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Club Sadowsky!!!

#44,981
bucephylus said:
That’s a real nice bass.

A number of Sadowsky owners in this thread over the years have bounced around this P issue; and I always think it is somewhat a shame when they flip an otherwise nice bass to address that very legit need. There are other options.

For one thing, either the Shop or Pat Wilkins can usually rout the bass to optionally accept a P pickup at fairly reasonable cost; and if you schedule it, you aren’t without the bass for long.

Another option is to replace the JJ pickups with the Delano JMVC’s (require special order for the correct shell size); which have a VERY respectable P vibe on the neck pickup, among other nice characteristics.

Either of those options are typically much more cost effective than flipping an instrument and buying another; though perhaps not as GAS assuaging.:cool::D
Click to expand...

Or do like I did... keep the Sadowsky I love, and drop $500 on a Fender Mustang PJ, put LaBella flats on it and, boom, Motown!
 
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#44,988
MAJOR METAL said:
Some Sadowsky history right here!

Click to expand...


As the proud owner of a R5-24 this was an interesting history lesson, thanks for posting!

Interesting to hear Roger talking about the taper core and the philosophy around that.

I'm currently using Dr black beauties on mine, and they don't have a tapercore. I had to pull the Bridge saddle all the way back to adjust the intonation just like Roger was saying. Not a big deal, but definitely something you'd want to keep in mind if you had one of these basses and didn't want to use the taper core strings.

It also has the best B string of any bass I've ever owned, regardless of scale length. :cool:
 
#44,989
phillipkregg said:
As the proud owner of a R5-24 this was an interesting history lesson, thanks for posting!

Interesting to hear Roger talking about the taper core and the philosophy around that.

I'm currently using Dr black beauties on mine, and they don't have a tapercore. I had to pull the Bridge saddle all the way back to adjust the intonation just like Roger was saying. Not a big deal, but definitely something you'd want to keep in mind if you had one of these basses and didn't want to use the taper core strings.

It also has the best B string of any bass I've ever owned, regardless of scale length. :cool:
Click to expand...

Post any followup questions for Roger (if you have any), and I’m sure he’ll give them a shot when he gets a chance.
 
#44,991
deepestend said:
Post any followup questions for Roger (if you have any), and I’m sure he’ll give them a shot when he gets a chance.
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Is the chambering on Sadowsky basses handled using the same method on every instrument?

Specifically, based on the weight of the body before chambering and/or the customer's wants, do you folks ever "partial-chamber" or "half-chamber" a body?

Thanks, Deepestend!
 
#44,994
chris_b said:
Wasn't chambering done in a way that only reduces the weight?
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it's focus was to reduce weight over gaining specific amplification of acoustic characteristics, but it's still going to affect tone, so it's never going to be only weight relevant.
 
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#44,995
He showed his chambering in an old behind the notes video he did. See attached.
 

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#44,997
Vic said:
it's focus was to reduce weight over gaining specific amplification of acoustic characteristics, but it's still going to affect tone, so it's never going to be only weight relevant.
Click to expand...

My own highly anecdotal experience of chambered vs unchambered:

  • Unchambered: obvious weight advantage; certain 'airiness' around each note that really makes a difference when playing above the 5th fret on the D/G strings; in some of the chambered basses I've owned, I've either had to boost the bass more to get what I want to hear, and in one or two cases, I felt like the pitch clarity from Low Eb down to open B on the B-string wasn't as focused. Those notes were still outstanding, but I like the chambered notes down there a 'smidge' better; I'm sure no one in the audience would know

  • Chambered: built in compression to each note as compared to a comparable un-chambered version (I've owned multiples in alder/rw, ash/rw, ash/maple PJ5's, in both chambered/un-chambered) and IME, my unchambered, rather-heavy PJ5 in ash/braz RW has more built in low-end than any Sadowsky I've owned, and for a RW-board 5-string that can sometimes have some blurriness on the B-string as compared to a maple or ebony board, my sweet sea-foam green fat boy just kills it down there.
 
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#45,000
Bergerman said:
I always set mine the same as how I use the Sadowsky onboard preamps. I only use the pedal with my passive P-Basses...volume on full, treble on minimum and bass boosted to about 9 o’clock. Tone control on the P functions as my “VTC”. It’s my “always on” pedal...at least with passive basses.
Click to expand...

Same here for my Fender 'P'.
Also use the pedal for some other passive 'J' basses I have but with the same settings as above, maybe less bass boost (10-20%+ from flat) and not often treble as I use VTC for cut.
Nothing touches an original Sadowsky bass with onboard tho'.
 

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