Chef
In Memoriam
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The Sadowsky P/J rocks! Been out of town a chunk, but spent time with my P/J5 over the weekend. It's an amazing instrument.
Doug Parent
Supporting Member
I have less experience than you playing live with my MV5, but thus far I have tended to follow suit. Since switching to single coils I boost even less on the treble, and often, leave it flat.
Chef
In Memoriam
Hi;
it doesn't take much to be proven crazier'n me;
but;
you surpass me by quite a bit
it doesn't take much to be proven crazier'n me;
but;
you surpass me by quite a bit
Huh. I thought I was a little crazy doing this with my Carvin SB4000. I guess I'm not alone.
+1. I've done this to different degrees on every song I have recorded for our new album.
With all the PJ talk, played two gigs with my new-to-me MV5-PJ yesterday and it killed through the Aguilar TH500/SL112 (x2) rig. Really meaty and full but with very tasteful top end. I don't have to tell y'all how much it is different from the JJ config it is but, I'm diggin' it and the PJ is definitely my preference of the two. I do find myself boosting the pre more on the PJ than what I'd run on the JJ. Just a really sweet, rich sound out of this thing.
I want a bass that sounds like the bottom 2 strings (coil closer to the neck) of a Sadowsky PJ across all 4 or 5 strings. Has anyone ever seen a bass like that? I'm thinking sadowsky narrow soap plus an HC J could be right on the money. But I'd want it to really have that P sound on the neck pickup. The D and G would get that stu zender reverse P pop sound, but I'd still have my big meaty E and A. A split coil soap with the right aperture should be close?
I have a J bass I'm considering modding as an experiment/prototype. NYC order would be a pretty heavy commitment if it was the first ever with that config. It would be ash/braz if I did it though. And maybe universal route for JJ and a second pickguard, hmmmm.
Just don't like the near-coils sound at all on a pj, either on the low or high strings. LOVE the E and A on a PJ.
I have a J bass I'm considering modding as an experiment/prototype. NYC order would be a pretty heavy commitment if it was the first ever with that config. It would be ash/braz if I did it though. And maybe universal route for JJ and a second pickguard, hmmmm.
Just don't like the near-coils sound at all on a pj, either on the low or high strings. LOVE the E and A on a PJ.
if you love the sadowsky sound , why do you keep changing for new ones,, just wondering
Hi
Lol. 3 reasons
Changing gigs
Roger introduces something new
Mostly, though, just fickle
Rob
Lol. 3 reasons
Changing gigs
Roger introduces something new
Mostly, though, just fickle
Rob
While I never feel the need to do this, it makes much sense if you want to boost the upper midrange/lower treble, and remove the upper treble from your tone.
Since the active boost pretty much boosts everything above 4K (I believe it is a shelving circuit, or at least a VERY wide Q treble boost), and since the passive circuit cuts the same amount of lower and additionally lower frequencies as you engage it (works kind of like a variable lo pass control... not technically, but in 'end result'), you can basically, for example, boost everything abov 4K active, and then take everything over 6K off with the passive tone control (as an example), resulting in a 'presence/grind' sort of boost without a lot of sizzle.
Subtle, but works pretty well if you like 'bright, but no sizzle'.
You can send an email to the shop and they will probably be glad to tell you.
Recently took delivery on what I guess are the P2 pickups. (correct? Not familiar with the term. Assume from context above it's just the soapbars in the smaller shells)
These are amazing pickups.
My ears are used to Alembic Series I pickups and Stock Fender Jazz pickups.
Active, these Sadowsky's provide a clarity similar to my Series I, and passive (or active & flat) they hover sonically around a J or PJ, depending on which pickup you favor. Not identical, but brethren to be sure.
My pickup location is different than a standard modern, and I believe this has a definite effect on the sound.
My [Invalid or Expired Link Removed] had the larger shells in the standard locations. (I think !?!) Also a great sound.
It would be marvelous if you could provide more detail in comparing the soaps in '60's position, as compared with the "modern" placement. Can the 60's placement still do that burpy, Jaco-like thing? (and let's not dwell on why that tone seems to come more easily on 70's placement, while Jaco played '60's instruments!) It would be really great to have some sense of the difference with each pickup soloed, and with both full on...Thanks!
Doug Parent
Supporting Member
Ken, that was my conclusion as well, and that treble boost must be a very wide Q because it sure is a game changer when it's boosted and passive tone is engaged. Makes me wonder what the value is on the tone cap, it sounds like it's pretty high.
I definitely plan to share something along these lines. End of year is my busy time for my day job, so it might not be for a while. (i.e. 2013
)One thing I am slowly coming to appreciate is just how much variation is possible with this set-up. I feel like I haven't even come close to mapping out all the different ways to vary the tone.
Even leaving the tone along for the most part and just moving where I am plucking closer to the bridge or neck has a significant sonic effect. This might be the most "transparent" (for lack of any other, more accurate term) bass I've ever played.
The bell curves for the bass and treble boost on my preamp are very wide.....on the treble, 4K is the center point of the bell curve....it is boosting equally on both sides of center.
I love the way you can boost treble and use the VTC to roll off highs. They compliment each other very well.
Roger
Makes sense. So, you get a nice dose of lower treble AND upper mids (the wide Q non-shelving circuit) by boosting that active treble and then 'shaving off the upper treble' with the passive tone control. Nice, again, for those that want it 'bright, but not sizzly'.
