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Best bass for the studio?
- Thread starter rawchuck
- Start date
You're considering some nice basses. A few thoughts...
Sadowsky makes sensational instruments, no one can dispute that. Fender-esque in design, they're versatile, feel great and are sturdy. In addition to their superb sound, Sadowsky incorporates several features which are improvements over basses from other manufacturers. The only downside is the pricetag, especially if you go with a NYC model.
Fenders (especially the older ones) are fantastic in a more traditional sense. They're built to last. Old Precisions record incredibly well. Prices vary, but you can find a nice 70s model for less than a NYC Sadowsky.
A nice bonus -- NYC Sadowskys and older American Fenders will likely appreciate in value over time.
Other builders like Nino Valenti build veeeeerrrry Sadowsky-ish basses at lower prices. Nino is a hyper-talented builder -- I love his stuff. He'll make you anything you can dream up with any components you want. If you commission a build, the wait time on a Valenti is much shorter than that of a Sadowsky.
I own NYC Sadowskys, old American Fenders and Valentis... and I love all of them.
One last note -- regardless of what you purchase, the Sadowsky SBP-1 preamp pedal can get you in the neighborhood of the Sadowsky sound at a fraction of the cost. It's a really nice DI as well.
Sadowsky makes sensational instruments, no one can dispute that. Fender-esque in design, they're versatile, feel great and are sturdy. In addition to their superb sound, Sadowsky incorporates several features which are improvements over basses from other manufacturers. The only downside is the pricetag, especially if you go with a NYC model.
Fenders (especially the older ones) are fantastic in a more traditional sense. They're built to last. Old Precisions record incredibly well. Prices vary, but you can find a nice 70s model for less than a NYC Sadowsky.
A nice bonus -- NYC Sadowskys and older American Fenders will likely appreciate in value over time.
Other builders like Nino Valenti build veeeeerrrry Sadowsky-ish basses at lower prices. Nino is a hyper-talented builder -- I love his stuff. He'll make you anything you can dream up with any components you want. If you commission a build, the wait time on a Valenti is much shorter than that of a Sadowsky.
I own NYC Sadowskys, old American Fenders and Valentis... and I love all of them.
One last note -- regardless of what you purchase, the Sadowsky SBP-1 preamp pedal can get you in the neighborhood of the Sadowsky sound at a fraction of the cost. It's a really nice DI as well.
My Fender Custom Shop Jazz Bass cost about $3200 a couple of years ago. My brand new Sadowsky MetroLine Will Lee RW4 cost around the same. The WL has a slimmer neck and many more tonal options than the Jazz Bass does. Build quality is on a par with each other but the Sadowsky incorporates details like invisible fret ends, truss rod wheel and an adjustable nut that Fender doesn’t offer.
A comparable custom NYC model will cost more that twice what a Warwick one will. As well, Fender offers three lines of Custom Shop. Series built, Team Built, and Masterbuilt. You can’t touch a Team Built or Masterbuilt for less than $6Gs/$7Gs today.
There is no question that a Jazz Bass will fit the bill. But so will a Sadowsky. And it may satisfy you more in other playing contexts.
A comparable custom NYC model will cost more that twice what a Warwick one will. As well, Fender offers three lines of Custom Shop. Series built, Team Built, and Masterbuilt. You can’t touch a Team Built or Masterbuilt for less than $6Gs/$7Gs today.
There is no question that a Jazz Bass will fit the bill. But so will a Sadowsky. And it may satisfy you more in other playing contexts.
Why is that? Will Lee has possibly more recording hours under his belt with his Sadowsky signature JJ bass than anyone else in the business.
I don't know how many times I've watched this video, (or many of Lee's others, especially his lock down ones) but it never gets old. Such an knowledgeable, but unassuming guy and an incredible wealth of knowledge.
If at all possible, I always recommend trying out this or that bass in the recording environment, as sometimes, a bass that sounds great live may not record well, or vice-versa. It's simply hard to try out an axe in a store through an amp, think it sounds great, only to get it home and on phones through the board find it doesn't sound like that without an amp and the room bounce.
Any guitar needs to be sampled if for recording.
$$$ and appointments are not a sure fire sign that things will work out.
Sometimes the most unassuming gear has mojo.
I have several basses, vintage not so vintage but the bass I find myself using is an SX SWB15N.
Paid $200 brand new from a store dealer. No case.
It's lightweight mahogany, has a nice shaped neck. Double truss rod IIRC.
Includes a preamp that works if you get the later model with 4 knobs.
•Volume
•Blend
•Parametric boost/cut
•Parametric EQ select
The blend knob adjusts the amount of both pickups.
A single coil and a 'bucker.
An American luthier was tapped by SX to build its guitars.
I just shielded the control cavity and replaced the long barrel jack to a Switchcraft to fit better Switchcraft standard sized plugs.
Slapped some DR strings on it.
For basic bass with the 5th string on demand, nothing more is needed IMO.
Plays true enough for recording.
Yeah it's MIC but think back when American guitars started out, it was basic construction, low cost hardware.
And then you still had to select the goldilocks build.
SX SWB15N
The SX was "inspired" by the Warwick P-nut bass.
Warwick P-Nut 5 string.
After you get the well placed bass track in place no one is going to be able to tell what bass you used.
One would be surprised how hit recordings were made with nondescript instruments that the artist would not be seen on stage holding.
Got money to blow?
Could go to survival gear, food and pea shooters, a BIVY STICK... a water filter...
I don’t know how it is on the east coast where Will works but when I worked out of Orange County, South Texas, Nashville it’s pretty much “if you don’t bring a P bass, one will be issued to you”. The Sadowsky PJ was the only bass that got a pass from producers that were pushing me to use a P. Hell, my first job out of Houston, i showed up with a 5 string Lakland and they said it sounded too good and handed me a old Tokai with rusted strings and I cut a whole record with it. I guess that bass had been used on some songs that made radio play!
So there are no rules on what to use but from my experiences and watching around me a large percentage of the guys are mostly on Ps.
So there are no rules on what to use but from my experiences and watching around me a large percentage of the guys are mostly on Ps.
Exactly. If the bass sounds too good it sticks out and it won't mix.
And there's the goldilocks effect of unassuming gear.
I have an 1995 MIJ Fender P bass that has good action and plays well. The sustain is even across the 4 strings.
I tend to go for the 5 string in recording as you never know when the song will need the low note even if just once in the entire song to add that extra command of the sub frequencies.
But if you're a hired gun you play what they tell you unless they're convinced of what you brung.
I'm sure Will has played his signature model in the studio... but wow, I've read several articles and seen a lot of videos with Will tracking with old Fender Precisions and/or his heavily modded red P with the EMG Jazz pickups.
But make no mistake -- a Sadowsky with dual Jazz pickups sounds killer and records quite nicely.
Ultimately, it depends on the type of sound you're going for... and yes, many times a passive P does the trick... and other times, not.
But make no mistake -- a Sadowsky with dual Jazz pickups sounds killer and records quite nicely.
Ultimately, it depends on the type of sound you're going for... and yes, many times a passive P does the trick... and other times, not.
I've played a Jazz since 1966 when I bought a 1965 Jazz. Recorded with that at a Hollywood studio in the early 70's and then again in 1975 on a recording session for ATCO. More recently I recorded at a professional studio in Seattle and both the sound engineer and the owner of the studio came out to check what I was using because it was recording beautifully. I was running it through my WTDI instead of their DI because my DI has a built-in Eden WT preamp and I knew what it needed to sound good. Recording studios like it a lot when you bring in either a Precision Bass or a Jazz Bass because they know how to make them sound good in their recordings and their are easy to mix in with a group.
The P-bass is on the earlier recordings and for a while in the 70's and 80's the Jazz Bass was commonly featured in hit recordings. The problem is that you can't make a P-bass sound like a Jazz and you can't make a Jazz Bass sound like a P-Bass. You can get close with both of them but you can't really duplicate what the other sounds like. The P/J set-up is very good and you can get a far wider range of sounds out of it when you dial in that bridge pickup, but even when using both pickups, it doesn't really sound like a Jazz Bass.
You'd be better off for your recordings if you got one of each instead of the really nice Lakland, and they are really nice basses. You could easily buy the MIM versions of both for about half the price you'll pay for the Lakland. Actually for that $4000 price tag on the Lakeland, you should be able to get the US versions of both the Jazz and P-bass.
Every time I plug in the NYC Sadowsky P5 I am surprised at how quiet it is. There is absolutely no hum whatsoever. It seems like every note across the neck has the exact same output so notes on the G don't disappear. I'm still getting used to how clean the whole thing is. It's surprising how much I've compensated for other instruments I've played to get similar consistency. This isn't necessarily an endorsement, just something worth noting. If you can try one, do so before purchasing.
The last time I did a demo recording session, I brought my Hofner Ignition Club bass with nylont tapesound strings. The engineer saw me take it out of its bag and asked me if I wanted to use his '60s J bass instead and I declined. He persisted a bit so I tried both to see which one recorded better. He decided I should use the Hofner. After the session he asked me if I wanted to sell it to him. I declined and I still have it.
As far as P basses go, my favorite P bass tone comes from my Fender Mustang PJ LE with nylon tapewound strings using only the P pickup.
As far as P basses go, my favorite P bass tone comes from my Fender Mustang PJ LE with nylon tapewound strings using only the P pickup.
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I would start out with less expensive instruments and get to know how different types of basses vary in tone/feel. Honestly, if you don't fully understand whether you need a P or a PJ you shouldn't waste your money on a Fender Custom Shop. And it's not just about tonal differences or tonal range due to different pickup configurations. Buying a $4000 instrument without testing it and making sure the neck fits YOUR hands is quite frankly ridiculous. Have you even played a '50s (or early 60s) Precision? The nut width on those necks aren't for everyone, that's for sure! I have no idea about the neck or any other specs for the Custom Shop 59 you are referring to but as far as I can tell, neither have you.
You can get yourself a nice selection of Squier or Fender MIM Ps, Js, PJs, plus a Sterling Ray and an Ibanez SR and still have money left for a decent amp for the price of that single Fender Custom Shop. Chances are you may like one of the cheaper basses better.
If you want ONE bass without testing or having a clue what to get I'll recommend the Yamaha BBP34. It has a kinda "medium" size neck and a PJ-configuration which makes it quite versatile. It's easily as good as a Fender Custom Shop but less than half the price.
You can get yourself a nice selection of Squier or Fender MIM Ps, Js, PJs, plus a Sterling Ray and an Ibanez SR and still have money left for a decent amp for the price of that single Fender Custom Shop. Chances are you may like one of the cheaper basses better.
If you want ONE bass without testing or having a clue what to get I'll recommend the Yamaha BBP34. It has a kinda "medium" size neck and a PJ-configuration which makes it quite versatile. It's easily as good as a Fender Custom Shop but less than half the price.
My suggestion would be not to limit yourself to one bass. There is no such thing as one bass to do it all.
For what you are describing with movie scores , film work, and your style of play and music genres, I would suggest getting a straight up PBass with flats and getting a 5 string with a good low B and both active and passive capabilities.
Set a budget and decide how much money you want to put towards each bass. A Fender , Squier Classic Vibe, Nash, Moolon, or Olinto would make a fine PBass.
For a nice 5 string, I’d look at Ibanez, MusicMan StingRay5 Special, Sadowsky , Lakland, Dingwall, Yamaha,and Roscoe.
—I know that you’re thinking that you want one nice high end bass that will cover everything, but I personally think that you would be better off getting two slightly less expensive basses to handle the job. A passive p-bass with flat wound strings and an active bass with rounds.
As a guitar player you’re well aware that a Stratocaster, telecaster, and Les Paul all sound vastly different.
You can compromise the sound of the guitar by going with a “fat strat” type, but it won’t sound exactly the same. And neither will just one bass. If you can live with the compromise, the for versatility, I would definitely recommend something that can go active or passive and has more than one pickup with a variety of switching options …like a G&L L 2000.
