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Club Sadowsky!!!

#39,041
Sadowsky said:
Flat wound strings are always a problem. It is not unusual to find a bad string in a set. But it is usually the thinnest strings that are problematic. But honestly, I do not feel it is realistic to expect a great response from a Flat wound B string anywhere above the 7th fret.
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ElMon said:
Eager to try the new Ernie Ball Cobalts. In my experience the flat wound b strings that do not have the exposed core and have more meat passing over the saddle tend to sound better above the seventh fret in my experience than the ones with the exposed core. They also tend to have more authority over all in my opinion.

The trade-off to that is that you can't get nearly the low action as you can with the exposed core. So far I really like dear Dario chromes, Ernie balls and then I really would like to give some Sadowsky flats another trial run.

I know a lot more about setting up basses using a machinist ruler per Rogers wonderful set up instructions than I did back then
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Thanks for weighing in, Roger. After trying TI, Sadowsky Black Label and La Bella, my experience (albeit from a limited test group) seems to be in line with ElMon's observations. For what it's worth, the TI B string stays pretty well in tune up to the 15th fret. Not perfectly so, but enough that I'm happy to play a chord up there with the root on the B string.
At the moment, I've got the bass strung up with a TI B string, and La Bella E-G. Not ideal, but it'll hold me over.
I really like flatwounds :)
 

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#39,043
As long as we're posting these beauties again...just got this this past Thursday; it rocks. Number 7076 ([Invalid or Expired Link Removed]) a fretless Modern with an 18mm bridge. [Invalid or Expired Link Removed][Invalid or Expired Link Removed]
7076 nicely matches with [Invalid or Expired Link Removed], my other modern 24. I love my Sadowsky basses; effortless to get a good sound on stage and they play like butter.
 
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#39,044
CDweller said:
As long as we're posting these beauties again...just got this this past Thursday; it rocks. Number 7076 ([Invalid or Expired Link Removed]) a fretless Modern with an 18mm bridge. [Invalid or Expired Link Removed][Invalid or Expired Link Removed]
7076 nicely matches with [Invalid or Expired Link Removed], my other modern 24. I love my Sadowsky basses; effortless to get a good sound on stage and they play like butter.
Click to expand...
Wow - two gorgeous Moderns. I wish my Modern had one of those tops! Are they both okoumé bodies?
 
#39,045
bass12 said:
Wow - two gorgeous Moderns. I wish my Modern had one of those tops! Are they both okoumé bodies?
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Click on their blue numbers for the specs :) The fretless is African Mahogany, while the fretted simply states mahogany- I'd imagine it's from the same stock of African Mahogany. Regardless, they sound great. What I like about all of my Sadowskys is that they come straight from the factory ready to go- you pay a pretty penny, but the basses come ready to work.

I also appreciate the thought Roger put into the layout of the 24 fret Modern with the diamond control knob configuration. The neck pickup is relatively far from the neck heel, and thus the pup doesn't get in the way of any 1st, 2nd, or 3rd finger gymnastics when slapping or whatever other tricks you have. The control knobs are also far away from the right hand, so you don't have to worry about bumping into them. Good design, in my book.
 
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#39,046
CDweller said:
Click on their blue numbers for the specs :) The fretless is African Mahogany, while the fretted simply states mahogany- I'd imagine it's from the same stock of African Mahogany. Regardless, they sound great. What I like about all of my Sadowskys is that they come straight from the factory ready to go- you pay a pretty penny, but the basses come ready to work.

I also appreciate the thought Roger put into the layout of the 24 fret Modern with the diamond control knob configuration. The neck pickup is relatively far from the neck heel, and thus the pup doesn't get in the way of any 1st, 2nd, or 3rd finger gymnastics when slapping or whatever other tricks you have. The control knobs are also far away from the right hand, so you don't have to worry about bumping into them. Good design, in my book.
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Okay - they're both okoumé then.
 
#39,047
CDweller said:
As long as we're posting these beauties again...just got this this past Thursday; it rocks. Number 7076 ([Invalid or Expired Link Removed]) a fretless Modern with an 18mm bridge. [Invalid or Expired Link Removed][Invalid or Expired Link Removed]
7076 nicely matches with [Invalid or Expired Link Removed], my other modern 24. I love my Sadowsky basses; effortless to get a good sound on stage and they play like butter.
Click to expand...
I think I just......some usually have a cigarette after... :)
 
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#39,052
So I'm getting my semi-annual "I should give a Sadowsky another go..." urge. Pretty specific goal - I'm back playing 5-strings, 34" scale, and am really happy with a pair of Smiths (fretted and fretless). That said, there are some gigs where a "traditional" looking instrument is probably a better sell. I've pushed against bandleaders in the past that had an opinion (that wasn't backed up by high pay :D), but I think having something very different than the Smith but close in ergos isn't a bad idea.

So in a perfect world - 34" scale, 1-3/4" nut, 18mm bridge spacing, 24 frets, under 9 lbs. I know I could get an NYC Modern that would hit that but I'd have to order it and I'm an impatient sod. So a Will Lee Metro actually gets pretty close - I can live with less than 24 frets, and even though historically I have not been a JJ guy, I'm thinking that a) I should expand my horizons, and b) the mid boost may be a good fit. Only question mark is the 19mm spacing, though I figure I may be adaptable. And while I'm at it, might as well go ash/maple to really push the boundaries :D

I know there are a few Smith converts or doublers (El Mon?) Thoughts? There also is a ridiculous 24-fret NYC but spending $5K is a little painful after just moving. And at that point a Fodera Emperor Standard classic comes into play.
 
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#39,054
nostatic said:
So I'm getting my semi-annual "I should give a Sadowsky another go..." urge. Pretty specific goal - I'm back playing 5-strings, 34" scale, and am really happy with a pair of Smiths (fretted and fretless). That said, there are some gigs where a "traditional" looking instrument is probably a better sell. I've pushed against bandleaders in the past that had an opinion (that wasn't backed up by high pay :D), but I think having something very different than the Smith but close in ergos isn't a bad idea.

So in a perfect world - 34" scale, 1-3/4" nut, 18mm bridge spacing, 24 frets, under 9 lbs. I know I could get an NYC Modern that would hit that but I'd have to order it and I'm an impatient sod. So a Will Lee Metro actually gets pretty close - I can live with less than 24 frets, and even though historically I have not been a JJ guy, I'm thinking that a) I should expand my horizons, and b) the mid boost may be a good fit. Only question mark is the 19mm spacing, though I figure I may be adaptable. And while I'm at it, might as well go ash/maple to really push the boundaries :D

I know there are a few Smith converts or doublers (El Mon?) Thoughts? There also is a ridiculous 24-fret NYC but spending $5K is a little painful after just moving. And at that point a Fodera Emperor Standard classic comes into play.
Click to expand...

You're making a good argument above for trying out a Will Lee MV5. If you've already got the Smith thing covered (why NOT have both right? I should look at that.), then the Modern might be a bit redundant. The specs you mentioned, under 9lbs and with a small nut, are the same ones that made me NOT like the Will Lee, but that's only because my two main NYC's are just like I like them: heavier unchambered bodies, bigger necks with the 1-7/8 nut. That being said, the Will Lee 5'er was a very unique experience in the Sadowsky lineup, and I've owned/gigged/traded a bit of everything at this point.

It seems that IME most of the 'I need 18mm spacing because of preference/hand issues/etc' crowd are really talking about their fretting hand's level of comfort. Maybe I'm wrong, but that's how it seems to me. If that's the case, the WL5 would be right up your alley. Maybe Roger can chime in here to correct me, but the overall shape of that neck goes beyond just having a smaller nut. Something about the down-sized body, and a slim nut along with the 22-fret neck, made the neck feel a LOT more sleek and slim than my 1-7/8 nut, 20fret neck NYC's. It was EXTREMELY fast and comfortable on my left hand. I wonder if someone used to 18mm spacing would even notice that the WL5 is 19mm. It's kind of the best of both worlds. Comfortable on the left hand facilitating fast playing AND you have more room for your right hand to do the Marcus thing.

Tonally speaking, well of course it does 'the J thing' quite well. Slap tone achieves 'that tone' that only a Jbass with rounds can get IMO, but then the midboost adds another dynamic. Others might use it differently or view it differently, but to me it does the following:

1) Bridge pickup: I really liked how you can set it so that when you kick that switch, it takes your bridge pickup sound from 'Jaco' to 'Jaco on uppers'. Just an extra kick to the face, and particularly useful when you kick on an effect and need a little bit more mid emphasis

2) Both PUPS blended: This is usually where I don't like a JBass when played fingerstyle. Not that it's bad, I just like the way a PJ setup or a M5 modern setup sounds with both PUPS blended a bit more. However, having that boost available at 500hz really adds some low-mid meat to the tone that I think you'd like if you come from a Smith/mid-forward back ground.

My .02 cents.

The only downside for ME happened when I got my ash/braz rw PJ5 back from Roger after a repair. I played the WL5 a lot in the interim, but as soon as I had that 'Super P' tone back, I knew that the WL5 was going to be leaving me soon. Now Jerry Ziarko gets to mess around a bit with it, and I added an ash/maple Metro M5 to my arsenal. I've been jonesin to get back towards that 'Smith territory' myself. Thank God for Talkbass!
 
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#39,057
Barks4 said:
I love your PJ bass Fran. Plus there is something cool about being committed to just one bass I think. I'm not in that place myself you understand :rolleyes:... but I am sure it is a special place.:headphone:
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Thanks Barks. It's a fantastic instrument..."my bass". My son also loves it so I guess she's going to stay in the family for at least another generation.

The neck is much darker now...it already has that rock and roll look with the nitro almost gone in the money notes area. The gold guard is a mock up. I might try it someday.
 
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#39,058
ElMon said:
It seems that IME most of the 'I need 18mm spacing because of preference/hand issues/etc' crowd are really talking about their fretting hand's level of comfort. Maybe I'm wrong, but that's how it seems to me. If that's the case, the WL5 would be right up your alley. Maybe Roger can chime in here to correct me, but the overall shape of that neck goes beyond just having a smaller nut. Something about the down-sized body, and a slim nut along with the 22-fret neck, made the neck feel a LOT more sleek and slim than my 1-7/8 nut, 20fret neck NYC's. It was EXTREMELY fast and comfortable on my left hand. I wonder if someone used to 18mm spacing would even notice that the WL5 is 19mm. It's kind of the best of both worlds. Comfortable on the left hand facilitating fast playing AND you have more room for your right hand to do the Marcus thing.
Click to expand...

Well, doing the experiment. I could have changed to 18mm spaced bridge but it would have cost a bit of money and figure it is worth trying 19mm to see how it feels. Should be here Thu in time for a rehearsal and trial by fire. I shouldn't hear any, "dude, bring a traditional bass..." comments :p

[Invalid or Expired Link Removed]
 
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#39,059
nostatic said:
And while I'm at it, might as well go ash/maple to really push the boundaries :D
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Nooooooo!!!!!! :woot:

I made the jump into a ash/maple active jazz 5er recently and I gotta say that I love it. I was in the same boat as you were a few years back and really didn't think that an ash (actually light swamp ash) and maple jazz would be my thing. I am more of an alder/mahogany/walnut body guy and prefer Ebony boards, but for funky and more traditional rock stuff, I really am liking the ash/maple.

I have played a couple of Will Lee Metros and they were killer IMO. Great ergonomics and playability. Very interested to hear your thoughts on a gig vs. your Smiths and Fodera.:)
 

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