Club Sadowsky!!!

[Plutonium244]

I really, really love the tone of the MS4 Metro I recently bought... so much that I am afraid I might get something different than I want with the modern, and don't want to risk $2k or more to find out. Tough question to answer since its so subjective: do you still get that special Sadowsky tone that is so delicious in the jazz models?

 

[Gab124]

I really, really love the tone of the MS4 Metro I recently bought... so much that I am afraid I might get something different than I want with the modern, and don't want to risk $2k or more to find out. Tough question to answer since its so subjective: do you still get that special Sadowsky tone that is so delicious in the jazz models?

My PJ sounds like a Sadowsky no doubt. A lot is that wonderful preamp, but the wood choice and build quality are definitely a part as well.

 

[Gab124]

This is the one I want!! Though, I do wish it came in trans antique white at the same satin series price

 

[bass12]

I really, really love the tone of the MS4 Metro I recently bought... so much that I am afraid I might get something different than I want with the modern, and don't want to risk $2k or more to find out. Tough question to answer since its so subjective: do you still get that special Sadowsky tone that is so delicious in the jazz models?

To me the Moderns have every bit as much of that "Sadowsky tone" as the Jazzes. I think of the Moderns as being more refined and precise sounding, with a bit more space between the notes (if that makes sense) than the Jazzes. I've actually had more compliments from sound guys when playing my Modern than when playing my Sadowsky Jazzes - though so much of the sound is context-based (different rooms and systems, different sounds).

 

[nostatic]

I'm finding that one shouldn't be scared of the onboard eq, and the Moderns benefit from some bass boost. Actually changing up the voicing on the Mesa D800 works as well.

 

[bass12]

I'm finding that one shouldn't be scared of the onboard eq, and the Moderns benefit from some bass boost. Actually changing up the voicing on the Mesa D800 works as well.

I boost the bass on my Modern about the same amount as on the Jazzes I've owned - around 10% in general.

 

[Odia]

Finalized my fretless order today. I ended up going with no lines (from discussion several pages back). And now we play the waiting game...

 

[nostatic]

I boost the bass on my Modern about the same amount as on the Jazzes I've owned - around 10% in general.

Yeah, I think it depends on technique as well. I tend to pluck more like a finger style guitarist, so my tone can be thinned out. On some instruments I need to dial in a bit more "fat" (JJ basses are especially problematic for some reason). One reason I tend to get along with Rob Allen basses, as they are really thick.

 

[bass12]

Yeah, I think it depends on technique as well. I tend to pluck more like a finger style guitarist, so my tone can be thinned out. On some instruments I need to dial in a bit more "fat." One reason I tend to get along with Rob Allen basses, as they are really thick.

I can see that, too, if you are one who plays regular finger style closer to the bridge. I'm curious as to how you would compare the sound of the Modern to that of a Smith.

 

[nostatic]

I can see that, too, if you are one who plays regular finger style closer to the bridge. I'm curious as to how you would compare the sound of the Modern to that of a Smith.

Pretty close. The Smith is even more focused due to the neck-through and sandwiched neck and body. I find bolt-ons to usually be a bit more open, same with chambered body and one-piece neck. The lamination (to me) limits some of the overtones which can be good or bad depending on what you want.

 

[bass12]

Pretty close. The Smith is even more focused due to the neck-through and sandwiched neck and body. I find bolt-ons to usually be a bit more open, same with chambered body and one-piece neck. The lamination (to me) limits some of the overtones which can be good or bad depending on what you want.

My impression was that they inhabit similar sonic realms. Thanks.

 

[gustobassman]

+1 The VTC is BOMB. Such a practical voicing control.

I agree as well. So useful!

Lately I've been favoring the PJ5 - and just for S's and G's I switched over to my Mesa D800's active setting.

Oh My.

I've found I can really get more use out of the Sad preamp and the VTC goes to another level. For me, the VTC results seem to be more emphasized this way. Just absolutely killer.

Ive read that a lot of guys just run into the passive input and only boost the pre a little bit - heck I did myself for quite some time. Now I'm finding out the range of the preamp is there to be used. This bass just went to a whole new place!!

 

[Sadowsky]

I have always found a passive tone to be much more musical and useful than an active treble cut.

 

[Sam Dingle]

I don't know how to use all this bass technology haha. I understand my fender p bass (there are 2 settings. Tone 100% and tone 0%) and fender jazz bass (tone all the way up. tone all the way off, both pickups, back pickup, front pickup) haha.

I had my better electric bass playing friend over last night and he fell in love with the sadowsky metro and got sounds out of the bass I didn't know were possible. And it wasn't just his hands! He would do something or change something, play amazingly and I would pick it up and hear a great bass too. Are there any lessons on how to use this online?

 

[Sam Dingle]

Forgot to say, I played my sadowsky passive for the first few months because It scared me haha.

 

[tombowlus]

I have always found a passive tone to be much more musical and useful than an active treble cut.

+1 Agreed.

 

[gustobassman]

Forgot to say, I played my sadowsky passive for the first few months because It scared me haha.

I came from a passive Fender background myself. I've learned to love the Sad pre. In active mode back off the volume about 10% or more. Start juicing the preamp. Try bass at 10% and treble at 15%. Roll off the VTC if too bright.

That's what was suggested to me, I started there and went with it.

EDIT: as posted earlier lately I've been using the active setting on my amp, I don't have to back off the volume on the bass this way and the pre sounds fantastic.

 

[jwbassman]

Love my Sadowsky. Here I am just messing around this past weekend between church masses.

 

[kobass]

^^^^

Nice playing Jarrod!

 

[nostatic]

fwiw I have all active basses, and never run the passive tone wide open. I also never juice the treble, but control that end of things with passive tone. Mostly will mess with bass or mid (if the bass has it) wrt onboard preamp eq. But I'm not a zingy tone kinda guy, however it does need to be articulate. Agree that passive tones are great, and although I never run them at 0 or 100%, I constantly am tweaking in-between depending on what tone I'm after.