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Club Sadowsky!!!

#37,884
Bluesy look familiar?? :smug:

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Also earlier discussion of someone looking for a Metro WL... Looks like they got one here too!!! Free shipping too



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#37,885
Lichtaffen said:
So what is the story on the Tokyo shop? I'm really happy and impressed with my MV5. I can't imagine how much nicer the NYC instruments must be, I've never played one.
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Not sure what you are lookin' for? The Tokyo shop just seems to keep getting better and adding options. Of course, the NYC shop stays just that step ahead for someone who has specific needs. Great ops all around, IMO.
 
#37,889
Lichtaffen said:
I just meant 'what's the story' as in what is the whole story of how the shop came about, who works there, etc.?
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Ahhh.

Kulit had a good post (thanks!).

Roger also goes into a little more detail at about 11:20 into this video (worth the watch).


Also, here are some shots of the JP crew and their shop. Pretty cool!!
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#37,890
Thank you very much for those two videos. They totally answered my questions. After watching those I have even more respect for Roger and his work. I have to say I am honored to be playing the instruments of such a craftsman and artist as Roger. I love knowing that these instruments aren't just replicas or knockoffs of vintage Fenders, etc., but rather the culmination of decades of practical experience and talent. It's pretty obvious that Fender basses from the past few decades are heavily influenced by Roger's innovations. If anything, Fender should be paying him for the R&D that he's put in over the years, otherwise they'd still be making the same two basses. ;)
 
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#37,892
Pretty cool.

I was a bit surprised to learn that the chambering is done beneath the bridge. Yikes.

I totally dig the HC pups. To me, they sound darker in a really good way than the Ultra Jazz that they were based on. I've had those, and to me there is little comparison.
 
#37,893
Ewo said:
GAS sure is the gift that keeps on giving...

I've been enjoying my Metro rosewood/alder Vintage 5 for a while--so naturally I've started gassing for another Sadowsky!

Gotta be outta my mind to think about this NYC Will Lee: [Invalid or Expired Link Removed]

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I'd be interested in any comments anyone might have to offer, as to its tone. (Yeah, it's hard to describe the fine points of an instrument's voice, but I'd appreciate whatever you have to say.) And any observations about neck shape, balance, other ergonomics, whatever.

I'm familiar with (and like) my unchambered Metro, which is rosewood/alder/stock humcanceler pups. And this is Brazilian rosewood/ash/soapbars, with a chambered body.
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Dude, if you can, pull the trigger on this! The Sadowsky soapbars are a real treat, a beautifully warm bottom, mid punch almost burpy mids, clear highs. Though I don have a bass with the soapbars in the J postion, this has been my experience with these pickups in the modern position closer to the bridge. I have found the chambers add a bit more acoustic resonance to the instrument, I think it really opens up the voice of the wood.
 
#37,895
MAJOR METAL said:
I have found the chambers add a bit more acoustic resonance to the instrument, I think it really opens up the voice of the wood.
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Good to hear someone finally comment on this design aspect. Thanks.

If I were specifying a fretless bass, I would go for this feature in an instant. Really cool.

For a more general purpose instrument, I confess I have been disinterested about this characteristic of the NYC's. I quite honestly doubt I would like it on a bass that would be used for slap tunes.
 
#37,897
Chef said:
Not trying to "call anyone out" or whatever; but:
do you think you could hear the diff b/t a solid and chambered bass in a double blind test?
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Not sure if I could tell, in isolation. Prolly could tell the weight difference on my shoulder, though.

Not sure I could hear the diff between Brazilian rosewood and morado, in isolation.

Hey--it's a bucket list thing for me to own an NYC, an indulgence. It'll make me smile when I see it in my music room. (Don't figure I'll be using it much for the bar gigs, no...)

But I do put credence in the opinions of master luthiers about construction details, and I do figure that the elusive "magic" instrument is the result of a combination of details, whether accident or design or both. So if they tell me they find certain features contribute to a bass's likelihood of having that magic, I'm willing to try one.

I get your point, Chef: sometimes this stuff starts to sound like wine tasting talk! But OTOH, there actually _are_ differences in the taste of wine, yeah?
 
#37,898
Chef, did you mean to quote my post for your question?

If so; ummm, I don't know about blind fold tests. I was merely commenting with regard to my preferences for instrument characteristics as a player. I don't even like the really light solid body basses for slapping. Love them for pizz.

And yes, the chambering, especially under the bridge, is a big concern for me personally with respect to slapping; which I sometimes do. To really do the experiment, I would need to spend the money; something I'm not willing to do. Mea culpa. I do trust Roger's designs and experience. This aspect is a personal concern.

Meanwhile, I am perfectly happy with my vanilla RV4.
 

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