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Club Sadowsky!!!

Nice, Doc. Someone mentioned on another thread about the scalloped headstock, the way the strings descend to the tree, and I never noticed it much before that. Now it bugs me. I noticed on my ME that the new Chromes wound a little high on the pegs so I went back and loosened, pushed them down to the bottom. The tree shredded the silk on my upper strings. I get it, about reducing headstock mass, but it is just not the way I am used to seeing it. My other basses are straight paths to the peg.

I guess it's just OCD. Doesn't really matter, just looks weird.

I never noticed it.😊
 
From what I have read Roger started Chambering NYC's in 2009 but I would be surprised if Roger was aware that Chambrring along with thicker head caused very noticeable neck dive he would just leave it be

Maybe ask @Sadowsky
My 2008 NYC JJ4 is chambered.
 
Nice, Doc. Someone mentioned on another thread about the scalloped headstock, the way the strings descend to the tree, and I never noticed it much before that. Now it bugs me. I noticed on my ME that the new Chromes wound a little high on the pegs so I went back and loosened, pushed them down to the bottom. The tree shredded the silk on my upper strings. I get it, about reducing headstock mass, but it is just not the way I am used to seeing it. My other basses are straight paths to the peg.

I guess it's just OCD. Doesn't really matter, just looks weird.
a straight path to the peg is actually not ideal. you want downforce on the nut (or zero fret in some cases).

it's been my experience that if a guitar doesn't have a kickback/angled headstock, they have some way to pull the strings down against the nut so it's NOT a straight path.

in the case of a straight path, you risk nut buzz as well as potential intonation issues on open strings and degredation of tonal purity by not having good downforce at both fulcrums in the string path instead of just the one (bridge).

and this isn't just true of us electric players either. look at violins, upright bass, etc. they all pull the strings back and down into the nut grooves. they've known for centuries it's a good thing.

this practice is even extended to those who believe string-thru-body is an improvement, because it in theory adds more downforce on the bridge saddles (as well as more body coupling) for improved performance.

my .02

PS, if frayed silk bugs you, grab a lighter and just hit that fuzz real briefly. it'll sizzle away and look very clean for you, and shouldn't risk any damage or blemishing to any wood or metal.
 
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a straight path to the peg is actually not ideal. you want downforce on the nut (or zero fret in some cases).

it's been my experience that if a guitar doesn't have a kickback/angled headstock, they have some way to pull the strings down against the nut so it's NOT a straight path.

in the case of a straight path, you risk nut buzz as well as potential intonation issues on open strings and degredation of tonal purity by not having good downforce at both fulcrums in the string path instead of just the one (bridge).

and this isn't just true of us electric players either. look at violins, upright bass, etc. they all pull the strings back and down into the nut grooves. they've known for centuries it's a good thing.

this practice is even extended to those who believe string-thru-body is an improvement, because it in theory adds more downforce on the bridge saddles (as well as more body coupling) for improved performance.

my .02

PS, if frayed silk bugs you, grab a lighter and just hit that fuzz real briefly. it'll sizzle away and look very clean for you, and shouldn't risk any damage or blemishing to any wood or metal.
Thanks, yeah I understand. Didn't fray the silk as much as bunch it up a bit on the higher strings, but that's a nit. I'm just getting used to the look. I hope the screws holding the string tree on the headstock are solid. Haven't heard of anyone having one pull out. Chromes are stiff strings, lots of tension there.

I'll just stop worrying now and start playing instead.
 
Thanks, yeah I understand. Didn't fray the silk as much as bunch it up a bit on the higher strings, but that's a nit. I'm just getting used to the look. I hope the screws holding the string tree on the headstock are solid. Haven't heard of anyone having one pull out. Chromes are stiff strings, lots of tension there.

I'll just stop worrying now and start playing instead.
LOL, well, I've been playing basses with various kinds of trees for many years... never ever had one even get lose, let alone pop off, with a great many different string types, including chromes specifically at times, so with a quality instrument, you should have nothing to worry about. just play the hell out of it and enjoy. :)
 
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Both Roger Sadowsky and Hans Peter Wilfer (Warwick) don’t even know if Japanese and German MetroLine basses have interchangeable pickguards. Don’t count on ML and ME being compatible… But in the event you learn something we don’t know please do tell us!

FYI, I just compared the pickguard from my MIJ 2016 Will Lee Metroline with a 1:1 scale printout of the technical drawing for the Will Lee pickguard from the German Sadowsky webpage. Conclusion: the pickguards aren't interchangeable.
 
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A couple of action shots from Easter at church with My NYC.
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Is that ash body/ koa top/ ebony finger board?

I hear more sustain and an even more “modern “ tone. This one seems to lean more towards that Smith vibe. Could be the woods used?

Beautiful bass!! I like it .
What are your initial thoughts?
Thanks! The bass is very well built. I love the sound, very aggressive. I’m glad the vintage tone control is there to tame it. The neck is wide! My MIJ Sadowsky Modern had a wide neck, this one may be even more so. It’s nice and light, 8 lbs 3 oz. There is neck dive. The body is reduced size plus it’s chambered. The neck dive is more noticeable when seated than standing. Tomorrow I get to play it at band practice!

I should have kept my Smith and my Japanese Sadowsky. Then I could do an A/B comparison. :)
 
Thanks! The bass is very well built. I love the sound, very aggressive. I’m glad the vintage tone control is there to tame it. The neck is wide! My MIJ Sadowsky Modern had a wide neck, this one may be even more so. It’s nice and light, 8 lbs 3 oz. There is neck dive. The body is reduced size plus it’s chambered. The neck dive is more noticeable when seated than standing. Tomorrow I get to play it at band practice!

I should have kept my Smith and my Japanese Sadowsky. Then I could do an A/B comparison. :)
Yes….. that’s what I’m hearing , aggressive bite and cut. Did I get the woods correct?