Sorry man. It’s not my video, someone at the gig put it up
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Sorry man. It’s not my video, someone at the gig put it up
Hi, bassmates, this is the first video from the former bigband session two weeks ago, very hot, so fresh...featuring Modern Art Orchestra, the tune is Peter Szendofi's composition called 'Kim'. Hope this link works. (Another one coming soon)
Watched this a second time, mesmerized, really freakin' good.
You have some nerve posting a bass this pretty.
Hi, bassmates, this is the first video from the former bigband session two weeks ago, very hot, so fresh...
That was a pleasure! I'm out of touch with contemporary big band playing, but understood where that was coming from. Great playing all around...including the bass! Thanks again...
For me it is a pleasure... entertaining is my profession.
You play your Fender or whatever at home or in a store and it sounds great but with the band at a gig?
Perhaps a bit muddy or lost in the mix?
Sadowsky basses have this thing that I don't have word for.
It's when you're playing a gig and you go down to the 'E' string for an 'F' or a 'G' and it just crunches or rumbles cleanly through the mix.
I don't get that on my other basses but what's a word for it?
Perhaps a bit muddy or lost in the mix?
Sadowsky basses have this thing that I don't have word for.
It's when you're playing a gig and you go down to the 'E' string for an 'F' or a 'G' and it just crunches or rumbles cleanly through the mix.
I don't get that on my other basses but what's a word for it?
I agree with Vic. I am very no frills when it comes to adjusting preamps on a bass itself. I've played lots of great basses from great builders, some with a multitude of adjustable parameters from this or that mid frequency, frequency sweeps, etc. Sure it's cool, but for me, I just don't need or want all that hot dog stuff.
For jazz basses, I love a nice passive jazz and originally flirted with using my WL-5 passive only - sounded great. What I noticed though, was even with the pre set flat on the bass, engaging the active circuit added just a hint of something special. @Vic nailed it - presence. Sure, other preamps sound slightly different engaged vs. passive, but the Sadowsky pre has "it".
I'm an Ampeg fella and am either running a pedalboard simulating an Ampeg SVT rig or running an SVT-2 Pro/810 rig, but I get more inquiries from FOH engineers about one piece of gear - "What bass is that?!?!?"
That my friend, is a Sadowsky
That'll do me thanks. Active and maybe a teeny bit of bass gain but it still has it. 'Presence'.
I'm not a tech guy and invite correction to the extent I'm off base. But I understand that the Sadowsky preamp uses FETs rather than op amps, and that there are many folks out there who think FET circuits sound "better," "more like tubes," yadda yadda... This in turn invites the question of why do folks often think tubes sound "better," with common explanations including tubes - and FETs - tending to favor even-order rather than odd-order harmonics. Who knows? I do know that some of the better hi-fi components I've heard over the decades use MOSFET or JFET or VFET circuits...and I know that the Sadowsky electronics simply satisfy in a way I've not found from other makers.
My life experience has taught me that such questions create arguments that create more heat than light. I’d offer up the natural compression heard and felt in tube amps providing a more satisfying playing experience, as well as a smoother, less harsh sound. That said, fully digital platforms can cop that tone these days.
After all that, to me, it’s psychoacoustic and opinion based. I know musicians that can’t stand a Sadowsky sound or the sound of any modern bass, and others that absolutely insist I bring a Sadowsky. There’s no accounting for taste, especially if the opposing opinion holder is writing checks and runs the band.
All told, the Sadowsky circuit has proven to be a completely musical and usable circuit that still gives these jaded old ears chills now and then. It’s also championed by some of the very best players in the world for decades. It’s quiet as a church mouse and works in the real world of dive bars and clubs with crap wiring as well as it does in world class studios and concert stages. Good enough for me!
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TimothyGroovy
Commercial User
- Aug 3, 2000
- 2,374
- 2,097
- Disclosures
- Owner: Uni•Sound Endorsing Artist: Sadowsky Guitars, Olinto Bass, LaBella Strings
IMO, it is always come down to personal perferences and need, some people's tube warmth is some people's muddy low mid in the mix. For live situation like in a small club, you may actually hear the difference on what the player is using, tube or solidstate, but for an arena sized gig, I doubt if people able to hear the actual difference, this is why I only go for something clean and noiseless, something simply able to get the job done will do, leave all the tube stuff in the studio. of cos, I have to play a Sadowsky in the first place. \m/
Just done few shows with my NYC 24 frets soap bar, what I received is only positive feedbacks and compliments, as usual they delivered from studio, club, TV show and to arena show.
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Quoting myself to give an update:
The shop (Zoundhouse Dresden in Germany) and Warwick took care of the problems. Props to both!
Bit of Friday garden shots, nitro relic Sadowsky in da house 
Reported to forum Administrators as pornography!
Reported to forum Administrators as pornography!
Porn in the nature...
Nice! I love the checking.
Regarding paint, does anyone know if the MIG MetroLine basses have nitro paint?
Regarding paint, does anyone know if the MIG MetroLine basses have nitro paint?
I'm pretty sure that they do not. Warwick is using uv paint on most (if not all) their basses and guitars.
