Club Sadowsky!!!

[DaveAceofBass]

Since I posted of pic of my new Sadowsky a while back, it has gone through a bit of a change. The neck had kind of a strange dead spot around the 9th fret on the G string, so the bass was sent back to the shop. Roger decided the bass needed a new neck and as I live in an area of extreme climate changes, Roger suggested going with a quartersawn, roasted maple neck for extra stability.

I also found that the P/J setup wasn't really the tone I was after, so I decided to have them load the bass with a pair of Big Splits, as we already had the routs for them in place when the bass was made. I must say that Sadowsky's customer service is absolutely top notch and the entire crew went out of their way to make sure the bass was exactly what I wanted. Roger's reputation as a world class operation is truly deserved. Here's the pic of the bass with the old neck and pick up layout.

Here's the bass with its new neck and pickup layout. I'm just floored by how gorgeous this bass is!

The bass looks great...I also like the chrome hardware better for that finish.

I know you didn't care for the P/J (although it wasn't a true J)...but can you tell me if you thought the reverse P had a good slap tone with the bridge pup in the 60s position? I'm thinking of a reverse PJ for my new bass. Also I want to know if you felt that the treble coil was too close to the fingerboard for comfortable popping? Was your bridge pup in the 60s position? Also, the new config appears to have the bridge pup in the 60s position and the neck pup in the P bass position. Is the new config like a modern or are the pups in different locations?

 

[R Baer]

...can you tell me if you thought the reverse P had a good slap tone with the bridge pup in the 60s position? I'm thinking of a reverse PJ for my new bass. Also I want to know if you felt that the treble coil was too close to the fingerboard for comfortable popping? Was your bridge pup in the 60s position? Also, the new config appears to have the bridge pup in the 60s position and the neck pup in the P bass position. Is the new config like a modern or are the pups in different locations?

Well, I think with this bass I've finally figured out that I definitely prefer a 70's pick up layout. The last three basses I bought had a 60's layout and just don't have enough upper mid/ top end bite for my preferences and I find my self playing way back near the bridge to compensate. I've always been into the Geddy, Squire, Entwistle type tones and it does seem like having the back pickup closre to the bridge is more critical towards getting that sound than I had thought. Slap sound was good, but it's really more of a Larry Graham type sound and not a Marcus Miller slap sound. All depends on what you are looking for. The reverse P layout didn't leave much slap room, but then again that was mostly due to the 24 fret neck and Modern body style and not so much the pick up layout.

 

[Joebone]

Pursuant to the "No Pix, No Bass" rule, here's a beauty shot of both the WL5s:

Apart from the fretboard wood, the body wood, chambering, and the p'ups, the small differences are interesting, I figure. Dunno if it's a deliberate differentiation between the NYCs and Metros, or just changes over time; the NYC is new and the Metro (guessing) a couple years old.

Output jack is a small flush mount plate on the Metro (right), and a recessed cup on the NYC. Barrels on the Metro's tuning pegs are small, on the NYC they're big. Different string trees.

Added: Hadn't noticed it before, but the headstock looks a wee bit larger on the NYC.

Gotta admit I'd been casting a lustful eyeball at the one on the left, in the Sadowsky website. Wanna here more about the tonal differences between these two!

 

[Ewo]

There's a heft to the notes of the NYC; through the same amp the NYC just plain sounds bigger. Top end is clear and sweet. (Bart soapbars, IMHO, strike me as strident. I don't care for it, but it's a matter of taste.)

The Metro, with the single coils, has more of the Fender-y bell tone in the upper mids.

B strings speaks well on both of them; small edge to the NYC. Both strike me as nicely balanced, through all the registers.

 

[Joebone]

Thank you! On the B string, is one markedly better than the other as you get into the higher frets, especially past the octave?

 

[Ewo]

Thank you! On the B string, is one markedly better than the other as you get into the higher frets, especially past the octave?

The B string is slightly better (more piano-like in clarity and pitch definition) on the NYC than the Metro, in general. I surely don't think the Metro is deficient in that regard, by any means! But the comparison leans to the NYC, both strung with Blue Label SS standard gauge strings.

The Metro starts to get a little bit of that "tubbiness" on the B string at around the 10th fret, the NYC at the 12th. Both perfectly usable all the way up to the octave, IMHO. It doesn't bother me until past the 15th fret. I'm guessing the magnetic pull of the pups starts to affect the tone of a big fat string when the string-to-pickup distance gets that small, up there.

Now, the Metro has an alder body and the NYC has an ash body--and the strings are just what came on them. (Haven't needed to restring either yet, IOW.) So there are several things that might account for what difference I hear between the basses.

And I gotta say, none of my basses show much fretwear under the B string above the 7th fret or so; I just lay out my fingerings up and down the neck rather than across, all the way down to the B string, for the most part.

So my short answer to the question is this: a perceptible difference, but not a marked one. I've owned a couple Laklands, known for their B strings, and I'm perfectly happy with both the Metro and NYC.

 

[Joebone]

The B string is slightly better (more piano-like in clarity and pitch definition) on the NYC than the Metro, in general. I surely don't think the Metro is deficient in that regard, by any means! But the comparison leans to the NYC, both strung with Blue Label SS standard gauge strings.

The Metro starts to get a little bit of that "tubbiness" on the B string at around the 10th fret, the NYC at the 12th. Both perfectly usable all the way up to the octave, IMHO. It doesn't bother me until past the 15th fret. I'm guessing the magnetic pull of the pups starts to affect the tone of a big fat string when the string-to-pickup distance gets that small, up there.

Now, the Metro has an alder body and the NYC has an ash body--and the strings are just what came on them. (Haven't needed to restring either yet, IOW.) So there are several things that might account for what difference I hear between the basses.

And I gotta say, none of my basses show much fretwear under the B string above the 7th fret or so; I just lay out my fingerings up and down the neck rather than across, all the way down to the B string, for the most part.

So my short answer to the question is this: a perceptible difference, but not a marked one. I've owned a couple Laklands, known for their B strings, and I'm perfectly happy with both the Metro and NYC.

Thanks!

 

[bass12]

Now, the Metro has an alder body and the NYC has an ash body--and the strings are just what came on them. (Haven't needed to restring either yet, IOW.) So there are several things that might account for what difference I hear between the basses.

Including the simple fact that these are two different basses. Even if the specs were the same on both basses (and both were NYCs) there would likely be a difference in tone and responsiveness. I can see some people reading the above post and coming to the conclusion that "NYCs have better B strings than Metros" when there's really no reason I can think of for that to be true.

 

[svtb15]

For what it is worth... I have had a few NYCs PJ. JJ 5 JJ4. Mod24... Chambered and unchambered.. Ash/ Maple. Alder / Maple and Alder, RW...
Could be my basses but my 1993-4 Mod 25 has the best Low B.. It rings and is tight with great definition... If i want that Piano tone, it does it... It even does sadowsky flats with honor...
My chambered PJ5 comes in second.... however I owned a Musicman 5 for a while.. The spacing is tight and its heavy as a boat anchor, but for the money it has one of the best low B strings that i ever played.

 

[Vic]

I've always felt the chambered vs unchambered has made a difference. This is purely non-scientific and subjective, but I feel the chambered models have a little more punch, but the unchambered models have a little more focus and compression, and maybe a slightly stronger fundamental, which is why I prefer them.

Regardless of if I'm right or wrong about that, both my older MV5 and my newer JJ5/24 (both unchambered) have absolutely phenomenal B strings.

 

[Joebone]

Including the simple fact that these are two different basses. Even if the specs were the same on both basses (and both were NYCs) there would likely be a difference in tone and responsiveness. I can see some people reading the above post and coming to the conclusion that "NYCs have better B strings than Metros" when there's really no reason I can think of for that to be true.

What I'm trying to zero in on is the difference between the soapbars and the single-coils, both of which are in '60's position, on fairly identical axes…but one is ash and chambered, with the larger Sadowsky headstock and neck rods, the other is solid alder, different headstock, and may not have the rods - there are plenty of differences.

IME, metros can have as good a B-string as an NYC. However, IME, the 5-24 - metro or NYC - seems to have a better B-string than all others, likely as a function of pickup placement. Perhaps as a function of pickup selection as well, based on experience with the soapbars and with big singles. That WL5 with soapbars in '60's position is just plain interesting to me. I'm also curious as to what an axe like that would sound like with the soapbars in '70's position.

 

[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...

And this is now on the way!

http://www.talkbass.com/attachments/p1010648-jpg.469916

http://www.talkbass.com/attachments/p1010658-jpg.469917

http://www.talkbass.com/attachments/p1010644-jpg.469925/

 

[Ewo]

What I'm trying to zero in on is the difference between the soapbars and the single-coils, both of which are in '60's position, on fairly identical axes…but one is ash and chambered, with the larger Sadowsky headstock and neck rods, the other is solid alder, different headstock, and may not have the rods - there are plenty of differences.

IME, metros can have as good a B-string as an NYC. However, IME, the 5-24 - metro or NYC - seems to have a better B-string than all others, likely as a function of pickup placement. Perhaps as a function of pickup selection as well, based on experience with the soapbars and with big singles. That WL5 with soapbars in '60's position is just plain interesting to me. I'm also curious as to what an axe like that would sound like with the soapbars in '70's position.

Just me spitballing here, but I'm thinking the ash body wood might well contribute to this NYC's especially nice B string.

 

[Joebone]

Just me spitballing here, but I'm thinking the ash body wood might well contribute to this NYC's especially nice B string.

Just me spitballing here, but I'm thinking the ash body wood might well contribute to this NYC's especially nice B string.

Could well be! I'm increasingly appreciating ash/rosewood as a great combination.

 

[Lichtaffen]

When I come to the Sadowsky thread here, I just look at the pics and there have been some nice ones lately.

 

[Vic]

Man, if I was in the market... this would be a contender.

[Invalid or Expired Link Removed]

FINISH | Natural
BODY | Master Grade Maple Burl on Solid Alder
NECK | Maple with Thin Matte Nitro Finish, Vintage Tint
FINGERBOARD | Amazon, 12" Radius, 1 7/8" Nut Width
HARDWARE | Black
PICKUPS | Sadowsky Single Coils
WEIGHT | 9.00 lbs.
PREAMP | Sadowsky Preamp with Vintage Tone Control
STRINGS | SBS45B • Blue (Stainless Steel 45-130T)

 

[Holdsg]

beautiful

 

[G-MonRV5]

"...However, IME, the 5-24 - metro or NYC - seems to have a better B-string than all others..."

That's encouraging, seeing as how I currently have one in the works. Two months! Aaaarrggghh!

 

[bass12]

That's encouraging, seeing as how I currently have one in the works. Two months! Aaaarrggghh!

I do have to say that the B string on my newly acquired 5-24 is pretty happening. What are the specs for your bass?

 

[G-MonRV5]

I do have to say that the B string on my newly acquired 5-24 is pretty happening. What are the specs for your bass?

The one I have on order is a Metro, so it's the standard package - single coil J/J, etc. Color is black (still debating the pickguard selection), ash body, maple fretboard. To say that I'm anxious for it is a bit of an understatement.

To tell you the truth, I'm taking a bit of a chance on it as I have never played the 5-24. I would not do that with other manufacturers / builders, but I consider the risk to be limited in this case. How do you like yours, aside from the B-string?