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I'm an ash/maple fan, so I'm sure about that part. Also, one of the key parts of my "dream bass" build is the birdseye maple fretboard. I'd rather lean towards an aggressive bass because I think it's easier to tame the aggression than to "aggravate", if you will, a naturally polite bass. My NYC alder/brazilian rw bass is on the polite side, and once the strings lose their freshness after only a single gig it's hard to get that bite back.
Going to record a live show this weekend. I'll post some links once I get the stuff up.
Absolutely correct, Steve. I suppose that is one reason that Roger's approval policy is so awesome. Still, waiting 9 months on hope, even when one thinks they know what is coming is difficult. And, there is definite risk that the best experience and extrapolation will not produce the desired result.
I think my ears have gotten pickier over the years. I'm very sensitive to consistency note-to-note and string-to-string. Even the best builders can't predict/guarantee such consistency - not to mention overall tonal character ("I ordered a rosewood board but it's as bright as maple!", for example). So I'm wary of special ordering a bass now. That being said, the return policy at Sadowsky is a great thing that offers considerable peace of mind where special ordering (or buying from the in-stock page) is concerned.
Your post is helping me spec out my next bass, even though you didn't know it when you wrote it.I'm an ash/maple fan, so I'm sure about that part. Also, one of the key parts of my "dream bass" build is the birdseye maple fretboard. I'd rather lean towards an aggressive bass because I think it's easier to tame the aggression than to "aggravate", if you will, a naturally polite bass. My NYC alder/brazilian rw bass is on the polite side, and once the strings lose their freshness after only a single gig it's hard to get that bite back.
I appreciate the feedback though! I'm not looking for anything a world apart from what the Sadowsky HC JJ's provide with ash/maple. Just something a wee bit different. After more thought, I'm fairly certain I'll be more than content with the variety of tones I can get with the Super J.
Current Sad is alder body, Braz rosewood board JJ...and it is very "polite", just what I wanted for church. Next build will be a P/J for the secular project, and I want that bass to be far less "polite" as the music calls for such (me vs. 2 screaming electric guitars, playing hard rock). I like the tone I get out of my Fender Jazz Bass Special for that, but I need it to have more "oomph" (via onboard pre) and an extra string.
Email sent. Always willing to support research. (psych major - recruiting study subjects is HARD
)
oh man, I just removed those strings from my PJ5 and replaced with Blue Bright nickel...just for a change of pace!
Email sent, but then I re-read the post. I admittedly have not used the Black Label .045 set. However, I have used .045s by DR and Dunlop in both nickel and steel on my Sadowsky bass until recently I tried a light gauge set of the Blue Labels and fell in love with the sound and feel. Generally speaking, the hex core sets feel tighter and by going down to a lighter gauge they compare more with the .045 round core sets. The Blue Labels light gauge steels are my favorites that I've tried so far on my NYC 5-24, but I'm always game to try something else.
