Chef
In Memoriam
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Good point. No, not at all. Over the years playing them, I just used the preamp. Guilty of not trying all options in recent memory. But, I do think there is a fundamental difference between the cut-based tone control on the Fender and the boost only Sadowsky circuit. As for the passive mode, just don't know. Do the tone controls operate at all in that mode? Didn't think they did, but its been so long since I looked at it in all honesty.
Chef
In Memoriam
You're right: treb and bass are boost only, only in active mode.
But, the VTC works just like any old Fender, in both active and passive modes.
But, the VTC works just like any old Fender, in both active and passive modes.
Right, and that's what I've been doing. Just the one sound that does not really translate for me, but no biggie cause don't use it that much and can get close enough. Its all good, and certainly the VTC is required for me for that reason. I recall on my first RV5 (before this series of threads even started
) I had to ask Roger to install the VTC as a custom upgrade. Now, they have become more common.
I think a lot of that has to do with how you are listening to a Sadowsky. A lot of that "harsh" aggressive tone that you hear when the bass is soloed just disappears in the mix. While I think it has a lot to do with what gives the bass its presence in the mix, it really gets "rounded off" with the rest of the instruments going.
I really noticed this in the last couple of recording sessions I did with that MV5-24. I ended up with a straight DI send to the board. The tone in the monitor was edgy, bright and VERY aggressive, but on the playbacks, it sounded much more like what you describe as Lizzy's tone. The HF in everything else covers that aggression.
Chef
In Memoriam
VTC is stock now.
Again, if you haven't tried passive mode, you might oughta.
Again, if you haven't tried passive mode, you might oughta.
Right, and that's what I've been doing. Just the one sound that does not really translate for me, but no biggie cause don't use it that much and can get close enough. Its all good, and certainly the VTC is required for me for that reason. I recall on my first RV5 (before this series of threads even started
Just a thought, why are there always so many Sadowskys in the classifieds and hardly ever any Alleva Coppolos?
Wow, my Vintage5 w. Big Singles just arrived!!!
That thing is loud compared to your usual JJ or PJ setup and has a ton of additional mids.
Mine is an ash/morado combo and sounds so big compared to the other Sados I used to have (MV5, UV5 & PJ5)
The front PU is very reminiscent of an aggressive P compared to a regular J single coil.
I'll gig it tomorrow night and will post pictures after.
That thing is loud compared to your usual JJ or PJ setup and has a ton of additional mids.
Mine is an ash/morado combo and sounds so big compared to the other Sados I used to have (MV5, UV5 & PJ5)
The front PU is very reminiscent of an aggressive P compared to a regular J single coil.
I'll gig it tomorrow night and will post pictures after.
abassman84 said:
I would think just the volume of basses made. Doesn't sadowsky pump out more basses than AC?
p0k said:
That's what I was thinking but it's like at least one a day for Sadowsky. Maybe people aren't finding that Sadowsky "sound" in every one they try...
+1
Me too.
When I'm setting up for sound check, I often find myself dropping the VTC, but I typically bring it back up when actually playing. The exception is in the in-ear worship gig. That one I typically keep the high end rolled off more for.
I doubt that very much. Sadowskys are very consistent.
There could be a lot of reasons not the least of which is money! A Sadowsky represents a lot of locked up cash which with the things the way they are these days, people need. I just sold all three of mine for a enough to buy a very respectable used car!!!
Sadowskys are not magic. They are not for everyone. Couple that with the overwhelming power of GAS that is epidemic at Talkbass, and your going to see a lot of churn.
I don't why people flip them, but I do not think there are a bunch of duds out there.
Just a thought... these sort of statements should not be on club threads.... more suited to be a stand alone discussion....then again these statements keep coming up continously and there are multiple threads and discussions on them and almost all never end up being pleasant.
abassman84 said:
When I was looking the first part of the year there wasn't anything here. I waited for awhile before deciding to look elsewhere. Seems to come and go in waves as there's quite a few Sadowsky basses there now.
- Nov 4, 2003
- 11,943
- 3,138
- Disclosures
- Endorsing artist- Suhr basses, PedalTrain, GHS, Ultimate Ears
There are what...like MAYBE 250 or so AC's in exsistance...and a couple thousand Sadowsky's.....
Just based on that alone should answer your question.
I'm not bad talking Sadowskys at all. I love mine. I'm just thinking as to why, and not necessarily lookin for an answer. I'm also not saying there are a lot of duds out there, but that some people develop a pre conceived notion of how these basses sound before they ever play them. It's hard to imagine that these basses sound nothing like a Fender because of aesthetic reasons, but they don't. I think looks alone are deceiving. Also, another reason for the common flip is because there ARE so many Sadowskys out there that through this form, we have the ability to try them all. Like I said, still enjoying mine but until the right NYC 24 4 comes along, I'm safe.
Actually, it's probably more like almost 6000, and that's just NYC's. Add in the Tokyo's and especially the Metros, and the number is even much larger.
Bottom line is, I think you're right, you just WAY undershot the difference. MASSIVE difference in installed base/market presence. MASSIVE.
Chef
In Memoriam
