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Club Sadowsky!!!

#28,161
Chef said:
Hahahahahahaha!!!!!.....twss.
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;) Couldn't resist!

Modern Growl said:
I can't hear the sound clips - but it seems your stating other then the ovbious "Sadowsky vs. Fender" thing - which we all get by now... that the Sadowsky nails the P-Tone rolled all the way to the neck pickup?

Also, the Sad has the P in the "correct" position?
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Don't know why the clips aren't coming thru on your end. I checked them again when I posted that and they're still up on my end. And yes, to answer your question, those examples are as stated in the description. Passive setting and rolled all the way to the P pickup.

Modern Growl said:
see, now you gone done ruined everything! ;)
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Once you get that PJ jones I promise you your bank account will have reason to be nervous.

Modern Growl said:
I would love to get more input if a Sad PJ (in P mode) sounds like a real P?
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To me it has 99% of what, again for MY needs, makes a Pbass 'a Pbass'. But with that in mind there are tonal differences. The Sadowsky IME has more sustain, is clearer sounding in the highs, and is more even across the neck. Which is a good thing IMO. Plus, you have the ability to dial in a whole other palette of sounds.

There's a certain quickyness about Fender Pbasses that I've owned that just can't be found elsewhere, and it's very subtle. In concrete terms, and referencing my current P5 against the Sad PJ5's I've owned:

1) my Fender just has a heavy and chunky feel to it that reminds me of the 78'/62'/Custom Shop P's I've owned previously. Where my Sadowsky felt like the hi-end lightweight instrument that it was, my Fender feels like I could club wild pigs with it all day and it would still be ready for the gig. This goes back to the weight discussion that went on earlier in the thread. If I ordered another Sad P5 or PJ5, I'd go non-chambered and would shoot for a 10lb bass. YMMV.

2) Tonally there's a certain 'thud' for lack of a better term. The notes on the Fender have a faster decay that when strung with flats, and again let me use this line, 'hits me square in the PBone'. The Sadowsky had WAY more sustain, even with flats. So, depending on your needs this could be a plus or minus.

Hope that helps, and I should add that right now I'm WAY more content with my ash/maple UV5 string at the moment. Thinking of throwing SC's in there when I get some more gigs and cashola.
 
#28,163
ElMon said:
I should add that I recently got rid of that PJ5 and now have a 'true' Fender Am Std 08' Pbass with Chrome flats. And yes, it does in fact 'hit me in the P Bone' more than the NYC PJ5 did. Those small subtle differences in tone and feel do add up.
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And now that PJ5 is mine. For the time being, I'm not letting it go because it has so much character and voicings. I had flats on it, then light rounds, now I wait for the standard rounds coming in the mail. I have a feeling that I will prefer the std rounds. I've done some recording with it (soundcloud in my sig) but nothing like ElMon's true to life comparison! Bravo!
I'd be playing that PJ5 now since I'm home and not at work today, but I'm so weak and down with the flu that It's impossible to hold up my own weight. Texting from bed fellas....
 
#28,164
ElMon said:
I should add that I recently got rid of that PJ5 and now have a 'true' Fender Am Std 08' Pbass with Chrome flats. And yes, it does in fact 'hit me in the P Bone' more than the NYC PJ5 did. Those small subtle differences in tone and feel do add up.
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My P is also an Am Std '08. I agree that it just hits the P spot. I think you're right in that it's all the little things that add up. I'd dearly love a Sad PJ 5, but it wouldn't be to replace my Fender; it would be as a totally separate tool.

Funny, though: I totally don't see Jazz basses the same way. My standard *is* my active Jazz. In fact, it's my only J bass.
 
#28,165
BluesyCat said:
And now that PJ5 is mine. For the time being, I'm not letting it go because it has so much character and voicings. I had flats on it, then light rounds, now I wait for the standard rounds coming in the mail. I have a feeling that I will prefer the std rounds. I've done some recording with it (soundcloud in my sig) but nothing like ElMon's true to life comparison! Bravo!
I'd be playing that PJ5 now since I'm home and not at work today, but I'm so weak and down with the flu that It's impossible to hold up my own weight. Texting from bed fellas....
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That's some serious dedication to Club Shadooski there! You should record some 'loopy from the flu' recordings. It'd be like free jazz, but cooler.

roadkill2309 said:
My P is also an Am Std '08. I agree that it just hits the P spot. I think you're right in that it's all the little things that add up. I'd dearly love a Sad PJ 5, but it wouldn't be to replace my Fender; it would be as a totally separate tool.
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Exactly!
 
#28,166
I had a Fender Custom Shop Jazz 5 and while the the first impressions were fantastic, the honeymoon ended sooner than expected and then the quest to replace it set in. I ended up selling it before getting another 5er to replace it or even knowing what to replace it with! That 5 is ElMons PJ5. 2-3 yrs later!
I'm glad to hear that the Fender Am P is that good... From what ur all saying, it sounds better than their J5.
 
#28,167
You people are making me really uncomfortable talking about "P bones" and "P spots" and such. ;)

But to the point, there's lots of elements here, mainly having to do with the pickup IMHO (let's assume passive mode, and same wood combos just to keep it simple). Roger, at least as far as I know, has never really gone out to totally cop/mimic/dupe the Fender tone exactly. He's always tried to take the best elements of those sounds and then augment them to hopefully perform more effectively for most players live and on recordings. Clearly, this won't serve the purist sticklers, but Fender's already got those folks covered. :)

But at least in my case, I've always felt like, as much as I like and respect the Fender P's heritage and performance in countless benchmark recordings, the "Sadowsky take" works better for me. I've "tried" many times to own a great P bass, and could just never keep them. Just always felt like there was something missing for my personal tastes.

The short answer is, I feel like my PJ5 Metro nails the tone I personally look for in a P style bass.

P.S. FYI, there is no series/parallel issue... all P pickups are wired in series... otherwise, they lack a HUGE component of what makes a P type sound great.
 
#28,170
Vic said:
You people are making me really uncomfortable talking about "P bones" and "P spots" and such. ;)

But to the point, there's lots of elements here, mainly having to do with the pickup IMHO (let's assume passive mode, and same wood combos just to keep it simple). Roger, at least as far as I know, has never really gone out to totally cop/mimic/dupe the Fender tone exactly. He's always tried to take the best elements of those sounds and then augment them to hopefully perform more effectively for most players live and on recordings. Clearly, this won't serve the purist sticklers, but Fender's already got those folks covered. :)

But at least in my case, I've always felt like, as much as I like and respect the Fender P's heritage and performance in countless benchmark recordings, the "Sadowsky take" works better for me. I've "tried" many times to own a great P bass, and could just never keep them. Just always felt like there was something missing for my personal tastes.

The short answer is, I feel like my PJ5 Metro nails the tone I personally look for in a P style bass.

P.S. FYI, there is no series/parallel issue... all P pickups are wired in series... otherwise, they lack a HUGE component of what makes a P type sound great.
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Great post - thanks Vic.
 
#28,171
Vic said:
You people are making me really uncomfortable talking about "P bones" and "P spots" and such. ;)

But to the point, there's lots of elements here, mainly having to do with the pickup IMHO (let's assume passive mode, and same wood combos just to keep it simple). Roger, at least as far as I know, has never really gone out to totally cop/mimic/dupe the Fender tone exactly. He's always tried to take the best elements of those sounds and then augment them to hopefully perform more effectively for most players live and on recordings. Clearly, this won't serve the purist sticklers, but Fender's already got those folks covered. :)

But at least in my case, I've always felt like, as much as I like and respect the Fender P's heritage and performance in countless benchmark recordings, the "Sadowsky take" works better for me. I've "tried" many times to own a great P bass, and could just never keep them. Just always felt like there was something missing for my personal tastes.

The short answer is, I feel like my PJ5 Metro nails the tone I personally look for in a P style bass.

P.S. FYI, there is no series/parallel issue... all P pickups are wired in series... otherwise, they lack a HUGE component of what makes a P type sound great.
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Exactly and plus a bajillion there. Definitely would steer away the Fender Purists. All of these subtle tonal differences can add up to a huge difference in the end. Roger's basses themselves prove this to me. Sure, I can get a good useable bass tone out of any number of basses I've owned in the last several years. And 9/10 no one in the audience/band would even notice or care. But that extra little bit of mojo in this brand, for me the ergonomics of the basses and the ability to sound thick all the way up the neck while still remaining clear and pitch focused, that adds up to a huge difference in the end.

Next year might just see me ordering a heavier NYC P5 with 20 frets and a bigger nut width. My Fender should be worried.

BluesyCat said:
THIS is dedication!

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Chef said:
Dedication, and talent.
Not everyone can phone it in while sleeping.
Get well soon!
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Awesome!
 

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