KPO2000 said:
Oh, I forgot to say that, though I generally prefer coffee-table basses. Natural and black totally overcomes my aversion to pick guards. It's my fave of the non-fancy styles.
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Oh, I forgot to say that, though I generally prefer coffee-table basses. Natural and black totally overcomes my aversion to pick guards. It's my fave of the non-fancy styles.
I'd love to have a coffee table bass in my quiver, but overall, the fancy tops aren't for me. I love the simplicity of the classic understated designs.
As a point of clarification to a point I made earlier, here's a partial quote from an interview Roger gave many years ago that I had tucked away in my "hard copy files" 
Re. the FET 2 band preamp.
"...... As you boost the treble and the bass on our preamp, it attenuates the mid at about 300Hz. That's where there's no overlap between the low and the treble bands. Even though you're boosting bottom, because you're attenuating the mids, the bottom gets tighter rather than boomier.
...... the sound I've been known for, for many years."
B.
Re. the FET 2 band preamp.
"...... As you boost the treble and the bass on our preamp, it attenuates the mid at about 300Hz. That's where there's no overlap between the low and the treble bands. Even though you're boosting bottom, because you're attenuating the mids, the bottom gets tighter rather than boomier.
...... the sound I've been known for, for many years."
B.
Thanks for listening! I actually forgot that the tune was in my signature.
That's a Wal MarkI Custom on that track. Mahogany with olive wood top, and ebony fingerboard (fretted). I start toying with 220 - 250 usually to see if I can get the low end of the bass, kick, and guitars to all jive with eachother. 500 will get a cut if the guitars are thick in the mids in a good way, but I usually always record the bass itself flat. To me, Sadowsky's sound as though they are voiced to avoid having to do much shaping with EQ regardless. The double humbuckers of the Wal make it a very low mid / mid heavy instrument.
After 40 years of playing on and off and a zillion basses going back to a '66 Fender Jazz I find my Sadowsky basses sound as good at home through a small combo as anything I've ever played. I'm not touching the craftsmanship or playability or service or reliability etc here you'll note.
When I'm gigging however, all other basses seem to fade away or get lost in the mix. That's when the Sadowsky's stand out on their own and is why I play 'em.
Never an "underwhelming" Sadowsky. Oxymoron.
I tend to shy away from the usual sunburst/tort combo. I've never really liked it. I find that natural with black just looks brilliant, though. I'm also not really jingoistic about it; I've liked a lot of basses with pickguards or some variant of a burst -- the Sadowsky Dark Cherry burst comes to mind.
I seem to remember a fancy topped bass with a pickguard and a trans blue (?) finish on it around here a long time ago. I fell for that one big-time, even with the pickguard. I *think* it was a Sadowsky, but I'm not sure enough to go to the mats over it. It was quite a while ago.
PS: Oh my [Invalid or Expired Link Removed].
Hounddog's bass is the only one one I've see lately that makes me think "I could handle a fancy top." Busy but beautiful!
As a point of clarification to a point I made earlier, here's a partial quote from an interview Roger gave many years ago that I had tucked away in my "hard copy files"
Re. the FET 2 band preamp.
"...... As you boost the treble and the bass on our preamp, it attenuates the mid at about 300Hz. That's where there's no overlap between the low and the treble bands. Even though you're boosting bottom, because you're attenuating the mids, the bottom gets tighter rather than boomier.
...... the sound I've been known for, for many years."
B.
I wasn't sure I wanted to post this overdub again because it's not the typical Sadowsky character in the tone that I have referred to & which I love so much in the tone of other Sad' players, but it does demonstrate the point stated in the above quote very well regardless of being flat wound tone.
This example has a bass boost of 50% & a treble boost of 60%.
That's a LOT of bass boost & if you listen, you can hear how tight the bass is as a result of the mid attenuation. Not boomy at all as you might expect with that much boost. There's 3 variations of mix in the song (inc. instrumental) & with the steady groove you can hear the bass focus all the way through those variations. PJs @ detent/VTC full up.
I have a friend who works in pro audio environment (& plays some bass as well). He is very impressed at how consistant a Sadowsky bass is in it's tonal signature at all registers - & he doesn't even like flats.
B.
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Sounds great , just love the tone , i put a tone sample vid up for my sadowsky NYC Ulta Vintage P Bass I have had for a while now , aside from bad acting and noodle playing you can really hear the tones of this great bass , I absolutly love it the more I play it , I just got a GB Streamliner 900 head and have been running that with 2 Berg AE112's and my old trusty Berg HT-322 , man this bass and that set up is just making me so happy , what a great combo , ive gone thru so many basses over the years and just keep going back to my Sadowskys and old fenders , i am going to sell a couple sitters and get another sadowsky to cover for my old 1966 fender alder rosewood jazz bass , I struggle with taking that old bass out to gigs unless I can keep my eye on it at all times , cant imagine needing any others Sadowsky NYC ultra vintage P bass - YouTubeI wasn't sure I wanted to post this overdub again because it's not the typical Sadowsky character in the tone that I have referred to & which I love so much in the tone of other Sad' players, but it does demonstrate the point stated in the above quote very well regardless of being flat wound tone.
This example has a bass boost of 50% & a treble boost of 60%.
That's a LOT of bass boost & if you listen, you can hear how tight the bass is as a result of the mid attenuation. Not boomy at all as you might expect with that much boost. There's 3 variations of mix in the song (inc. instrumental) & with the steady groove you can hear the bass focus all the way through those variations. PJs @ detent/VTC full up.
I have a friend who works in pro audio environment (& plays some bass as well). He is very impressed at how consistant a Sadowsky bass is in it's tonal signature at all registers - & he doesn't even like flats.
B.
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Totally true; but, IMO you should still take the Fender out on gigs. IME no one pays much attention to whatever bass is on the stand. Also, the stage area is pretty off limits, IME. Just like any instrument you have to pay attention during load in/out. I have not seen people scouting around to rip off older Fenders. In fact, most of the time no one, even the other musicians, have the slightest idea what you are playing.
The only reason my Sadowsky has taken most of my gigs lately is it is just flat out easier to use. I do have the Sadowsky Outboard for the Fender; but find I have to do more knob twiddling in between tunes to account for pizz/slap/plectrum. Just seems a little fussier. My 2c.
I hear you , I do take it out at times , just so much emotional attacment , I started playing it when I was 17 and am 47 now , my buddy at the time bought it and he was a guitar player and used it for coming up with bass lines , none of us at the time knew what that bass was , he passed away when we were 25 and his mom gave it to me , but your right no one is really looking to steal in most cases and I know Nick would want me playing it , I use my old school Sadowsky belt clip battery style pre amp ive had for years with that bass and it sounds great , I do play it allot at home , just always wanted a Sadowsky like it for some reason , I think ill break it out today , thanks
- Feb 3, 2005
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- Endorsing artist: Bergantino Audio Systems and GHS Strings
I understand not taking it out bc whether someone scoped it out or just was grabbing the nearest "guitar", it happens.
All of the basses I gig with are ultimately replaceable. I'd be devastated if someone stole one of my Sads, but I could also order a replacement just like it. Vintage + sentimental value gets tricky.
All of the basses I gig with are ultimately replaceable. I'd be devastated if someone stole one of my Sads, but I could also order a replacement just like it. Vintage + sentimental value gets tricky.
I can see why you don't want to take it out too often. It's great to have a guitar provide a warm connection to your past.
FWIW, I take my old Fenders out only when I know the stage is going to allow me to move around without fear of getting the headstock dinged. Since I'm in a 7 piece band and typically play small stages that means the Fenders don't get out very often.
FWIW, I take my old Fenders out only when I know the stage is going to allow me to move around without fear of getting the headstock dinged. Since I'm in a 7 piece band and typically play small stages that means the Fenders don't get out very often.
Yup, somewhat similar for mine. Its the one I certainly would NOT want to lose. Hear you all the way on that one. Enjoy it (carefully, of course).
Thanks for the vid Craig. Nothing quite like the big grin of looking at a beautiful P-Bass. Speaking of sentiment, I never forget my first time playing a brand new '63 P. Put the hook in me REAL deep! Even though I now have the luxury of blending in that J pup, I still love soloing the split pup.
Congrats on the new head. Don't take too long giving us a demo.
B.
