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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), 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
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.
Interesting timing as I am living through this exact experience right now. Been a Smith player since 1989 and got my first Sadowsky Metro 5 string end of last month. The left fretting hand is very comfortable but I do find a difference in the 19mm spacing for the right hand. However, all my keepers, including the Smith, have custom radiused ramps installed which makes a huge difference for the right hand experience ( for me). It is something I have grown accustomed to so I am currently having a ramp made for the Sadowsky so I can compare oranges to oranges so to speak with regards to right hand comfort. I do miss 24 frets as I primary just transcribe jazz solos from different instruments for fun. But I have high hopes that the ramps do their job as the bass sounds wonderful and I really like the neck. I am also having it strung Low E to High C ( Anyone else do this? Any issues with the nut?)
Here is the bass.
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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
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My experience, for what's its worth ...
I've had this situation happen a few times: I'm in a band, and for the majority of our gigs I've been using a Smith/MTD, or something definitely in the more 'modern grand-piano-esque bass tone' camp. It always worked just fine, and I've always gotten compliments on my tone from other bass players.
And yet ...
The first few notes with the Sadowsky caused those same band member's necks to strain as they snapped their heads my way. It always seemed to me, and again YMMV IME only, that Roger's stuff brings the type of bass tone that most non-bassists are used to hearing and prefer when they think of 'bass'.
True story: after my first gig a while back with a Metro ash/maple PJ5, a week or so passes and I'm setting up for another gig. My drummer looks at my bass bag:
"Did you bring that Shadooski, or whatever the hell that thing's called?"
I've also gotten the 'did you bring that smokin Fender'?
Those are great. A funny line I heard was "Polish Fender copy".
My Sadowsky P-basses are "stealth boutiques". I'm sure many think I paid $400 instead of $4000, and I'm totally fine with that: I don't have $4000 chops*.
*No, you don't have to have $4000 chops to play a $4000 bass, that's not my point
Yep....I had been playing my American Jazz Deluxe 5'ers till I got my NYC PJ 5. I played it at a couple practices and gigs, then sent the pickguard off to get a new one made. When I told the BL at practice that I probably won't be playing the Sadowsky at the gig that weekend if I didn't have the new pickguard on he says Oh man you HAVE to play the Sadowsky....
For what it's worth, I haven't had my Sadowsky long enough to gig or record an album, but all the rehearsal recordings (done with one of those Tascams with the stereo mics) sound incredible. The tone is fat and defined and I never have a problem cutting through.
Ken,
I don't have $4000 chops either, maybe $1500 or so. The headstock logo does make the bass more stealth. Everyone I've ever jammed with has loved this bass.
Ken,
I don't have $4000 chops either, maybe $1500 or so. The headstock logo does make the bass more stealth. Everyone I've ever jammed with has loved this bass.
It sure beats those times when I gigged a Smith BSR6'er. If the bandleader didn't know me, there was an immediate prejudice at work.
"Hey man, just don't step on the soloist"
"Oh, you a jazzbo?"
Or else they'd assume that I was just dying to solo every damn tune. Not realizing that I'm a pocket player first and foremost, whether I have a 4/5/6/fretless/whatever in my hands.
"Hey man, just don't step on the soloist"
"Oh, you a jazzbo?"
Or else they'd assume that I was just dying to solo every damn tune. Not realizing that I'm a pocket player first and foremost, whether I have a 4/5/6/fretless/whatever in my hands.
Burwabit
Likes guitars that tune good and firm feelin women
I like this too, especially since I play in a band with regular, hard working guys. After about 5 gigs, the singer asks about my Sadowsky metro. Said it looked cool. I told him it was a Japanese Fender copy, and he said It sure sounds good.Those are great. A funny line I heard was "Polish Fender copy". My Sadowsky P-basses are "stealth boutiques". I'm sure many think I paid $400 instead of $4000, and I'm totally fine with that: I don't have $4000 chops*.
Hey nostatic, looks like you're paving my road here. Owned 3 Sad's, all 4's, went into Smith territory but been thinking about a WL5 since they appeared in the metro line. Going to try one this Saturday... a bass GTG in my house.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
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From what I've heard, it can work the other way. A session player I met said that his go-to bass was a Fender fiver, but he would bring his Smith sixer to every jazz audition to "prove" that he was serious. (I'd wager that Sadowsky also works very well in those circles, but I wouldn't know
)
Absolutely. Or even worse, in my case, on those jazz gigs where I had the Smith, there was this automatic assumption that I could 'shred like Patitucci', which I can NOT. More than a little disappointment when I turned out to be 'meat and potatoes with a fancy top and a C String'. I just liked the way the Smith sounded fingerstyle. Big fat lowmid-rich notes. My PJ5 does that for me but now I 'look the part' a bit more.
When/If (a guy can dream right?) Roger releases a 6-string, I'll be first in line. I spent a lot of time/$$$ trying to get 'that Sadowsky thing' in a 6-string. No dice so far, though in truth I don't really need it. Then again, when are 'need' and 'want' ever comparable?
When/If (a guy can dream right?) Roger releases a 6-string, I'll be first in line. I spent a lot of time/$$$ trying to get 'that Sadowsky thing' in a 6-string. No dice so far, though in truth I don't really need it. Then again, when are 'need' and 'want' ever comparable?
Chef
In Memoriam
Chef
In Memoriam
Killer.
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
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Not to change the subject fellas, but has anyone put those new EB Cobalt Flats on their Shadooowski?? 
I am very curious and was wondering how they compare to any other flat string?
I am very curious and was wondering how they compare to any other flat string?
I have some on order from Jason at BSO, but so far, have not received them.
+1. They do.From what I've heard, it can work the other way. A session player I met said that his go-to bass was a Fender fiver, but he would bring his Smith sixer to every jazz audition to "prove" that he was serious. (I'd wager that Sadowsky also works very well in those circles, but I wouldn't know
Made a separate thread on this but maybe this is best place to ask.
I am considering a 1995-96 Sadowsky NYC 4 string. Cherry burst with quilted maple top and maple neck. Beautiful bass. It is in "like new" condition even after 20 years of mild use.
I don't know a lot about Sadowskys of this era.
What would be the current market value for this bass? What is a fair offer? I don't know what the older ones go for now. Also, did the older models have the VTC option? If not, how was the older preamp in the 90's set up? What pickups were used during this time?
Is there any design or spec difference of the mid 90's Sadowskys compared to today's model? ( J bass model)
Would like to hear from Sadowsky owners that own or have bought a bass like this recently or members that know this market.
Thanks guys.
I am considering a 1995-96 Sadowsky NYC 4 string. Cherry burst with quilted maple top and maple neck. Beautiful bass. It is in "like new" condition even after 20 years of mild use.
I don't know a lot about Sadowskys of this era.
What would be the current market value for this bass? What is a fair offer? I don't know what the older ones go for now. Also, did the older models have the VTC option? If not, how was the older preamp in the 90's set up? What pickups were used during this time?
Is there any design or spec difference of the mid 90's Sadowskys compared to today's model? ( J bass model)
Would like to hear from Sadowsky owners that own or have bought a bass like this recently or members that know this market.
Thanks guys.
