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Club Sadowsky!!!

#25,861
KJung said:
That being said, to paraphrase the Andrew Zimmer (the 'strange food' guy on the travel channel): 'if it sounds good, do it':D
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His name is Andrew Zimmerman

KJung said:
Also, to your point of 'only taking the instrument cable out of it', there is a LOT more going on with the Sadowsky pre than pure buffering. As I said in my demonstration video, 'it isn't a transparent preamp, but it is a great preamp'. There is quite a bit of voicing in the 'EQ flat' setting of that pre... WAY beyond pure, transparent buffering. This is a good thing for me, and is another reason why I find little need to significantly boost either the lows or the highs... they are all there when the preamp is set relatively neutral... which is in no way 'flat'. Just IMO and FYI!
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I have to agree with this as well.
 
#25,865
Hounddog said:
I would like to hear from more of you about your preamp settings and why you choose to set them like that.
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I (as you know) use the Genz Benz ShuttleMAX 12 set basically flat. I actually use the mid scoop activated but adjust the low mids to around 200 hz and boost it a bit. I just happen to like this setting. Seems to work with my Uber cabs. The SM12 is very transparent and doesnt color the sound of the bass... IME.

On the Sadowsky bass, the pre is activated but set flat. But, if I need a little more low end I will add it on the Sadowsky pre. Especially if I'm favoring the bridge pickup.

Sometimes I sub for my friends cover band. I will use the L.F. Boost on the SM12 in some of the rooms since there is no PA support. That really works great to fill out the bass.

But, the Sadowsky pre activated and set flat is really how I leave it. To me, that is the Sadowsky sound.
 
#25,868
#127 in

CIMG1254_edited.jpg
 
#25,870
Hounddog said:
Back to my preamp questions from the last thread. After watching Roger's video I tried (@ practice ) boosting the Bass and treble to see if I can get what Roger was talking about. I liked the benefits of it. If you are running the preamp flat then all you are actually doing is taking the instrument cable out of the formula. Arent we missing an oppourtunity to make use of a great preamp ?

When I boost the Bass and Treble I feel like I have more punch and a fatter tone that I need to drive and support a band. I know I am gonna get disagreed with here but I am posting it anyway.
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totally agreed,

if roger wanted a design a subtle sounding preamp, he woulda made one. but this one isnt, and sounds great throughout all turns of the dial. only goes to show that ALL of our experiences only demonstrate roger's terrific design in offering everybody awesome tone.
 
#25,873
Hounddog said:
Back to my preamp questions from the last thread. After watching Roger's video I tried (@ practice ) boosting the Bass and treble to see if I can get what Roger was talking about. I liked the benefits of it. If you are running the preamp flat then all you are actually doing is taking the instrument cable out of the formula. Arent we missing an oppourtunity to make use of a great preamp ?

When I boost the Bass and Treble I feel like I have more punch and a fatter tone that I need to drive and support a band. I know I am gonna get disagreed with here but I am posting it anyway.
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I saw your previous post and was somewhat struck by the different responses. I think some of that is due to the different instrument configurations going on and also on the playing style and vibe players are going for.

I had yet a somewhat different take on Roger's preamp. I usually run the treble boost at about 25% and the Bass boost at about 40%, maybe 45%. I pan favoring bridge pup for pizz and balanced for slap and plectrum, or for old school. I mainly use the VTC to compensate for string "newness," with more cut for newer strings and decreasing it as the strings age. I leave the volume at about 75% and increase it for solos.

That's the way I roll. Great preamp. The thing I don't get about it is how it just jumps out in the mix, and not in any way I would have understood from playing in the home studio. There is definitely some mojo there.
 
#25,874
How about you Sadowsky P guys? I was eyeing Kevin's P-bass in the for sale thread and wondering how the Sadowsky treble boost would work on that bass. Is it useful there? Does it get into P/J territory at all?

/rick
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Obviously it depends on the tone you're looking for. If you want classic P-bass vibe used in Motown, blues, classic rock, country, then you'll probably want to leave treble flat and maybe dial in the VTC (passive treble cut) as well. OTOH if you want a snarly aggressive P-bass tone, then boosting treble kicks ass.

FWIW my gig cab is the sealed/tweeterless Bergantino NV610, so given that I like the snarly P-bass thing I always dial in treble boost to some extent, along with tube overdrive. I do this for modern rock (top link), and even classic R&B (bottom link). Both basses are alder and P-only. Top bass has a birdseye board, bottom one has Brazilian. Both snarl nicely IMO, but I tame it a bit for R&B. (I can easily get mellower R&B tones when I want to, especially when using flats.)

HighTest - Get In Get Out - YouTube

Bad Weather Boyz - Vehicle - YouTube


P.S. As mentioned in part 25, it can sound great to boost treble while also dialing back the VTC. IME that's especially useful with a tweetered cab: you can add high end without undue harshness.
 

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