Around mid-2010 if memory serves me correct and I'm speaking solely about the five string version. I have no idea on the four string versions.
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Around mid-2010 if memory serves me correct and I'm speaking solely about the five string version. I have no idea on the four string versions.
I'm pretty much in alignment with KJung on this. I love ebony, but I'd never use it for a bass I wanted a "classic" tone on, or at least one more faithful to the Fender sound (though I know Sadowsky basses are gonna' automatically sound different from a Fender no matter what, which I'm treating as a given).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?
However, given your "modern" goals, that IS a good target for Ebony, so it's gonna' be more about what your more important sound is. Ebony is going to have a quicker attack and more edge up high, whereas Maple (my alternate suggestion for someone wanting to split classic/modern) is going to have more going on in the lower treble and upper mids. Great for cut, but a bit harsh for a modern sound. IMHO PJ basses have an inherent modern tone when blended, so if that was the fave tone, and especially for slap, I'd think ebony could work very well for that. However, it doesn't sound like that's really your focus...
I don't envy your challenge here, because you're talking about using flats, which I see as an optimal matchup with a rosewood board, and then maple, and then ebony (IMHO). I think with ebony, you'll find the high end so thin/clacky sounding you'll dial it back, and there won't be the upper mid/low treble there (like with maple, and to a lesser extent, rosewood) to help your mix definition. Don't get me wrong, none of these combos will sound "bad"... just varying levels of good, but your desire to use flats would at least give me cause for pause with ebony (at least on a fretted bass, my opinion flips for fretless). FWIW.
BTW, our own tombowlus has an Ebony boarded Sadowsky PJ5, so hopefully he'll chime in as well.
Ebony on a fretted has a characteristic ping that you either love or hate (I love it, though in some tunes it might not be "right"). You can't really get rid of it with onboard eq. fwiw once the two basses I have in production are done, 4 of my 5 instruments will have ebony boards but I don't have any bandleader insisting on a "classic" sound. I can get close enough, and if they are really cranky I can pull out an ash/maple 4 banger JJ and call it good.
I do have a friend with a bunch of ebony fb basses and he swears by TI flats. He does kind of his own thing though, so he's not trying to fit into a typical band mold.
I do have a friend with a bunch of ebony fb basses and he swears by TI flats. He does kind of his own thing though, so he's not trying to fit into a typical band mold.
Thanks for your input everyone. I think I will investigate getting a dark piece of rosewood to preserve both my tonal and aesthetic goals for this bass.
You know, I just realized that you said "copy" the specs of the bass in the image...DUH! My bad...I still think the JJ/PJ route is the way to go if you're having one built. Back to my cave...
I have three ebony-boarded basses, and one Rosewood Fender Jazz. I agree with everything that's been said about the tonal tendencies of ebony. You'll get an uncolored clarity with ebony that's different from maple or rosewood. If you're primarily after a vintage style thump, you might wind up fighting the immediacy that ebony brings to the sound.
However I am finding that my Sadowsky M5 is an amazingly versatile instrument. I've also been finding that some minor changes to technique and some modifications to the tone stages are giving me great approximations of classic tones when needed. In my case I'm running soapbars which are probably a bit more uncolored than the other pickup types. There are times when my bass (even though I'm running soapbars) reminds me of a PJ - but that probably has more to do with pickup location than pickup type.
It seems to me you're getting good advice from others on this thread - it maps to my experience with these woods.
I am sure everyone here has seen Roger's take on this, but it's [Invalid or Expired Link Removed]
ebony is the traditional material for fingerboards oh, I don't know, the last 300 YEARS
I play almost exclusively fretless & DB so I may be biased but...
ebony is BOTH warm and bright at the same time - it is the material of choice - be happy any is still available
RW is the trad Fender material but I have to be honest here - on a fretted instrument it doesn't really matter - the strings don't even vibrate against the board itself
the ONLY time I've ever noticed an influence of board material on a fretted bass was a couple of maple boards I've owned on a Monarch Standard M/M/M & a Fodera Empire M/A where the board effected the slap tone (i.e. Mr. Miller)
I don't slap anymore lmao - lot's of this 'tone' stuff is in the fingers - there's no 'clack' or 'ping' unless I want it
BTW, I have a NYC M24/5FL LPB with an ebony board - it is one of the best recording basses I own - it is the ULTIMATE Dub bass - super lows
I play almost exclusively fretless & DB so I may be biased but...
ebony is BOTH warm and bright at the same time - it is the material of choice - be happy any is still available
RW is the trad Fender material but I have to be honest here - on a fretted instrument it doesn't really matter - the strings don't even vibrate against the board itself
the ONLY time I've ever noticed an influence of board material on a fretted bass was a couple of maple boards I've owned on a Monarch Standard M/M/M & a Fodera Empire M/A where the board effected the slap tone (i.e. Mr. Miller)
I don't slap anymore lmao - lot's of this 'tone' stuff is in the fingers - there's no 'clack' or 'ping' unless I want it
BTW, I have a NYC M24/5FL LPB with an ebony board - it is one of the best recording basses I own - it is the ULTIMATE Dub bass - super lows
not really. I 'shape' the whole neck pocket a little angled (tapered -?) so to keep perfect contact between body and neck, but having the neck a little tilted (in relation to the body).
Does it make sense?
M
With the problem you are describing I don't think that sanding the saddle bottom is the right solution. It's not that your saddle runs out of space, it's the bridge base screw that is on its way. Take care of that screw, IMHO.
BTW, generally, shimming is the first thing to try when a saddle bottoms down and you need to go lower. Sanding the saddle bottom takes some of its mass. Maybe not something you'll be able to hear but still...
Does make sense, definitely outside my skill set. I think a neck shim is the right answer. Easy and reversible. Even if I ground down the screw head, it's still better to have more angle and down pressure on the saddles.
There's plenty still available. PLENTY. Just the pure black stuff is getting hard to find, so it's only an aesthetic issue. Check out the vid/book Taylor put out. Very informative.
Yes they do, because the fret "connects" the string to the board. It's not the same as fretless, but it definitely does matter.
IMHO/IME anyway.
I wouldn't recommend shimming unless it's really necessary. On a Sadowsky, most likely it is not. Just replace the base screw and see if that solves it.
+1
Shimming does work, and it's not a terrible thing to do, but it is technically at least a slight degradation of the neck coupling, so it should only be done if it must be. Not a big deal, but shouldn't be the first choice.
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A pretty good recording of my Will Lee from church yesterday.
I hit the HipShot Doulbe Stop lever towards the end of the tune dropping my E all the way down to low B.
And it sounds killer!
Path:
WL-Demeter Compulator-DB750 DI post EQ-FOH/board
Freakin LOVE this bass!
I'm pretty OCD and have good ears. I've never noticed even the slightest difference in tone or response with a shim, and I've done lots of them. I only hesitated with this bass because of the cost of the bass and the risk of cracking the body finish taking the neck off.
I think Rick turner was the one who said tight neck pockets don't even matter as long as the bolts are tight.
Well, a shim job on a bass with a nice tight neck pocket honestly shouldn't be noticeable to the human ear, which is why I said it's not really a big deal, but I definitely disagree with Rick that a tight neck pocket literally doesn't matter.
