Club Sadowsky!!!

[phishaholik]

I understand the Love for JJ basses ... I love them too.. Thats the reason i like my LG5 and 4... Closets thing to a vintage fender ever... ... for me, a JJ is great Especially if im doing a POP or dance gig..or some singer songwriter stuff.. The JJ works wonders.. as does a musicman style At least for me they do. I don't know about everyone else..
But for Rock and Country ,the P-tone stays out of the way of most guitars sounds, it remains thick yet more vocal mids..`.
For me, P's can get that modern rock thing that all the kids are doing today... to classic rock like Ozzy to bonjovi to Iron Maiden. Ahhaha... to vintage Stevie wonder and Lionel Ritchie.. HA.. And the P does Motown so well... I never get a call to do punk.. but a P does that so well too... I find a JJ will get lost in some of those situations.. I just use what they guy that pays me wants me to use. and most of the time the P bass style gets two thumbs up for some reason..
Who am i to argue..
I used the Black NYC today on a project..Finish it up next week... It sounded great.. . A little weirdness on the "E" string on the P5 Duncan though.. On the 6 POLE coil, The "E" string is lower in VOL..Using the ALLEN key test method, we noticed the "E" string magnet doesn't have as much pull as the other strings It sits between the other "A" and "B" sting magnets ..... Dialing in the J pickup evened out the discrepancy .. I may send it to Coppolo to re magnetize. .don't know yet..
Used the NYC pj5 on 6 songs and my LG4 on 2 so far.. It works

Could you please tell me how to do the Allen key test? Knowing if the magnet itself has less pull would be super handy.

Thanks!


Michael

 

[bass12]

I took a whirlwind trip down to NYC yesterday to visit the shop. While there I was reminded again of how pleasant everyone there is to deal with. Dan and Lisa, especially, were very helpful (even before I got to the shop) and the vibe was nice and relaxed (no pressure whatsoever). Having looked at the in-stock page I had three prime contenders on my list of possibilities, and all three were JJs. I've never really had any interest in non-Jazz Sadowskys, with Moderns being at the bottom of my list interest-wise. After spending over an hour trying out the various Js in the showroom I, on a whim, picked up a Modern 5. Right away I found myself playing differently - as if the bass was drawing out another side of me. "Well", I thought, "I came here for a Jazz and, besides, some of these Jazzes just look so good". So I put the Modern down and went back to trying the Js. "Hmm - maybe I'll try that Modern one more time and - look - there's another Modern that has just been completed! Maybe I should try that one too - just for fun." Well, you can probably guess the end of the story. Suffice it to say that my prejudice regarding Moderns has fallen by the wayside.

 

[Joebone]

I took a whirlwind trip down to NYC yesterday to visit the shop. While there I was reminded again of how pleasant everyone there is to deal with. Dan and Lisa, especially, were very helpful (even before I got to the shop) and the vibe was nice and relaxed (no pressure whatsoever). Having looked at the in-stock page I had three prime contenders on my list of possibilities, and all three were JJs. I've never really had any interest in non-Jazz Sadowskys, with Moderns being at the bottom of my list interest-wise. After spending over an hour trying out the various Js in the showroom I, on a whim, picked up a Modern 5. Right away I found myself playing differently - as if the bass was drawing out another side of me. "Well", I though, "I came here for a Jazz and, besides, some of these Jazzes just look so good". So I put the Modern down and went back to trying the Js. "Hmm - maybe I'll try that Modern one more time and - look - there's another Modern that has just been completed! Maybe I should try that one too - just for fun." Well, you can probably guess the end of the story. Suffice it to say that my prejudice regarding Moderns has fallen by the wayside.

I'm big on the moderns - have tried JJ and P/J, but the Modern just works for me - Still not the perfect solution for situations where a P could work better, and maybe I end up with a P/J as well, but the Modern can cover a whole lot of the traditional territory (neck PU soloed can be P-like, and don't be afraid to explore passive use, which the VTC facilitates), and bring that modern thang as well. Plus, that killer B-string. Congrats. on your purchase!

 

[nostatic]

I see what you did there... cute... lol.

Yah, I can imagine. Man I have so much respect for the P sound, especially through a more classic style rig, but I could just never get behind it myself... probably a lot has to do with the rigs I like to use too. Weird... I love the tone when I hear it in other bands, but every time I've tried to own one, I just miss the J... even if the music would generally call for a P. Oh well.

Funny because I'm 180 degrees from this. I've tried every pup combination and setup and in my hands, PJ is it. Part of it may be that I prefer the P slap tone ala Freddie Washington over the classic JJ thing. With my PJs I only go for 2 sounds - either P or bridge J with some bass added. The 50/50 mix just doesn't work in my hands.

I guess that's why they make different instruments :-D

 

[bucephylus]

Freddie Washington is an amazing player.

 

[bucephylus]

I see what you did there... cute... lol.

Yah, I can imagine. Man I have so much respect for the P sound, especially through a more classic style rig, but I could just never get behind it myself... probably a lot has to do with the rigs I like to use too. Weird... I love the tone when I hear it in other bands, but every time I've tried to own one, I just miss the J... even if the music would generally call for a P. Oh well.

Vic, I am generally with you on this. And I will go further and ruffle feathers by saying I feel I get a fairly effective P sound with the Sadowsky HC's by panning about 3/4 to the neck pup and rolling back the VTC. The SC's are a little too focused to get away with that as effectively.

I will also say that I have noticed a fairly large variation in P's I've checked out over the years. I definitely remember a '59 RI at a local shop that I could have happily gigged and an old beater at Elderly's that I would put in the same category. But, then I go out and get an MIA, put in the '57 RI pup and can't get crap out of it. I don't know what it is with such a simple bass; but, some of them are fantastic and some are clunkers. IME. I presume Roger's instruments are far more predictable; but I've gotten too old to do the experiment at this point.

Of course, sound guys tend to be picky, and the guy (or gal) paying you gets what they want. Just the way it is.

 

[svtb15]

Yeah sure.. My way is not very scientific , but it works..Anyone that has feeling in the hands can tell when there is resistance when you tug on something.
That Allen Key has hi IRON content.. So when you put it next to a magnet it attracts and has pull..
The "A" and "B" string pole pieces have a STRONGER magnetic pull and it is much more difficult to pull the Allen key from those pickup poles than the two pole pieces on the "E" string .
Now , the real way is to use a Gauss meter. .Coppolo has a custom Gauss meter device that he got from either Anderson or Suhr... So im sending it to him. And have it re-magnetized ...
I used the bass on a session for Dangerous Guitars thats being finished up next week.. we did over 20 songs Not sure what cuts they will use .. I did 9 songs,, Billy sheehan is on a few, "Pancho" Tomaselli is on a few too.. . George Lynch is a guest guitar.. Ranges from flamenco to metal.. Hope they mix it well.

.. .

Could you please tell me how to do the Allen key test? Knowing if the magnet itself has less pull would be super handy.

Thanks!


Michael

 

[svtb15]

I have to sort of echo what you say..
About putting a nice pickup into MIA as you described.. And it goes back to something i remember Roger said many many years ago And i Agree with him. Basically if the instrument doesn't sound good acoustically to start with, no amount of changing pickups etc is going to make it be great.. (PARAPHRASE).

Roger instruments are fairly predicable .. Ive owned about a dozen of them over the years..swapping , trading etc.. They all sounded a little different.. .But then again he starts with the woods and a tight BUILD.
One thing i noticed is my CAR 2003 NYC PJ5 that had a madagascar RW fingerboard ..That one had a little thicker FB than the Brazillian RW FB on my current NYC PJ5.... Maybe this one was refretted ?? Dont thini so.. but it is possible
They are going to sound good acoustically. Then the pickups will only amplify that..
The older CAR one had a snappier top end, where this one has a little more low mid growl...Could also have something to do with Chambered current one vs Non chambered CAR one..
All in all.. they are great basses to record and gig with IMO

Vic, I am generally with you on this. And I will go further and ruffle feathers by saying I feel I get a fairly effective P sound with the Sadowsky HC's by panning about 3/4 to the neck pup and rolling back the VTC. The SC's are a little too focused to get away with that as effectively.

I will also say that I have noticed a fairly large variation in P's I've checked out over the years. I definitely remember a '59 RI at a local shop that I could have happily gigged and an old beater at Elderly's that I would put in the same category. But, then I go out and get an MIA, put in the '57 RI pup and can't get crap out of it. I don't know what it is with such a simple bass; but, some of them are fantastic and some are clunkers. IME. I presume Roger's instruments are far more predictable; but I've gotten too old to do the experiment at this point.

Of course, sound guys tend to be picky, and the guy (or gal) paying you gets what they want. Just the way it is.

 

[bucephylus]

I have to sort of echo what you say..
About putting a nice pickup into MIA as you described.. And it goes back to something i remember Roger say many many years ago And i Agree with him. Basically if the instrument doesn't sound good acoustically to start with, no amount of changing pickups etc is going to make it be great.. (PARAPHRASE).

Roger instruments are fairly predicable .. Ive owned about a dozen of them over the years..swapping , trading etc.. They all sounded a little different.. .But then again he starts with the woods and a tight BUILD.
One thing i noticed is my CAR 2003 NYC PJ5 that had a madagascar RW fingerboard ..That one had a little thicker FB than the Brazillian RW FB on my current NYC PJ5.... Maybe this one was refretted ?? Dont thini so.. but it is possible
They are going to sound good acoustically. Then the pickups will only amplify that..
The older CAR one had a snappier top end, where this one has a little more low mid growl...Could also have something to do with Chambered current one vs Non chambered CAR one..
All in all.. they are great basses to record and gig with IMO

Amen

 

[svtb15]

Yes.. The Modern was my first sadowsky back in 1993 or so.... My lawyer ron beinstock had an earlier one and i fell in love with it.. Great bass. yes it does cover allot of ground. .I would like to get that one back one day
..

I'm big on the moderns - have tried JJ and P/J, but the Modern just works for me - Still not the perfect solution for situations where a P could work better, and maybe I end up with a P/J as well, but the Modern can cover a whole lot of the traditional territory (neck PU soloed can be P-like, and don't be afraid to explore passive use, which the VTC facilitates), and bring that modern thang as well. Plus, that killer B-string. Congrats. on your purchase!

 

[MaddAnthony_59]

And here is the Dynamic Duo. On the Left we have an RV Jazz 5-String with an Alder body, Maple Neck, Rosewood Boards, and a Tort pick guard. HC pickups and VTC get the tone out like nobodies Business! On the Right is an MV-PJ 5-String with an Ash body, Maple neck & boards, and a Cream White pick guard. While there is a Nice Growly Jazz tone available, that P-Bass Thump is Front & Center! Even Though I'm a Jazz guy, there is definitely room in my heart for this Bad Boy!

I think I need a Modern 5 with Soap Bars to round out this team. We'll see...

 

[pickles]

And a Fender RBV on the wall behind?

 

[MaddAnthony_59]

And a Fender RBV on the wall behind?

Yeah, and a few other Fenders as well!

But the Sadowsky's are going to make a lot of these Fenders "Obsolete!"

 

[Chef]

Valkyrie: sweet.

 

[MaddAnthony_59]

Valkyrie: sweet.

Yes Sir! Right down to the DarkSided Car Rear tire...

 

[phishaholik]

Yeah sure.. My way is not very scientific , but it works..Anyone that has feeling in the hands can tell when there is resistance when you tug on something.
That Allen Key has hi IRON content.. So when you put it next to a magnet it attracts and has pull..
The "A" and "B" string pole pieces have a STRONGER magnetic pull and it is much more difficult to pull the Allen key from those pickup poles than the two pole pieces on the "E" string .
Now , the real way is to use a Gauss meter. .Coppolo has a custom Gauss meter device that he got from either Anderson or Suhr... So im sending it to him. And have it re-magnetized ...
I used the bass on a session for Dangerous Guitars thats being finished up next week.. we did over 20 songs Not sure what cuts they will use .. I did 9 songs,, Billy sheehan is on a few, "Pancho" Tomaselli is on a few too.. . George Lynch is a guest guitar.. Ranges from flamenco to metal.. Hope they mix it well.

.. .

Thanks for the tip! I never really thought it would be a big enough difference for me to feel it. It'll be good to have a first step method when I trouble shoot uneven string response when doing setups.



Michael

 

[svtb15]

yes.. it is in LA right now being re magnetized..... The Gauss on the "E" string was not equal to the others.The un scientific way that i performed with the allen key.. when touching the key to the magnets on the poles of the "A" and "B" string , i was able to lift the pickup up and off my hand that was holding it.. But when touching the "E" string, the Allen key was barely attracted to those two poles.. Ill get the actual Gauss meter readings later.. But it should be good as new...

Thanks for the tip! I never really thought it would be a big enough difference for me to feel it. It'll be good to have a first step method when I trouble shoot uneven string response when doing setups.



Michael

 

[Holdsg]

now I'm GASSSING for a GAUSS meter!

 

[svtb15]

ha It wasnt really that bad.. The "B" and "A" read with slight variance between 24 and 26 ??? Gauss... the "E" was 18... so it was less.... give or take..... they are all now at a reading of 30.. shipping back to me today.... using the bass on a session on wednesday..
last week i took it on a session and teh "E" string was an average 4 db below the other strings . you can hear 4db pretty easily... .So i messed with pickup height for a while . as best i could. .then just decided to compensate while playing.. .Worked out fine... It was a local car commercial and also a vanity project... Boom Boom country thing and a metal thing... yeee haw

now I'm GASSSING for a GAUSS meter!

 

[Joebone]

Boom Boom country thing and a metal thing... yeee haw

Having trouble wrapping my head around that one...