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all your thoughts totally fair bro.
let me offer this instead then...
WRT "at the Sadowsky level", i feel you actually do have a decent representative of that, because i know you have lots of experience with Carey's stuff, and while not identical, a very good example of a fender-ish bass at that level. it's going to be absolutely excellent from a tonal/quality level. the big diffs in feel between those vs Roger's you should already be familiar with due to your existing Sadowsky experiences... the neck profile diffs between Sadowsky basses follow a pretty consistent theme, so yours has been reasonably exemplary for at least that differential.
i recommend this three pronged approach to help you choose for yourself..
- Roger has a page where he talks specifically about tonal aspects of woods in his basses from his perspective i think should be very helpful.
- Wood and Sound in Amplified Guitars and Basses – Sadowsky Guitars
- The above is pretty much in context of in his instruments, tho i personally feel his thoughts do also apply to a lot of other instruments as well. REALLY good info!
- Wood and Sound in Amplified Guitars and Basses – Sadowsky Guitars
- next, talk to Roger directly with your goals.
- he'll do an awesome job of recommending models and woods, leaving you pretty much to just then decide visual aesthetics as you see fit... much like Mike, Pete, and other "wood alchemists" out there.
- finally, after narrowing it down a bit using the above, try the "borrow/on approval" method from friends or online shops (including Roger's!) as needed
- you're talking about spending a LOT of money. money spent on shipping for basses not kept for that critical direct research is a worthy investment.
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I recall Roger saying the only reason to order from the NYC shop is for wood selection and custom fancy tops. Having just received a MetroLine Will Lee I can see how they are competition for the NYC shop now. Chambering, Just-a-Nut, identical electronics … all in a package for half the price.
The couple of MM basses I’ve enquired about have been around 8.5 lbs, is that about how much yours weighs? I’d been hoping to get a 8lb 5 string MM.
I'm looking at my MetroLine PJ 5-21 right now - it's my primary player. I can get the bite of a P or the bark of a J, and a lot of great sounds in between.
Supposedly, my MJ is 8.25 lbs though I haven't weighed it myself. It feels very light weight.
After receiving my MetroLine Will Lee it’s taken me a few days to dial in my tone. But wowee, it’s perfect now. The remarkable bit is how even the tones are all across the neck. Never mind dead spots, there are no hot spots anywhere either.
Of course, this is coming from Fenders. So now I finally see what the hubbub is about.
Of course, this is coming from Fenders. So now I finally see what the hubbub is about.
If I wasn't an oddball who liked P-style five strings, I would have gone Metro instead of NYC. Having said that, the Brazilian board on my CAR P5 is wonderful.
Echoing the use of DR Pure Blues on Sadowskys - my favored roundwound, all around...and I love Sadowsky flats for my flatwound applications.
I've been using Thomastik flats, but they're just a little to light for me. How do the Sadowskys compare?
Sadowsky flats will have more tension than the TIs (pretty much every other flat wound has tension higher than TIs)
I find Chromes have the highest tension. Sadowsky's and LaBellas the middle, and then Tis and LaBella LTFs the floppiest.
I find Chromes have the highest tension. Sadowsky's and LaBellas the middle, and then Tis and LaBella LTFs the floppiest.
I have TI JF344 Jazz Flats on my Jazz bass. I just received a Sadowsky with new Blue Label SS Flats .040"-.100" on it. The Blue Labels are much looser than the TIs. I probably should have gotten the heavier gauge set.
In any case I'll likely swap the Blue Labels for TIs soon.
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The TI’s on my Sadowsky P are 5 years old now. I’m in heaven!
IME, moderate tension, with La Bella old school as the tightest, and the TIs as the loosest. Loose enough to aid left-hand expression, but tight enough to get thump, if you use your right hand appropriately. The real glory is the range of timbre - these are super-responsive to both right-hand and left-hand touch, and right-hand placement. You can get the articulate upper-mid cut-through of rounds, yet also stroke some glorious flatwound goo. I've particularly loved them on fretless, and may soon also experiment with them on a fretted bass.
Has anyone with a 5 string Sadowsky at 1 7/8 nut switched to a 1 3/4" and found it a deal breaker? Or do you maybe even prefer the narrower 1 3/4" spacing at the nut?
I owned several NYC 5’s with a 1-7/8” nut. Found I much prefer my (1-3/4”) WL 5-22, and now won’t purchase a 5-string bass with a 1-7/8” nut. ~ymmv~
NYC WL 5-22…
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I've got both: A modern 5-string with 1 7/8 nut width and a WL-5 with 1 3/4. (German MetroLines, not NYC basses)
I do not prefer one or the other. The WL-5 gets more playtime because it fits my bands tone better, but having the choice I'd rather play my modern 5er. But thats not even due to ergonomics but I like the moderns tone better for playing by myself.
While there is a difference in ergonomics, I do not care too much. The neck of the modern is a bit meatier than the WLs and I feel that playing the D and G strings is a tad more comfortable on the modern with the 1 7/8 nut than the narrower WL. Doesn't make much difference to me on the B, E and A strings.
If you're sensitive towards neck dimensions in general you might need to think carefully about this topic. If you're someone who is comfortable with either a standard P or J bass neck, you'd probably be fine with either nut width on a Sadowsky.
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i have both. i always prefer the narrower nut as i have smaller hands, but it's a very minor thing... nowhere near a deal breaker.
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