Woah, that Leica D-Lux 4 does a NICE job... somebody's hornin' in on my cool pictures territory. Dunno man, you get some beige carpet in there I may have to get your coordinates and send you a little "gift"....
...
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Can't tell from the photo; however, the strap buttons that usually ship (installed) can be used with the Dunlop locks or just as regular buttons. Have you double checked that the locks don't fit into the end of the installed strap buttons?
Later
Rob
Later
Rob
Yeah, that's a mixup. As I understand it, all the Metros sold from the Sadowsky shop should have the Dunlops pre-installed. Call them and I'm sure they'll send them to you.
Nope, they are standard strap buttons. I'll ping the boys. Oddly enough I just discovered that my MB-2 has Dunlop straplock buttons installed. Who knew?
well, I suppose the original owner knew
True dat. A massive missive from the modern.
That is a SIGHT! I love the change of pace on that burst.
Congrats bro.
B.
Woah, that Leica D-Lux 4 does a NICE job... somebody's hornin' in on my cool pictures territory. Dunno man, you get some beige carpet in there I may have to get your coordinates and send you a little "gift".
no fair peeking at my exif
More art shots. These two basses could not be more sonic yin/yang
Ok, I've been putting this through the paces in between packing boxes. I won't get it in a band situation until Sunday but gawd knows I've been through enough basses in the past year to have an inkling of how it'll function. Knowing that words are piss-poor at describing sound I'll still give it a shot.
I previously had a Metro PJ5. I loved that bass *except* for the weight (was about 9.5 lbs) and the string spacing (19mm). At the time I bought it I was coming from Zons (17mm bridge) and hadn't played 4-strings in over a decade. My right hand had a really tough time and once I got a Rob Allen 5 that was a bit over 18mm spacing (and plays narrower due to the thicker strings), it was bugging me. That led me on a merry-go-round of really nice basses, and since my Deep 5 is 35" scale I decided I'd try some fretted 35" scale basses. Problem is that a Rob Allen just plays way shorter than its scale length leads you to believe. And I couldn't get comfortable on the Roscoes and Lull that I had (though they were sick basses). As I close in on age 50, and am gigging 2-3x a week plus tons of computer work at my day job, ergos matter a lot.
Wait, I thought I was going to talk about sound? Hmm, I'll get there I suppose. Anywho, in the meantime I forced myself to get back into 4-string (and that actually was a good move), which led me back to 19mm spacing but a 4 plays different than a 5. I sold everything but my Rob Allen 4 and 5 fretless and a Fender AmDlxP, biding my time for a pair of Skjolds being made (both will be 5-strings, 34" scale and Pete's basses play "short" as well). An empty wall hanger is a terrible thing to see every day...
I've never been a JJ kinda guy (tried many times), instead preferring PJ or the RA piezo thing. I dug the tone of my Roscoes but the ergos didn't work for me. So the Modern 24 5 seemed like it might be an interesting fit. I have 4 different bands I play in, and in one of them I can get more experimental and play above the 7th fret. At a typical nostatic gig I take two basses - one RA and one fretted. The RA does the "upright" thing perfectly, and will venture into funk as well. But sometimes you just need frets and zing to scratch that musical itch. The PJ has been working fairly well for that, but sometimes you also want a low B to work with, either for low notes or extra notes up the neck.
I'm long winded...evidently I'm avoiding getting back to packing. So running the R5-24 back to back with the PJ and RA yields some interesting contrasts. I'm playing it through a Streamliner 900 into a Berg AE210 (my usual setup). The RA is huge through that as the S900 head has gobs of booty. I usually roll off the bass quite a bit, though the PJ kinda likes the bass up a bit more so I have a conundrum when I play live. I really should change amp setting when switching between the RA and the PJ.
Enter the Modern. I'm running it flat (no bass/treble boost). Umm...no lack of booty here. I think I may be able to eq this identical to the RA and have them swap seamlessly at gigs. It is a totally different voice than the RA but that's what I want. Interestingly enough, it is a very different voice than the PJ as well, though they are closer. My bud Jerry has an M5-24 and he suggested that I'd probably never run the bridge pup solo, instead favoring neck for a fat tone and running 50/50 for a killer slap. Maybe it is the alder/rw or my taste, but I actually like the bridge pup a lot. The S900 is such a fat amp the bridge pup doesn't sound thin. It just sounds like a ninja on meth wielding a machette. Or maybe a cold steel Katana.
I'm finding that I like the VTC around 50% no matter what pup blend. That may change as the strings age, but I like the way it backs off the sizzle. The neck pup doesn't sound exactly like a P, but it has that similar vibe and again, with the S900, is massive (5" - hell, maybe 6"!).
The 18mm spacing was a great call. It is a hair narrower than the Deep 5 according to the ruler but due to the string thickness feels about identical. Only real difference is the Sad is a bit wider up the neck (nut widths are the same). Since the pups are blade magnets the change in spacing doesn't affect the sound. B-string is awesome - yet another example that you don't need 35" for a great B. I'll be interested to try nickel strings on this as I'm usually a nickel guy and it may mellow it a bit more (likely run the VTC a bit more open).
The weight and balance are great. 24 fret basses can be a challenge for ergos if you're used to a shorter neck setup. The Sad 24-fret body is really well shaped. You can tell that Roger and the guys work closely with actual players and have tweaked their designs accordingly over the years
In short - it is exactly what I thought it might be. A "yang" to the "yin" of the RA. It seems more flexible an instrument that some might assume, though again, the acid test will be Sunday when it gets gigged. I'll record that (as always) so there will be plenty of examples of it in a mix, which is really all I care about.
I think a 4-string version of this would kill as well
I previously had a Metro PJ5. I loved that bass *except* for the weight (was about 9.5 lbs) and the string spacing (19mm). At the time I bought it I was coming from Zons (17mm bridge) and hadn't played 4-strings in over a decade. My right hand had a really tough time and once I got a Rob Allen 5 that was a bit over 18mm spacing (and plays narrower due to the thicker strings), it was bugging me. That led me on a merry-go-round of really nice basses, and since my Deep 5 is 35" scale I decided I'd try some fretted 35" scale basses. Problem is that a Rob Allen just plays way shorter than its scale length leads you to believe. And I couldn't get comfortable on the Roscoes and Lull that I had (though they were sick basses). As I close in on age 50, and am gigging 2-3x a week plus tons of computer work at my day job, ergos matter a lot.
Wait, I thought I was going to talk about sound? Hmm, I'll get there I suppose. Anywho, in the meantime I forced myself to get back into 4-string (and that actually was a good move), which led me back to 19mm spacing but a 4 plays different than a 5. I sold everything but my Rob Allen 4 and 5 fretless and a Fender AmDlxP, biding my time for a pair of Skjolds being made (both will be 5-strings, 34" scale and Pete's basses play "short" as well). An empty wall hanger is a terrible thing to see every day...
I've never been a JJ kinda guy (tried many times), instead preferring PJ or the RA piezo thing. I dug the tone of my Roscoes but the ergos didn't work for me. So the Modern 24 5 seemed like it might be an interesting fit. I have 4 different bands I play in, and in one of them I can get more experimental and play above the 7th fret. At a typical nostatic gig I take two basses - one RA and one fretted. The RA does the "upright" thing perfectly, and will venture into funk as well. But sometimes you just need frets and zing to scratch that musical itch. The PJ has been working fairly well for that, but sometimes you also want a low B to work with, either for low notes or extra notes up the neck.
I'm long winded...evidently I'm avoiding getting back to packing. So running the R5-24 back to back with the PJ and RA yields some interesting contrasts. I'm playing it through a Streamliner 900 into a Berg AE210 (my usual setup). The RA is huge through that as the S900 head has gobs of booty. I usually roll off the bass quite a bit, though the PJ kinda likes the bass up a bit more so I have a conundrum when I play live. I really should change amp setting when switching between the RA and the PJ.
Enter the Modern. I'm running it flat (no bass/treble boost). Umm...no lack of booty here. I think I may be able to eq this identical to the RA and have them swap seamlessly at gigs. It is a totally different voice than the RA but that's what I want. Interestingly enough, it is a very different voice than the PJ as well, though they are closer. My bud Jerry has an M5-24 and he suggested that I'd probably never run the bridge pup solo, instead favoring neck for a fat tone and running 50/50 for a killer slap. Maybe it is the alder/rw or my taste, but I actually like the bridge pup a lot. The S900 is such a fat amp the bridge pup doesn't sound thin. It just sounds like a ninja on meth wielding a machette. Or maybe a cold steel Katana.
I'm finding that I like the VTC around 50% no matter what pup blend. That may change as the strings age, but I like the way it backs off the sizzle. The neck pup doesn't sound exactly like a P, but it has that similar vibe and again, with the S900, is massive (5" - hell, maybe 6"!).
The 18mm spacing was a great call. It is a hair narrower than the Deep 5 according to the ruler but due to the string thickness feels about identical. Only real difference is the Sad is a bit wider up the neck (nut widths are the same). Since the pups are blade magnets the change in spacing doesn't affect the sound. B-string is awesome - yet another example that you don't need 35" for a great B. I'll be interested to try nickel strings on this as I'm usually a nickel guy and it may mellow it a bit more (likely run the VTC a bit more open).
The weight and balance are great. 24 fret basses can be a challenge for ergos if you're used to a shorter neck setup. The Sad 24-fret body is really well shaped. You can tell that Roger and the guys work closely with actual players and have tweaked their designs accordingly over the years
In short - it is exactly what I thought it might be. A "yang" to the "yin" of the RA. It seems more flexible an instrument that some might assume, though again, the acid test will be Sunday when it gets gigged. I'll record that (as always) so there will be plenty of examples of it in a mix, which is really all I care about.
I think a 4-string version of this would kill as well
I'm still sorting that out. I do a floating thumb, and on the PJ anchor on the P pup most of the time if I'm playing the E string. I slide towards the neck or bridge though depending on the tone I'm looking for. Anchoring on the neck pup on the R5-25 puts my right hand closer to the bridge than on the PJ, but most of the time my thumb will be on the B or E-string so the pup location is less of an issue from that standpoint. For slapping (which is not my forte) I'm inbetween the pup and the edge of the fingerboard.
I actually messed around a bit with playing right around the 24th fret which gives an even bigger tone and is about there I'd normally be on my RA, but again the ergos are a little different. The biggest thing is that the nut isn't too far from my body so I don't have to cock my left wrist at a funny angle. That was the killer with some of the 35" scale basses, especially if they don't have a long upper horn.
I actually messed around a bit with playing right around the 24th fret which gives an even bigger tone and is about there I'd normally be on my RA, but again the ergos are a little different. The biggest thing is that the nut isn't too far from my body so I don't have to cock my left wrist at a funny angle. That was the killer with some of the 35" scale basses, especially if they don't have a long upper horn.
Sounds like you're pretty excited about exploring this bass.
It's an interesting thing about my P/J as well re thumb position. On my Fender P I like to float the thumb down the front edge of the P pup due to the vinatge characteristic of the P tone. But on my Sad' I have found that "home" is on the back edge of the top section of the P pup. The so called "contemporary" nature of the tone of this bass fits that position. Like you say though, travel on the fingering location is so important & it's a feel thing during play. I just thought that the wide surface of that big pup would have a gravitating influence for that ramp. Have fun T.
B.
It's an interesting thing about my P/J as well re thumb position. On my Fender P I like to float the thumb down the front edge of the P pup due to the vinatge characteristic of the P tone. But on my Sad' I have found that "home" is on the back edge of the top section of the P pup. The so called "contemporary" nature of the tone of this bass fits that position. Like you say though, travel on the fingering location is so important & it's a feel thing during play. I just thought that the wide surface of that big pup would have a gravitating influence for that ramp. Have fun T.
B.
TimothyGroovy
Commercial User
- Aug 3, 2000
- 2,374
- 2,097
- Disclosures
- Owner: Uni•Sound Endorsing Artist: Sadowsky Guitars, Olinto Bass, LaBella Strings
Bass Collector said:IN!
That fingerboard is off the chain Bluesy!
Thx! It is super stunning in person too!
