I should also mention that I've thrown Roger's game-changing preamp in MTD's/Warwicks/Fenders/Modulus/etc with reckless abandon. Definitely get what you're saying.
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I should also mention that I've thrown Roger's game-changing preamp in MTD's/Warwicks/Fenders/Modulus/etc with reckless abandon. Definitely get what you're saying.
others have already replied on this, but i don't think that's what it means. i think all it means is potentially a temporary supply gap, and getting them from a different place after. not that big of a deal.
Everything will eventually be sold by Sadowsky dealers in the US and around the world. Covid has slowed down everything from production to logistics for pretty much every product out there. Sadowsky will no longer run their own online store from the NY shop. Dealers will be where we can buy everything from strings to preamps and pedals.
deepestend
Commercial User
- Feb 21, 2003
- 6,249
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Yes. We're trying to spend less time running the online store and more time in the shop building instruments.
Warwick will be making and distributing Sadowsky Pedals and Preamps. With COVID and all, it is taking a while longer to get all of this going.
or, as Regis would have said:
or, as Regis would have said:
Have any of you used the Sadowsky flats on a 5 string? I have some shows coming up with a country artist, and instead of using my P Bass that has Sadowsky flats on it, I was thinking of putting a set on my UV70 5 string. Thoughts? Opinions?
Ho Lee Crap - I have a gig this weekend. My Sadowsky Verdine White 5 will be back on the stage for the first time since March 13th!! We are playing inside a local music venue that has teamed up with a restaurant next door for outdoor dining. The big bay-style windows the bar has will be open for the diners to enjoy the music. San Diego has been really strict on music, mainly allowing only solo acoustic acts at most places. From what I can tell this is a newer concept here, not many music venues are doing this in town. We just booked a second one too. Unreal.. I honestly didnt think this would happen this year.
I just put a set on my MV5...played it for the first time with those strings at church on Sunday. Full round tone...love it! The feel is awesome too...I would highly recommend!
Yes. I've tried a bunch of flats on my Sadowsky P5 (no J). Long story short, my favorites are TI Jazz Flats, which are unfortunately the most expensive... but hey, flats last a long time. I've also tried Fenders, D'Addario Chromes, EB Cobalts, LaBella Low Tension, LaBella Deep Talkin' nylons, Sadowsky black label... and I'm sure I'm forgetting some. I wouldn't diss any of them, just sayin' I like TI's the best. They're lively when new, but that's easily remedied via the VTC (if desired).
I have not tried the reformulated (as of a couple years ago) Sadowsky Blue Label flats, about which I've heard great things.
At the moment I have my NYC JJ5 strung with Dunlop flats 40-120 - I love it! More substantial than TIs, but more lively and toneful than any other flats I have tried (including Sadowsky Blue Label 40, Black Label 40, Dunlop 45, etc).
D'Addario Chromes for the overall 'win' for this guy, with LaBella Low Tensions my new favorite of late on my Olinto P5.
Why?
Integration of the B-string, and a solid, equal-tension (or close to it), pitch-focused experience. My experience with tapered flat-wound B's isn't a pleasant one. I spent a lot of time on a flats-strung 4 ... really being able to dig into that E string ... and the non-tapered Chrome/Labella B's let me do that in a way that the tapered's do not.
Which is a shame because I love the more 'traditional' flat sets on a 4-banger.
Why?
Integration of the B-string, and a solid, equal-tension (or close to it), pitch-focused experience. My experience with tapered flat-wound B's isn't a pleasant one. I spent a lot of time on a flats-strung 4 ... really being able to dig into that E string ... and the non-tapered Chrome/Labella B's let me do that in a way that the tapered's do not.
Which is a shame because I love the more 'traditional' flat sets on a 4-banger.
I'd like to revisit the lighter gauge Sadowsky flats. The smaller gauge of the Labella low-tensions threw me off at first, but I ended up being able to get my usual 'thicker than a snicker' p-sound/feel. Really turned my head around on gauge. Another rabbit hole to fall into.
So who has tried the Super P / Super J combo and what’s your opinion on it ?
I use the lighter gauge Sad flats on my VW5. Had them on my Modern 5 for a bit too. They feel great, sound great - very easy to move around the neck. They are honestly close enough in tension to the Daddario EXL-165's that I like on my other basses.
Thicker flats would be too much "work" for my style, lol..
I tried one at NAMM and pretty much immediately started a build, which is now underway.
The tonal versatility without even touching EQ was staggering. Probably my favorite "combo" was the reverse P with the "70's" bridge, if I recall correctly.
I just went from light gauge Sadowsky Blue Label stainless rounds to light gauge Sadowsky flats on both my MV5 and Modern 5. The surprise during setup check was that I had to loosen the truss rod on both basses to get my preferred “almost straight” neck relief back to where I like it. The Blue Label flats had lower tension than the rounds, which was an unexpected bonus for me.
Last edited:
- Apr 3, 2003
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I just recently bought a M5-24 and the bass is awesome.
I recently upgraded the preamp with a John East Uni-Pre and it has completely transformed the bass. I found the stock Sad preamp to be 1 dimensional and scooped but the uni-pre is far more versitile.
I recently upgraded the preamp with a John East Uni-Pre and it has completely transformed the bass. I found the stock Sad preamp to be 1 dimensional and scooped but the uni-pre is far more versitile.
