Good to hear. I didn't know if you still played around for fun from time to time.
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It is the weight primarily although I have read from some Sadowsky owners that it affects the midrange. To me it is also significant since the chambering always seemed to be the major point of difference (at least physically) between a metroline and the NYC version.
Roger, If you ever have a layover at John Glenn International in Columbus, Ohio, feel free to hit me up for a game of competitive Yahtzee.
It's not all about instruments, and such.
Thanks for these videos! I saw them when I was doing research but i didn't click through since i thought they might be outdated but I'm glad to see the whole process and what goes into making these instruments sounding as good as they do. I was hesitant about buying a german model at first and thought I was better off finding a used Japanese model but now that I know chambering is that essential to the NYC sound I think I'd actually prefer one. Great community on here, super helpful!
Behind The Notes with Roger is a classic. It fully explains why my NYC feels different (ie better) than the other 30 or so basses I've owned. His approach to fretwork is spot on. I much prefer the master builder to do it by hand than just toss it into an automated machine. Completely different feel.
From my perspective, if I may, it seems clear that Roger made his career by combining his obviously high levels of commitment to craftsmanship and customer service with equal degrees of careful observation, willingness to experiment (and discard what didn't work), and ability to listen and hear with discernment, all in the service of improving his products over a long arc of refinement.
The videos are a treasure for anyone who wants to know more about why these instruments are special. I'm glad that he's been able to keep things going during such challenging times, and I hope that things are going well for him regarding Warwick production of his instruments.
The videos are a treasure for anyone who wants to know more about why these instruments are special. I'm glad that he's been able to keep things going during such challenging times, and I hope that things are going well for him regarding Warwick production of his instruments.
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- Feb 3, 2005
- 7,331
- 10,197
- Disclosures
- Endorsing artist: Bergantino Audio Systems and GHS Strings
So, this was my custom order V4PJ I got over 10 years ago. I asked back in 2014 (googled this and found my own post from then about converting it to a JJ with a route that makes it work as a JJ or PJ with different pickguards. I never ended up doing it, but suddenly I'm really jonesing for a nice jazz bass and have note been using the PJ as much these days. Think it might be time to do it. I am lucky that New Orleans has an absolute top-notch repair shop here, so comfortable having them do the work. Considering some crazy expenses we have related to Hurricane Ida (new roof goes on this month), but hurricane deductible was $10k. So, dropping $$ for a new Sadowsky, Fender, Sandberg, etc. feels a little unreasonable at the moment.
Anyone know of a picture showing the "double" route with the pickguard removed? Could not find one.
Just curious. The Sadowsky jazz I had years back (shoulda kept that one) had the single coils, which I loved. I'll probably order a set. Has anyone installed other pickups in theirs?
Anyone know of a picture showing the "double" route with the pickguard removed? Could not find one.
Just curious. The Sadowsky jazz I had years back (shoulda kept that one) had the single coils, which I loved. I'll probably order a set. Has anyone installed other pickups in theirs?
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The chambering intrigues me since I believe Roger has stated in the past that while it affects weight the sound of the non chambered Japan metrolines was virtually indistinguishable from nyc. He said many times that the only difference between Japanese and nyc was chambering/weight and finish/wood options.Certainly many owners have stated this, also some have said that chambering sucks out a little midrange and they prefer solid bodies. I have never played an NYC so cannot comment on this issue. Having seen the picture of chambering in the article above it appears that a top veneer would have to be added which makes the Warwick Sadowskys better value imo. That said, my Japanese Will Lee 4 at nine pounds is just perfect for me, I still like that the Japan metrolines were made in a Sadowsky specific workshop. However, this has not stopped my yearning for that candy apple red Warwick metroline currently in the New York shop.
Awhile back I had a beautiful NYC WL5 and a friend of mine had a MIJ Metro WL5. Both were alder body, morado fingerboard. The only difference was the chambers. Sadly for me, we both agreed the Metro sounded better. It had a fuller tone and just felt deeper sounding. The weight of the NYC was just a bit over 8lbs and the Metro was around 9lbs. The NYC I just ordered will have a solid body with a target weight between 9-9.5lbs. I will say that I've owned basses that were around 8lbs not chambered and I didn't care for the tone either, or the balance. It seems that in the many, many basses I've owned, 9-9.5lbs has been the sweet spot for tone and comfort. So, it may not be the chambering that I did not like as much as the light weight. My current NYC, which is one of the best basses I've owned and certainly the best Sadowsky I've owned, is chambered but weighs 9lbs or just a touch more.
IME, this.
Exactly. At least IME/IMHO.
Body weight/density definitely affects tone in very tangible ways. I know bassists who insist their basses weigh at least 10-12lbs. In my personal experience, the heavier/denser the body, the more compression/sustain you get, and with lighter, you get a bit more punch and attack.
My sweet spot is 8-9 pounds. Lighter than that is a bit to "airy" for me. Heavier than that is both fatiguing as well as it starts to lose some of that punch that I like.
YMMV!!!
It would appear that the consensus is that chambering affects weight far more than any noticeable tone difference.
Last time I had the MV4 out of it's case, I could have sworn it needed a truss rod tweak.
Either I was imagining things, or it settled back to where I like.
Love that bass, too. The translucent white is antiquing so nice and even... more like a translucent butter cream.
Yummy.
Either I was imagining things, or it settled back to where I like.
Love that bass, too. The translucent white is antiquing so nice and even... more like a translucent butter cream.
Yummy.
I've had my eye on a Sadowsky for a couple of years now. During that time the transition was made from Kikuchi to Warwick Sadowsky in Germany and RSD in China, notwithstanding continued NYC production. So, it's made sense to watch what's unfolding.
A year ago I bought a Fender Custom Shop '64 Jazz Bass from Japan at a similar price to a Kikuchi Metroline. Customs and shipping drove it up several hundred dollars. While I continue to covet a Kikuchi Sadowsky, these factors have held me back. Now I see new Warwick pricing is roughly on par with a TKO Metroline.
With the recent positive developments at Warwick I'll sit back and patiently wait for a Warwick MetroLine to show up on the NYC website specced as I want it. A standard RW4-WL in gloss black will do.
Well, be the whole chambered or not chambered issue as is may- but we might all agree that having the Metroline is a great opportunity to make these nice Sadowsky basses available to a wider audience. I wouldn't have been able to try, much less afford a NYC Sadowsky, but the Metros from Warwick put them within my reach and nicely compete with Sandbergs and Fenders at roughly the same pricepoints (at least in german shops) for a superior bass. 
On a side note: In secret I enjoy the fact these fine basses are made in at a german manufacture and I thereby support domestic producers.
On a side note: In secret I enjoy the fact these fine basses are made in at a german manufacture and I thereby support domestic producers.
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Full boat with tax and shipping approaches $4K for a German MetroLine from the NYC shop. A Custom Shop Fender can had for less.
For comparison an older NYC Sadowsky has been in the Classifieds here for $4100.
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Wow super interesting info. Maybe looking for a Japanese model is worth it. I wish I could just sit in a store and try all of them out in hand, I'd be able to make a decision in a second if I could do that lol. Since you have a Will Lee model, do you mind sharing your experience with it and how it differs from a standard metroline?
- Feb 3, 2005
- 7,331
- 10,197
- Disclosures
- Endorsing artist: Bergantino Audio Systems and GHS Strings
I have such a good repair shop here. Saves me shipping to NYC and back.
- Feb 3, 2005
- 7,331
- 10,197
- Disclosures
- Endorsing artist: Bergantino Audio Systems and GHS Strings
My Japanese Metro Will Lee 4 was an outstanding bass. The playability and tone were 100% on par. Didn't have the options and some stuff I got on my NYC, but no doubt they were turning out impeccably made basses.
