I see so few 24 fret Sad's. Any particular reason why.
No shortage of 5-24 Sadowsky basses around here. I've been in and out of a lot of basses, from a lot of different makers, and this is by far the best configuration for me. Ergonomics are superb; I love having those extra frets for soloing, and upper-fret access is easy and free. All three have killer B strings. All three have great tonal consistency from bottom to top of range, but are not sterile (contrast with Modulus); lot's of personality to the tone. And the two-band/VTC eq is so, so effective. And this may sound crazy, but pitch just seems to center and resolve better than with many other basses. I've particularly noticed this in chordal playing. I've played some "name" basses where chords would get weird, even dialing through the full range of eq options. This is not a problem on any of the 24-fret Sadowskys I have played.
Gotta get some pix up, and maybe get a club number, but the stable includes:
A used Metro, morado/alder, tobacco sunburst. This was my first Sadowsky, and my main player until I upped to some NYC axes. I still use it for certain gigs and whenever I travel.
Next up is one of the very few instruments I've ever bought new in over 40 years of trombones and basses. It's a 5/24, morado/alder, 1.75" nut, P/J, olympic white/tort. Saw a picture of it on the Sadowsky website at a time when I had a windfall, and knew from prior 4-string experience that the Nordstrand P/J pickups would be excellent. I keep it strung with Sadowsky flats. This is proving to be an excellent bass when playing with acoustic musicians, which I often do, and I often bag the preamp and play it passive. My only "doubt" about this bass is wondering how it would sound if the J pickup was in a '70's position.
Finally, a used 5/24, Brazilian rosewood board, mahogany body, amboyna burl top, black hardware. Strung with R. Cocco nickelrounds. I tracked this one through several successive owners on Talkbass, having been late to each party until it last popped up for sale. I've been equivocating about keeping this one given how valuable it is, (which apparently has been the case with some of those prior owners as well - hard otherwise to understand why such a fine axe would make the rounds),and how much ground my other two can cover. But this is changing, as I'm grabbing it more and more. It has a depth and punch that are difficult to describe, and which I'm increasingly appreciating. And while I've usually been a V/V/VTC/EQ kind of guy, this one may be converting me to the conventional V/Pan/VTC/EQ configuration. Now trying to figure out what I can sell in order to justify keeping this one.
Note that other than weight, the Metro is as effective as the NYC axes - a wee bit less oomph, but a really nice singing quality in the high range. I might experiment with Nordstrand Big Singles on this one.
Again, I can't say enough about how effective these basses are for me. Ergonomics, range, sound, consistency, reliability...it's all there. I continue to keep several 4-strings, and am flirting with fretless, but the fact of the matter is that that any two of these three, one with flats and the other with rounds, would cover everything that I'm likely to encounter. The only other basses I've played that offer the same musical rewards are Pedulla MVP/Buzz basses, and while they sound and play great, the Sadowsky ergonomics (neck dimensions, strap balance, body shape) are a better fit. OK, OK, I also like 4-string Stingrays, and must confess to having interest in a 5-24 with an ebony board at some point - talk about the prospect of centered, centered notes!