I'm considering ordering a P/J 5 string, hopefully before Roger retires. Any opinions on which fret combo has the best "symmetry" or when Roger is stepping down??
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can you clarify what you mean by fret combo and "symmetry"?
Here's your best fret combo in a Sadowsky.
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I am just getting my GAS funds together to get a Sadowsky before Roger retires... is this going to be anytime soon??
He seems to genuinely enjoy what he is doing, and I would guess he's making money, and still making great basses. So why would he retire?
"Flirtin' With Disaster" by Molly Hatchett. This version I'm jamming along with is by The Lexington Lab Band.
Sadowsky Blue Label: flats for PJ, nickel rounds for JJ.
Also did not care for NYXLs.
I’m an old-school fan. The Blue Label Sadowskys fit within that paradigm. The flats are more similar to La Bella DTFs than D’Addario Chromes.
The rounds are not squeaky like the NYXLs. More like regular D’Addario rounds, but with more authority.
Yes, 40 Hz to 2 or 3 kHz is the sweet spot for both IMHO/IME. Tension is normal.
Another vote for the Sadowsky Blue Label Roundwounds for my NYCs. They seem to just fit perfectly with what I’m looking for in a string: warm but just bright enough on the top end to cut when I want, manageable tension and reasonable pricing (I buy them in bulk from Jason at FretNation). Another bonus of the Blue Label Roundwounds is that they seem to lose that “brand new string shininess” within a few weeks of consistent playing (I despise that shiny sound of new strings!) but stay in this sort of broken-in limbo state for quite a while before starting to actually go dead.
I had some Blue Label Flatwounds on an NYC for a while and liked them okay, but not enough to order them again (they seem really expensive compared to other flats on the market). These days I’m using Labella Olinto flats on almost all of my basses that need Flatwounds as I really dig how they sound and feel.
I had some Blue Label Flatwounds on an NYC for a while and liked them okay, but not enough to order them again (they seem really expensive compared to other flats on the market). These days I’m using Labella Olinto flats on almost all of my basses that need Flatwounds as I really dig how they sound and feel.
Sounds good!
I have been a nickel roundwound (mostly DR Lo-Riders) for years (mostly on my '98 StingRay 5).
Recently tried EB Cobalt Flats on my Cort B5 Element and liked them a lot, but I wasn't able to keep the from feeling grungy - I think it must have been a body chemistry thing.
I put Dunlop DBFS45125 SS Flats on it and am loving them!
They seem just slightly higher in tension than I prefer, but it makes them sound very punchy, plenty of midrange for those that either don't use tweeters or keep them turned down, still with great note articulation!
They are a tad bit expensive (where I got them from currently has the for $85, but they currently list from Dunlop for $113.40).
I just looked up the Sadowsky Blue Label Flats 5 string set - just a bit more expensive (at least retail price).
Strings.
Surely an unpopular view; but, I simply still use DR Hi Beams on all of my FSO’s, including the Sadowsky basses. But, I do understand the interest in covering P / URB - ish tones.
For my needs, the neck pickup + appropriate VTC cut with the DR RW’s eliminates sufficient overtones for live covers of Motown / STAX etc tones. For my purposes.
Getting upright thud for other classic 50’s etc tunes, I actually get the best response using both pickups with only 15% or so VTC and good palm muting technique. For some reason, the palm muting seems most effective by having the upper harmonics and cutting them with the palm vs using the electronics. Doing so seems to make the thud slam more focused. Of course, YMMV; just IMHO/E.
I also know that Roger favors the hex core RW’s. The problem I had with those was that they seem to be MUCH less tolerant of twist during install. I had several experiences where strings seemed DOA at install, only to find that there was a very slight amount of unintentional twist; and I’m pretty careful with that. The DR round cores are way more install tolerant and last long enough for my needs. Again, YMMV.
Surely an unpopular view; but, I simply still use DR Hi Beams on all of my FSO’s, including the Sadowsky basses. But, I do understand the interest in covering P / URB - ish tones.
For my needs, the neck pickup + appropriate VTC cut with the DR RW’s eliminates sufficient overtones for live covers of Motown / STAX etc tones. For my purposes.
Getting upright thud for other classic 50’s etc tunes, I actually get the best response using both pickups with only 15% or so VTC and good palm muting technique. For some reason, the palm muting seems most effective by having the upper harmonics and cutting them with the palm vs using the electronics. Doing so seems to make the thud slam more focused. Of course, YMMV; just IMHO/E.
I also know that Roger favors the hex core RW’s. The problem I had with those was that they seem to be MUCH less tolerant of twist during install. I had several experiences where strings seemed DOA at install, only to find that there was a very slight amount of unintentional twist; and I’m pretty careful with that. The DR round cores are way more install tolerant and last long enough for my needs. Again, YMMV.
The Sadowsky hex core Black Labels that came with my MX Hybrid fretless sounded fabulous but my old fingers could not take the roughness of the SS. I went to Chrome flats and have not looked back. I know of others here who have had great success with the DR round core RWs. Sun Beams or Hi Beams, or variants, seem to work very well on the Sadowsky basses.
After years of obsessing and trying strings I’ve settled on DR Fat Beams on all my basses. I like the feel and sound and they just work for me. I can get all the sounds I want using technique and eq.
I used these for years when I was playing more slap style and they were absolutely my favorites. Now I don't need (or want) that zing and ping, hence the change to Pure Blues.
Both are great strings though.
Strings: Rotosound RS66, DR Lo Rider Steels. It don't mean a thing if it ain't got that zing. 
Of course it's easy-peasy to soften that zing with the VTC.
I keep Elixir Nanowebs on my go-to bass, the P5 in my avatar: steels when I can get 'em, but nickels also work. They are almost as bright as uncoated strings, and the great advantage is that they are sweat-proof, so they stay fresh WAY longer than uncoated strings, especially in hot/humid conditions.
I keep flats on one bass: currently Sadowsky Blue Label flats, but another fave is TI Jazz Flats.
I've also liked Sadowsky rounds, both blue and black label, but my ears prefer the brighter black label.
Of course it's easy-peasy to soften that zing with the VTC.I keep Elixir Nanowebs on my go-to bass, the P5 in my avatar: steels when I can get 'em, but nickels also work. They are almost as bright as uncoated strings, and the great advantage is that they are sweat-proof, so they stay fresh WAY longer than uncoated strings, especially in hot/humid conditions.
I keep flats on one bass: currently Sadowsky Blue Label flats, but another fave is TI Jazz Flats.
I've also liked Sadowsky rounds, both blue and black label, but my ears prefer the brighter black label.
TI Jazz Flats on my MIG Will Lee 5 here. Love them.
