Dumb question time...
Ummm... why not just get a P? Roger makes a few great versions.
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Ummm... why not just get a P? Roger makes a few great versions.
There are no dumb questions...only dumb answers 
I have a PJ - 2 actually (fretted and fretless Fodera 4s). I'm looking for something a bit different as a 2nd fretted. I'm kind of a pita wrt instruments as I have strong historical likes/dislikes. I am *not* a JJ kinda guy - I've never had one that stuck. I also like having 24 frets as I do venture up there on some of my gigs. I also seem to be preferring ebony fingerboards (like the immediacy and snap), and don't like ash bodies. In addition, with Roger's 24 fret instruments the PJ setup looks a little tight, plus I don't care for traditional J-bass knob placement.
That kinda leads me to the Modern 4. Prefer the knob placement and space between ned pup and neck. Plus there is one in stock with ebony fingerboard and mahogany body which I think might take some of the edge off the modern/ebony setup. I just want to be able to get a P-ish tone sometimes. I know I can get a nice/nasty bridge bite from that bass.
Confusing enough?
I have a PJ - 2 actually (fretted and fretless Fodera 4s). I'm looking for something a bit different as a 2nd fretted. I'm kind of a pita wrt instruments as I have strong historical likes/dislikes. I am *not* a JJ kinda guy - I've never had one that stuck. I also like having 24 frets as I do venture up there on some of my gigs. I also seem to be preferring ebony fingerboards (like the immediacy and snap), and don't like ash bodies. In addition, with Roger's 24 fret instruments the PJ setup looks a little tight, plus I don't care for traditional J-bass knob placement.
That kinda leads me to the Modern 4. Prefer the knob placement and space between ned pup and neck. Plus there is one in stock with ebony fingerboard and mahogany body which I think might take some of the edge off the modern/ebony setup. I just want to be able to get a P-ish tone sometimes. I know I can get a nice/nasty bridge bite from that bass.
Confusing enough?
agreed... i would never say "sounds like a p" of course, but just as pickles says here, i do feel like it has some of the p characteristics. i've even seen one played in a blues band (buddy guy) and at least imho, it sounded great. very gutsy.
Had a 5/24 P/J for about a year: alder/morado, 1.75" at the nut. Great axe, but at end of day, after trying flats and rounds, I wasn't getting the degree of nasal attitude I wanted from the J, and I deeply missed the B-String precision of the 5/24 Modern. The neck P/U of the Modern can't quite ape a P - and I say this based on the Sadowsky soapbar (NYC, Koa/Mahogany/Ebony) and on a Metro 5/24 with Big Singles (alder/morado). It gets close, particularly if right hand is over the fretboard, and it's fun, but a good P just has this neat combination of hollowness, impact and decay that is undeniably - and inimitably - P. Agree that Smith and Sadowsky Modern are cut from the same cloth - I could entertain an argument that the Smith electronics have more to offer, but based on limited Smith experience, can't say the same for ergonomics and playability. I have flirted, and will flirt with others, but I keep coming back to the Sadowsky 5/24 because I dig the ergonomics and playability, and really, really appreciate a B-string that is well integrated with the rest of the axe and which can be used well beyond the 12th fret. I do sometimes get frustrated in seeking more of an old-school sound, and sometimes think about a Will Lee with soap bars in 60's position…but I'm not sold on the WL electronics. If mid-forward is your thing, then the Sadowsky Modern definitely warrants your investigation. If you don't need the B-string, then a 4-24 Sadowsky P/J might be your thing.
Ugh…no axe can be all things to all people - or even to any one person...
And a sound explanation for GAS 
I've got the 24-fret PJ thing covered with my Fodera, so getting another 4 I'd like something a bit different. I am interested in getting another 5 with a low-B, and the Modern definitely is on my radar.
I've never really bonded with morado fingerboards - I'm digging ebony these days. I haven't tried mahogany, but know that historically I haven't bonded with ash. Sounds like your NYC koa would be an interesting spec. I'm with you on the Smiths. I briefly had two of them and ended up not liking the ergos.
Ok I'm having two issues with my PJ5. Maybe it's the high temps and high humidity but my pots get noisy pretty fast. I hit them with a generous amount of contact cleaner about 3 weeks ago and the tone pot is still noisy (it never got fully clean after the cleaner). Just played a rehearsal and closing the tone knob made a big loud crackle several times.
Second issue is I had a bad output jack (loud pops) so I bought the same stereo jack Sadowsky uses and rewired it myself. Problem fixed, however when I use the batt-o-meter it's not reading the right voltage (it did before the original jack went crazy). At first I thought I had wires touching each other and it's draining the battery 24/7...but what reads 2V to 4V through the jack is showing up as 8.5 volts when I pull the battery and test directly. This is a 2 week old Duracell, not expired and I don't leave my bass plugged in, ever...help!
Second issue is I had a bad output jack (loud pops) so I bought the same stereo jack Sadowsky uses and rewired it myself. Problem fixed, however when I use the batt-o-meter it's not reading the right voltage (it did before the original jack went crazy). At first I thought I had wires touching each other and it's draining the battery 24/7...but what reads 2V to 4V through the jack is showing up as 8.5 volts when I pull the battery and test directly. This is a 2 week old Duracell, not expired and I don't leave my bass plugged in, ever...help!
I've long had a jones for ebony and mahogany. Had a false start several years ago with a custom 4 by a "known" maker, but it was a dud - some super-light mahogany (Limba masquerading as Mahogany?), a striped ebony board, and a complete lack of songfulness - it felt like a skillful assemblage of quality parts, but not like an integrated whole, with a a voice of its own. Have now had my mahogany/koa/ebony 5-24 for about a year, and increasingly appreciate how good this combination is for my goals, particularly as realized by Sadowsky's design and execution. Morado is interesting - I've increasingly come to dig it over the years, but the surface feel seems to vary greatly, depending on the maker. Again, Sadowsky seems to get it just right (Fender Roscoe Beck V - too slick; Fodera ES5, arguably too grippy?) But ebony seems to center the pitch in a great way, has a fast attack but decent warmth and thump, and I love the feel of it under my fingers.
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I know that a lot like morado (including Roger) as it sits kind of midway between maple and rosewood wrt sound and feel. For whatever reason it has never quite spoken to me though. Ebony otoh - I've bonded with that over the past few years and now that's the only thing I own. I haven't had a mahogany body bass yet, but maybe it is time. I agree with Roger that fingerboard seems to impart the most tone influence from a wood standpoint.
I'm just about finished with a sell-down - will ultimately have fretted and fretless 4s, and fretted and fretless 5s: all ebony boards. I also like rosewood for old-school and appreciate morado and maple, but ebony seems to be winning out.
In the same boat - just contemplating a bit of a change up. Have two fretless 4s (Rob Allen and a frankenFodera), fretted 4, and a fretted 5 (E-C). Thinking of moving the fretted 5 and replacing that with a different fretted 5 and a second fretted 4 as I'm primarily playing 4-string these days in various bands. But all are/would be ebony boards.
Agreed...better?
I think this achieves the affect of making the pickguard stand out a little more while keeping the buckeye pretty visible...
Well, decided to do the experiment. This will be headed west. The goal is to have a counterpoint to my current 4-banger. If the experiment goes well I think a 5 may have to follow...
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that's "bitching"…. just worked on "joebone's" NYC24F5 (anniversary) Maho/Koa/Ebo…. and is fantastic!
Part of me is hating it since I tend to be in the "don't own too many basses camp" (plus it's a serious chunk of money). Right now I'm ridiculously lucky to have three 4-strings that I love - a Fodera Yin Yang Deluxe (chambered walnut body, ebony fingerboard), a frankenFodera fretless that is alder body, PJ, red oak neck and ebony fingerboard (bolt-on), and a Rob Allen Deep 4 fretless (chambered alder, walnut top, walnut neck, ebony fingerboard). But they are very different instruments. I always take a pair to every gig, and the choice depends on the gig. My hope is that this would be backup to the YYD (for gigs like Steely Jam where I'm just doing fretted), or as the fretted bass when I don't want to bring the YYD.
If the mahogany/ebony/Modern thing works for me I could see trying to find a 5'er with that spec.
If the mahogany/ebony/Modern thing works for me I could see trying to find a 5'er with that spec.
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I'm so glad you bought that. I've been looking for a video or written review of the modern in that wood combo
A while back I posted some pics of the top of my new PJ5 that is on order. Well, the body has been painted. It shouldn't be too long now until I receive the bass. Here are the before and after pics.
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