ElMon said:If that by any chance means you're letting go of that sweet Modern of yours, please forward me your Paypal account info!!! It would ease my pain at letting one slip away!! The GOOD news is I have more money to drink with now
Ah . . . No.
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Ah . . . No.
Ah . . . No.
I'll keep saying prayers to Saint Happenin, Patron Saint of Lost Causes.
I wouldn't get too down about it. Those things pop up reasonbly often. There have been two or three since I bought mine.
Chin up, my boy!!
charles
Your faith inspires me!!! I've been very intrigued at how the ebony board and mahogany body would change the tonal equation from the ash/maple Metro M24 I owned. From what Vic/Bowlus/yourself have posted I think I know what to wait for. Plus it's not like I DON"T have a stunning PJ5 right next to me as I type this!!!
ElMon said:
Mahogany is very dark and thick to my ear. Think Les Paul. I think it combines nicely with the Brazilian RW on my bass to tame the very aggressive nature of the modern's PU design and placement. I can definitely imagine how an ash/maple variant might be top much of a good thing. Ebony, I am not sure how it would play out.
The Modern in any form is a different animal. I absolutely LOVE that bass.
I sold my Modulus Q5, and went through three really nice Fenders including a great specimen of an ADPV that really didn't yield as much as you would think to any of the Sadowskys I've owned. After that, the two vintage style NYCs, and a brief flirtation with a couple of Dingwalls, and all the while I lamented parting with my Q. Five minutes after playing my Modern, the Q was water under the bridge. It has that ability to make me delight in every moment I get a chance to play it.
The PJ, on the other hand, is just a bass. I have no doubt it is exactly what it is intended to be. But 99 times out of 100, the other one is the one I'll reach for. Someone needs it who will play it. So, it's off to a new home tomorrow, and I'll rotate something else into the audition for the second fiddle slot.
I think that after my experiences with the three vintage style Sadowskys, I have to come to the conclusion that they just aren't my thing. The harder part is admitting that it's ok to think that!
Mahogany is very dark and thick toy ear. Think Les Paul. I think it combines nicely with the Brazilian RW on my bass to tame the very aggressive nature of the modern's PU design and placement. I can definitely imagine how an ash/maple variant might be top much of a good thing. Ebony, I am not sure how it would play out.
The Modern in any form is a different animal. I absolutely LOVE that bass.
I sold my Modulus Q5, and went through three really nice Fenders including a great specimen of an ADPV that really didn't yield as much as you would think to any of the Sadowskys I've owned. After that, the two vintage style NYCs, and a brief flirtation with a couple of Dingwalls, and all the while I lamented parting with my Q. Five minutes after playing my Modern, the Q was water under the bridge. It has that ability to make me delight in every moment I get a chance to play it.
The PJ, on the other hand, is just a bass. I have no doubt it is exactly what it is intended to be. But 99 times out of 100, the other one is the one I'll reach for. Someone needs it who will play it. So, it's off to a new home tomorrow, and I'll rotate something else into the audition for the second fiddle slot.
I think that after my experiences with the three vintage style Sadowskys, I have to come to the conclusion that they just aren't my thing. The harder part is admitting that it's ok to think that!
It's a convoluted but highly entertaining process. I will say that the PJ5 experience isn't complete until you try Braz RW/Alder. IMO/IME morado/alder doesn't compare. Just a nuance to some, but a big deal to ME.
The ash/maple M24 I had was the most aggressive and articulate bass I've owned. If I had serious disposable coin and the gigs to warrant it, I"m sure I could find a reason to own about 6 or 7 Sadowsky basses in different wood combos and with different setups. Heck I'd love to have my old MV5 back for its slap tone ALONE.
It's not just the tone of the vintage style basses. It's the tone, the feel, the vibe -- everything. I just seem to fight them way more than I ought to. I want to plug in a bass and play it. I don't want to be tweaking, changing or otherwise fighting with myself over the playing experience the whole time. I just don't seem to be able to get that with those kinds of basses. No offense to Sadowsky. Pretty much anything I have played with Js or a PJ config is that way to me.
Give me two humbucking soaps or give me death!!!
Chef
In Memoriam
Charles; we need to get together sometime.
I'd like to play your modern, and you might actually like my G&L L2500K...
I'd like to play your modern, and you might actually like my G&L L2500K...
TimothyGroovy
Commercial User
- Aug 3, 2000
- 2,374
- 2,097
- Disclosures
- Owner: Uni•Sound Endorsing Artist: Sadowsky Guitars, Olinto Bass, LaBella Strings
Yes, mine does
Maple top / Ash Body /B.rw board
This one gives me what I'm actually looking for, punchy yet warm fingering tone and slapping's punch.
clips for you
Invalid Link Removed - (Vol full on, PU slightly blend to bridge, Tone 80%, no bass/tre boosted)
Invalid Link Removed - (Vol full on, PU center, tone full, slightly bass/tre boosted around 10%)
- Apr 3, 2003
- 35,516
- 19,947
- Disclosures
- Editor-in-Chief, Bass Gear Magazine
As always, YMMV, but IME/IMHO, mahogany is full in the low mids (more so than many other woods, but not a ton more than, say alder), but fairly neutral everywhere else.
Outbid by 50 bucks with SECONDS TO SPARE!!!!!!!!!!!!
Sorry to hear that. I promise it wasn't me.
I try and share with the group, open up my heart to you, and next thing you know some slick Spaniard gets my Sadowsky out from under me.
Later, I'll fly over to confront said gentleman, only to be placated by endless plates of amazing cheese and copious amounts of wine. When I wake from my stupor in a remote part of Basque country, pants gone and no Sadowsky in sight, I"ll chuckle about the great story I'll have later for the forums....IF I live.
Good luck, man
You forgot the beef, the vegetables, the sea food...and the women...ah! and if you ever make the trip, we are neighbors with the basque country so make sure you point a little more to the West.
I hear ya. Although I love my PJ5, the sound of the M24/Modern has never really left me.
Sorry to hear that. I promise it wasn't me.
You forgot the beef, the vegetables, the sea food...and the women...ah! and if you ever make the trip, we are neighbors with the basque country so make sure you point a little more to the West.
How could I forget?? My father spent a few weeks in Basque Country and thereabouts on a Geological survey and was absolutely smitten with the people and food.
and the new owner will play it and will post pics and join this awesome fraternity.
Chef
In Memoriam
All the Atlantic coast of Spain is pretty similar (landscape, weather, food,...) and quite different from the rest of the country. Even autoctonous traditional music, which is much more influenced by the Celtic music and has little to do with flamenco.
For centuries this lands where isolated due to the big mountains that were a natural barrier so the muslims and other clutures that arrived to Spain from Africa or the Mediterranean never really got deep into this area.
Well, no more lessons,...if you ever make it to Santander you'll find quite a bunch of Sadowskys around here: from my PJ4 and single-coiled J4 to some nasty topped Moderns and Standard 5's that a friend of mine owns.
Clearly Roger and Co's work speaks for itself, the world over. I'm curious to know if a fellow TB'er snagged that Modern from me. If so, fess up and I promise that after several frowny face emoticons I will gracefully congratulate you on your purchase and ask to be first in line if you ever sell it.
And now to dream of beautiful Spanish women and rolling hills.....
