old’ adherence to the 34”, wide-necked beast, with a snarky, “oh yeah, L-MORON?! Have you ever, once in your life, felt the POWER of hitting a low Db on a Dingwall’s 37” B-String!!??? ON A LOW-VOLUME BALLAD, BUT YOU’RE CRANKED UP ON A 500-WATT RIG, AND IT SOUNDS SO BEAUTIFUL AND PITCH-CORRECT THAT AUDIENCE MEMBEERS WEEP BEFORE YOU!!!!!????? HAVE YOU!!!!!!!??????”


I, am going to be, a problem.
Vulfpecker fans will have seen it coming of course.

The signs were always there.
Just wait until they hear me tuning this thing down to a low G, achieving a clean, pitch-focused note that forever settles the debate of ‘which extended-scale, 37” B-String for Low G tuning, for Original Smooth Jazz on Youtube?’


Suck on my sine waves.
With love. Will gladly entertain offers/trades plus cash, provided you allow me to preach to you about the 'Good News' I have for you. Dingwallian Apostle, that I was always meant to be.

1. BBb Concert Tuba. 3/4 at least, and with pistons, if possible. Might even entertain a straight trade (for NYC Sadowsky) if one of y’all has a vintage Miraphone or a Perantucci
2. Sousa-phone/Marching Tuba
3. Dingwall 5’s of all types.
4. Nylon-strung acoustic-electric guitar, such as a Cordoba
5. Synths/Odd-Synth pedals.

‘Wayne Brady does not endorse these messages, the content therein of this for-sale/for-trade thread, and furthermore, our client would like to state unequivocally that if he did have to give an opinion in these matters, that he would, and I am quoting Mr. Brady directly here: 'take that Caribbean Queen of a bass and play righteous slap lines on it, whilst-strung with rounds, but that he would also find equal time to put flats and a mute on it, to get those super-thumpy, super-tight, low-mid-rich finger style tones'. End of quote, and end of our statement at this time.'

There's a Floridian out there who needs to take this off my hands.

You already have the wardrobe to match the finish, and you know that I know.

It's been nothing but Red Dirt out here for a long time, but I can still feel the sand of Siesta Key under my feet, and the taste of real pastrami

Any interest in a Custom Shop 66 P as a partial trade bait?

MikeBass said:

Any interest in a Custom Shop 66 P as a partial trade bait?

Click to expand...

The more I play my CS 57', the more I realize that I am good on four strings
that's pretty cool but I gotta ask what is going on right behind that bell cover? Is that a new pick up?

ElMon said:

The more I play my CS 57', the more I realize that I am good on four strings
that's pretty cool but I gotta ask what is going on right behind that bell cover? Is that a new pick up?

Click to expand...

That’s a ramp.
It’s not included.
Is held on by the pickguard screws

MikeBass said:

That’s a ramp.
It’s not included.
Is held on by the pickguard screws

Click to expand...

as a bona fide, committed P bassman, I am intrigued enough by that to derail this entire thread

My problem is that I really love how the pick up bell cover looks, and if I practice with it a lot I get used to it being there and it's a good anchor point.

BUT ... I really like plucking right over the pick up on a P bass, about 90% of the time on stage. There is a physicality to all of it of course… my strap position, my height, reaching out on a 34 inch scale instrument with 20 frets ... and it just works

I like to anchor my right thumb right on the edge of the pick up corner, on the E string side, closer to the bridge.

i'm intrigued that you might have found a 'back by the bridge' sweet spot on the instrument. Tell me your secrets! Lol

I like plucking pretty much where a MM pickup would be.
Which is to say, right where the ramp is.
I actually anchor my thumb where the ramp meets the pickguard.
This seems, for me anyway to be THE spot on a PBass.

To be completely honest, I’m thinking of keeping this one. It’s that good. So I’m glad you said no. lol