Hey guys, the output jack on my NYC has been a little iffy lately, how do you suggest cleaning it?
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Chef
In Memoriam
Hi All,
I'm very close to pulling the trigger on a 5 String Sadowsky PJ.
I've been in love with the aesthetic quality of #4571 for some time and plan on copying the specs for the most part.
I really love the appearance of the dark ebony fingerboard but wonder what impact it will have on the tone. I plan on stringing the bass with TI Flats and am hoping to be able to cover fairly classic P tones for soul, country and blues through to slightly more modern tones for hip hop and modern RnB.
What's the general consensus? Would an ebony fingerboard negatively impact the tone?
I'm very close to pulling the trigger on a 5 String Sadowsky PJ.
I've been in love with the aesthetic quality of #4571 for some time and plan on copying the specs for the most part.
I really love the appearance of the dark ebony fingerboard but wonder what impact it will have on the tone. I plan on stringing the bass with TI Flats and am hoping to be able to cover fairly classic P tones for soul, country and blues through to slightly more modern tones for hip hop and modern RnB.
What's the general consensus? Would an ebony fingerboard negatively impact the tone?
- Nov 4, 2003
- 11,943
- 3,137
- Disclosures
- Endorsing artist- Suhr basses, PedalTrain, GHS, Ultimate Ears
Beautiful bass!
However, as someone with the same cab, how do you hear yourself with it so low to the ground while standing? Loud PA? I find I usually can't use just one (especially when oriented in the lower horizontal position) unless it's a rehearsal and i'm sitting.
Also, how does that DB750/1 sound through the SL?
Oh yea and thanks for the recommendations guys; I normally use contact cleaner but I guess I was just wondering if there was something better...I've haven't seen CAIG Dexoit anywhere here (see location), might have to order that. I've heard some say to use 600 grit (or smoother) sandpaper...
What's the general consensus? Would an ebony fingerboard negatively impact the tone?
Can't comment on the tone of ebony since I've never had one, but there is some info on the site: [Invalid or Expired Link Removed]
I too wanted the look of ebony but also wanted RW, so when I had a non-Sadowsky bass built I asked for "the darkest piece of rosewood you can find". Apparently RW (at least East Indian RW) can get pretty dark as the result with mine is so dark that it's often mistaken for ebony.
- Nov 4, 2003
- 11,943
- 3,137
- Disclosures
- Endorsing artist- Suhr basses, PedalTrain, GHS, Ultimate Ears
The cab is actually behind me about 15 foot. So it projects to me real nice.
The 750 IMO pairs real nice with the SL cabs.
It's a large church ("mega church") and I have a great mix on stage. Even though I'm pretty loud, the FOH still projects everything.
It's just for my monitor.
Post EQ outta the amp btw.
The db750/Sadowsky hook up is the shiznit. Period.
4688 is in my hands. It was very out-of-sorts setup wise when it showed up but I've been applying a steady dose of love and its really nicely dialed in now. New set of blue steels. Want to get some hi-beams on it but I don't have a spare set ... need to go shopping.
One issue -- the screw head under the G string saddle isn't fully flush, it sticks up above the base plate, and its preventing me from getting the G string saddle as low as I'd like it. The saddle pivots side to side across it as I adjust the screws and I can't go lower unless I shift the saddle out of proper intonation. I'm actually thinking that screw is pretty useless, since the string pressure is naturally holding the bridge down at that point. The base screws are the important ones, this is the forward screw. Suggestions?
Gotta say, this bass is better for me than all the prior NYCs I've had. Really special bass with tons of personality and a great textured, growly yet mellow tone.
Would this have the "new" HCs in it, and what year does 4688 correspond to?
One issue -- the screw head under the G string saddle isn't fully flush, it sticks up above the base plate, and its preventing me from getting the G string saddle as low as I'd like it. The saddle pivots side to side across it as I adjust the screws and I can't go lower unless I shift the saddle out of proper intonation. I'm actually thinking that screw is pretty useless, since the string pressure is naturally holding the bridge down at that point. The base screws are the important ones, this is the forward screw. Suggestions?
Gotta say, this bass is better for me than all the prior NYCs I've had. Really special bass with tons of personality and a great textured, growly yet mellow tone.
Would this have the "new" HCs in it, and what year does 4688 correspond to?
Attachments
Yea distance would help but yea a good stage mix (which is a crapshoot for me on most days) would be even better. Glad it's working out for ya, those cabs always surprise someone each time I bring it.
These basses seem to make almost any amp come to life (or shine a little brighter if it's already awesome), even when I teach High School kids who are still very green about bass in general, they're just amazed how much better it sounds when I plug my sadowsky into their practice amps:
Any bass that makes these amps sound good is nothing short of magical
Having owned many ebony board instruments, including a very nice Sadowsky modern, the choice of an ebony board is one of the few wood choices that results in a relatively consistent tonal impact IMO and IME. It will result in a unique upper treble response that I describe as a 'ping' type tone (almost like hitting a triangle at the initial note attack). So, for those looking for a more traditional tone, that, in general, would be the last fretboard material (other than wenge, which is even more extreme) I would recommend.
HOWEVER, if you use flats and prefer your flats well broken in (i.e., 'dead') than the fretboard material would have very little impact, and you should be just fine (again, since most of the impact, to my ear, of ebony is in the upper treble range). If you like brand new Chromes, I would think long and hard about an ebony board before taking the plunge. It will sound great, but not like a rosewood or even maple board.
- Nov 4, 2003
- 11,943
- 3,137
- Disclosures
- Endorsing artist- Suhr basses, PedalTrain, GHS, Ultimate Ears
Yea distance would help but yea a good stage mix (which is a crapshoot for me on most days) would be even better. Glad it's working out for ya, those cabs always surprise someone each time I bring it.
These basses seem to make almost any amp come to life (or shine a little brighter if it's already awesome), even when I teach High School kids who are still very green about bass in general, they're just amazed how much better it sounds when I plug my sadowsky into their practice amps:
Any bass that makes these amps sound good is nothing short of magical
Everyone is on wireless IEM. I have a LAcoustics (or par with Meyer in terms of quality) floor wedge in front of me. I'm not using IEM this service(s). And every one has their own mixer from the DigiDesign FOH board for their IEM and mine is controlling my wedge. So my mix iOS perfect for me.
And yeah, they make just about any amp sound good.
chrome plated brass
I have also another solution, but takes more time and skills. (Which I did it on 'your' former M524).
M
I couldn't help but notice that you said PJ but the image is a JJ...does it have the universal route for JJ and PJ? If so...
...best of both worlds. My 24F5 has an ebony board and the notes seem to jump off it; almost like maple in terms of brightness but not quite and with a little spring to it if that makes sense.Speaking of my 24F5, which is #4358, it's dated as being May 2005. My guess would be that #4688 would date to around 2006 and therefore, not have the newest version of the HC's in it. Edit: I'm assuming that the date is not written on the inside of the control cavity cover?
