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Club Sadowsky!!!

#39,806
jonathanhughes said:
Do the moderns that don;t have a pick guard have the same space between the strings and body as one of the models with a pick guard (i.e. did they sink the neck over into the body to shrink the space)? I'm interested in the Moderns with the soap bars, but have never played one in person.

thanks!
Click to expand...

For NYC basses that without pickguard, neck pocket cut deeper to compensate the space.
Basically same feeling between bass with or without pickguard.
 
#39,809
atrapp said:
Anyone up for a conversation about your amp rig?

I was using the Genz streamliner 900 into LDS 215 or 115 full range cabs, while occasionally using a Fender super twin modded into a head, but recently switched to the Tecamp Puma 900 with the S212 arriving Monday. I really like the baked in warm tone of the Puma and am hoping the S212 will bring a bit of crispness that the LDS are lacking.
Click to expand...

Rig 1: Mesa Boogie Subway D-800 and pair of Bergantino CN112s
Rig 1A: Ampeg V4B reissue and Fender 410 Neo
 
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#39,810
atrapp said:
Anyone up for a conversation about your amp rig?

I was using the Genz streamliner 900 into LDS 215 or 115 full range cabs, while occasionally using a Fender super twin modded into a head, but recently switched to the Tecamp Puma 900 with the S212 arriving Monday. I really like the baked in warm tone of the Puma and am hoping the S212 will bring a bit of crispness that the LDS are lacking.
Click to expand...
Most of the gigs I've used my Sadowskys on have been in-ear gigs (Shure 535s). For amps it's been mostly through an Ampeg SVT-3 Pro with a Bergantino AE410. Lately I've done a couple of gigs and rehearsals with Aguilar TH500s through Bergantino or Ampeg cabinets and that has worked out really well.
 
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#39,811
jonathanhughes said:
Do the moderns that don;t have a pick guard have the same space between the strings and body as one of the models with a pick guard (i.e. did they sink the neck over into the body to shrink the space)? I'm interested in the Moderns with the soap bars, but have never played one in person.



thanks!
Click to expand...
As of maybe a year-and-a-half ago the NYCs without pick guards have been made so that the space between the body and the strings is consistent with pick guarded models. I personally love the feel/ergonomics of the Moderns and prefer them significantly to the Standards. I'm not sure why exactly - it's probably just a matter of where I rest my right hand on account of the pickups - but for me it's a big thing. I've only played two Moderns but the B strings on both were probably the best B strings I've experienced on 34" basses.
 
#39,812
atrapp said:
Anyone up for a conversation about your amp rig?

I was using the Genz streamliner 900 into LDS 215 or 115 full range cabs, while occasionally using a Fender super twin modded into a head, but recently switched to the Tecamp Puma 900 with the S212 arriving Monday. I really like the baked in warm tone of the Puma and am hoping the S212 will bring a bit of crispness that the LDS are lacking.
Click to expand...

Sure, I'll play:

Rig #1: Aguilar DB659 & DB728 into an Aguilar GS410. My go-to workhorse "Aggie" painstakingly pieced together over two years, and given a checkup by Dave at Aguilar, that has the most aggressive Ampeg-on-steroids-and-coke sound I've heard and weighs just about as much as an actual Clydesdale workhorse.

Rig #2: Ampeg Heritage SVT (from fellow TB'er kbakerde) into an Ampeg Heritage 810e. What I sometimes-affectionately call "Big Hoss" for those bandleaders that feel threatened by anything but an Ampeg onstage as well as when I need the image and pillowy-smoky sound of a classic bass amp.

Rig #3: Mesa/Boogie Buster Bass 200 2x10 "Wedge". Dubbed the "Little Tyke" it really only makes appearances at writing sessions and the tiniest of venues, and was bought (from fellow TB'er Flipper) almost more from a nostalgic view of by first backlined amp at my first gig ever (church service for 600 youths when I was in high school) as well as its warmth and almost solid-state like attack.

My Fender AVRI '62 P (Sadowsky Flats) sounds best through the Ampeg and my Fender Japan '75 RI J (Labella Steels) sounds best through the Mesa...unsurprisingly my Sadowsky (2788) just kills it through all three and any backline or IEMs (Shure 215's) I play! :thumbsup:

Also owning these three all-tube rigs and living at the top of a three-floor walkup effectively eliminated my need for a gym membership. :dead:
 
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#39,817
image.jpeg
I was getting read to ship out my metro will Lee to Pat Wilkins for a refinish and decided to weigh it...

I think I own one of the lightest metro 5's ever made!!!
 
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#39,819
Amp rig:

I used rack rigs for decades, but a year ago I switched to the Reiner Amplification Studio 1200. Best amp head I've ever used, period.

I also accumulated a dozen overdrive pedals so I can dial in varying degrees of distortion with my hard rock band. Note: I only use one or two pedals at a time, I just like variety!

Speakers: the Bergantino NV610 is the best cab I've ever used, period.... but it's a beast to move around, so my alternate is a pair of Bergantino CN210 cabs (33 pounds each).
 
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#39,820
ElMon said:
Do single cuts do anything tonally? Zero experience.
Click to expand...

I don't see how... it's just a slight difference in the way the neck attaches. Sure, theory says that the physics of the instrument changes, so the tone should as well -- but my point is that the difference probably won't be audible. Another example: in theory, routing a P-bass for a bridge pickup should change the tone of the instrument even when unamplified, but does anyone really believe that they'll hear that difference?

So, I don't see how anyone can claim to know for certain. In order to prove anything you'd have to build single and double pairs using identical woods. Then you'd have to build enough of these pairs to be statistically significant. You'd also need a way of running identical tests, and objectively measuring tone (meaning: double-blind, or via something besides the human ear). On top of all that: we all know the variable nature of wood (identical instruments can sound very different), so you'd have to eliminate that factor somehow.



I've spent way too much time thinking about this stuff
 
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