Rather, these were designed to offer a vast array of close approximations to popular and familiar tones. The primary goal being versatility within a popular/familiar tone base, not purity of replicating specific originals. And for that, Roger hit the double-bull right in the center hole of the dartboard.
I'll say it again: my Sadowsky P gives me the P-bass tone I always wanted but could never quite get from the Fenders I owned, not even after modding them. That's NOT a diss against Fender. Point is: Roger's goal was to improve the Fender tones, not clone them. Yes, they are close, but Fender purists might want to stick with Fender. I like Fender, but Roger's take is perfect for me.
Of course it's not just about my earholes. My hands, eyes, and back appreciate all the other benefits that come with a Sadowsky bass.
P.S. A big part of Sadowsky history was fulfilling the wishes of studio pros who wanted boutique quality in vintage clothing, in deference to producers frightened by anything that wasn't an FSO. I'm just a humble bar band guy, no producers to worry about, but I'm not comfortable wearing an uber-blingy instrument. An FSO "stealth boutique" is definitely my style (though of course Sadowsky offers grade A bling for those who want it!)

