Club Sadowsky!!!

[rodneyat]

LOL. So, a P is a humcancelling design but it doesn't sound like a soapbar to me.

You hit the nail on the head Nino...All humcancelling pickups are not created the same.

 

[KJung]

LOL. So, a P is a humcancelling design it should sound like a soapbar, right?

Actually, many feel that some soapbars in exact P postion sound, well, quite like a P Bass (if you've ever played one of the Fodera AJ Presentations with that Aero... well!)

Many have posted (and I agree with them) that the Sadowsky Modern with the Sadowsky soaps and with the neck pickup solo'd (which is pretty close to P position) gets a VERY realistic P Bass tone.

So, to your statement... yes.... +1. Many times, it is about pickup placement as much as the actual design of a pickup. Of course, it all works together, and again, if you really want an exact P Bass tone, get a P Bass. However, if you want your bass to sound like a J bass, don't assume it will just because the pickup is in a little skinny case!

 

[KJung]

OK, Ken and I agreed earlier and we may have to agree to disagree here.
I actually own a Sadowsky Standard with soaps in the J position. Having owned Sadowsky basses with HC pickups...they do not sound the same to my ear, whatsoever. Yes, the soaps in the J position do make the bass sound more like a Jazz than a 24fret. That is very true. And, yes, because it is a hum cancelling design, it does have the more "compressed" sound. But does not sound like the Sadowsky HC pickups. I really like the sound of the soaps in the J position but for the J type pickups, I prefer the SC. Just my 2 cents.

+1 I wasn't at all saying they sounded the same. If you reread my post, I was reacting to the poster saying he didn't hear any more growl from the HC's than the Sadowsky soaps. This I agree with. If growl is key, get ye some singles!

And, while they obviously sound different, they both have that 'hum canceling tone' in the top end, and that big, wide, non growly humcanceling tone in the low end. The mids are quite different thought, so +1 there.

 

[MikeBass]

HI

The Will Lee is the only bass presently available with the new preamp. I dont think a PJ setup is available on it. The WL is an artist bass and has a specific build to it

Mike, dont you have to actually own a Sadowsky to post in this thread?

Oops! Maybe you have one again? LOL

Rob

Yeah, I guess you're right I do......maybe I should just shut the club down then huh???

BTW- working getting one. We'll see. just moved into the new house- which is why I sold my NYC to begin with.

Update- the one I was looking at sold today....damn!

 

[jnammy]

I would think that the closer to the bridge you move Sadowsky soapbars the more j-like growl you will get, but you guys are saying the opposite is true? I can see why moving J pickups closer to the bridge might cause it to be too midrangey without enough bass, but soapbars are already bassy so moving them closer to the bridge, like they are on 24-5s, would make them more jazz-like, no?

Ken, I agree, the low end on my 24-5 lacks a bit of growliness when compared to conventional jazz pickups, but in case other Sadowsky soapbar owners are interested, I’ve since lowered just the low end sides of both neck and bridge pickups, the side that picks up the B and E strings, and that seemed to thin out the B and E strings a bit and it now sounds less big and wide with no growl, to a little more midrangey and growly.

 

[Nino Valenti]

Actually, many feel that some soapbars in exact P postion sound, well, quite like a P Bass (if you've ever played one of the Fodera AJ Presentations with that Aero... well!)

Many have posted (and I agree with them) that the Sadowsky Modern with the Sadowsky soaps and with the neck pickup solo'd (which is pretty close to P position) gets a VERY realistic P Bass tone.

So, to your statement... yes.... +1. Many times, it is about pickup placement as much as the actual design of a pickup. Of course, it all works together, and again, if you really want an exact P Bass tone, get a P Bass. However, if you want your bass to sound like a J bass, don't assume it will just because the pickup is in a little skinny case!

No matter what bass I've played, and I've played more Sadowsky basses then most of us here,a Soapbar equipped bass, no matter the position DOES NOT sound like a Sadowsky J with HumCancelling J's.

 

[ialma]

Thanks a lot for the sound clip and the kind answer !!
Has anyone aver tried the alder body / ebony fingerboard combination ?
Thanks again!

Hello!

Since you didn't get many responses to this request, I'll take a stab at it.

There are three basic Sadowsky 'flavors' IMO:

- Classic J Models.... usually ash/maple or alder/RW in the NYC models.... very modern update to a Fender J tone. Most have 60's pickup position. I would not recommend an ebony board on these models... they move the J tone too far away from its origin for me (too much upper treble ping, not enough growl). Here is a clip of a relatively 'classic' Sadowsky J tone IMO.... this is an ash/maple NYC Vintage with the Sadowsky single coil pickups, which sound wonderful on this particular spec:

[Invalid or Expired Link Removed]

FYI...The above clip is recorded through a very pure, mellow voiced cab (a two way 112 cab with a high quality paper cone mid driver). So, that softens the Sadowsky growl a bit, and makes the slap tone a bit more polite than I prefer. With a standard two way cab with a tweeter, this spec grunts and growls and funks and grinds, and the slap tone is to die for.


- Modern 24.... this model provides a VERY punchy, mid push type voicing, given the two large Soapbar pickups placed very close to the bridge. Putting an ebony board on one of these sounds pretty cool, and brings to mind that uber modern pingy tone of Mark King when he was using Alembic basses. These models are in the tone universe of the Peavey Cirrus basses and the Ken Smiths, in that they are a bit compressed in the low end, and voiced to be very burpy. My favorite wood combination on these is ash/maple also.

- P or P/J.... modern take on P Bass tone.. active, aggressive, funky.... really not my thing, so I'll leave others to comment on the optimum spec on these.


So, figure out the type of tone you are going for. If you like that uber modern, punchy, pingy articulate sort of 'piano' vibe, the Modern 24 with the stock Sadowsky soapbars, ash body, and ebony board, is just killer. If you want an aggressive, modern J tone, the Vintage ash/maple with Sadowsky singles is awesome. A little less aggressive, but still modern J tone, an alder/RW model with the standard Sadowsky HC's is very nice.

IMO and IME!

 

[Fran Diaz]

my band is entering the studio soon and I'd love to get some advice from the Sadowsky experts.

I am playing my PJ with Sadowsky flats and my J with Blue Nickels. Recording will be straight through a DI/preamp (maybe we'll reamp the bass tracks later for some grit).

Now, I love to use the VTC with varying degrees depending on the song, but I'm afraid of cutting too much treble while recording. My question is: Should I leave the VTC with zero roll off and then eq the excess treble on the mixing stage?

Do you usually use the onboard eq while recording or do you record with flat eq or passive mode?

Any recording tips regarding how to get the best out of my Sadowskys is very welcome.

 

[Nenor]

my band is entering the studio soon and I'd love to get some advice from the Sadowsky experts.

I am playing my PJ with Sadowsky flats and my J with Blue Nickels. Recording will be straight through a DI/preamp (maybe we'll reamp the bass tracks later for some grit).

Now, I love to use the VTC with varying degrees depending on the song, but I'm afraid of cutting too much treble while recording. My question is: Should I leave the VTC with zero roll off and then eq the excess treble on the mixing stage?

Do you usually use the onboard eq while recording or do you record with flat eq or passive mode?

Any recording tips regarding how to get the best out of my Sadowskys is very welcome.

Nice honest question. I'd like to hear some opinions as well

From my experience, last time I went in the studio with my Metro MV4 I used the onboard preamp to boost a little lows. It sounded great at the moment but when we opened the project on another computer for editing & mixing I found some spots where the bass distorted really bad. I guess the recording engineer didn't notice how hot was the Sadowsky output. Maybe I should have used it passive. I eventually recorded some tracks at home with better control.

 

[Vic]

my band is entering the studio soon and I'd love to get some advice from the Sadowsky experts.

I am playing my PJ with Sadowsky flats and my J with Blue Nickels. Recording will be straight through a DI/preamp (maybe we'll reamp the bass tracks later for some grit).

Now, I love to use the VTC with varying degrees depending on the song, but I'm afraid of cutting too much treble while recording. My question is: Should I leave the VTC with zero roll off and then eq the excess treble on the mixing stage?

Do you usually use the onboard eq while recording or do you record with flat eq or passive mode?

Any recording tips regarding how to get the best out of my Sadowskys is very welcome.

I generally trust the cans to tell me what the track sounds like, so given that...

Last time I took my ash/maple JJ (SC pickups, DR SS HiBeams) into the studio, I found the best most balanced tone was when I backed the VTC off to about 60-70% "on". In other words, rolled back just enough to smooth out the high end a bit, but not enough to actually "dull" the tone. Sounded great.

The problem with relying totally on the board for EQ is, and this depends on the board/software, is that EQ wasn't designed specifically for basses. So I like to get a great tone on the track with the board EQ "flat"... even if it means using an outboard amp DI output in "post" mode, or other external bass preamp of some kind with EQ, or whatever.

IMHO.

 

[Sadowsky]

Well, since the pickup placement inside the Sadowsky soapbar is in a P configuration, I can see why it sound like more like a P

No matter what bass I've played, and I've played more Sadowsky basses then most of us here, a Soapbar equipped bass, no matter the position sounds like a Sadowsky J with HumCancelling J's.

Sorry Nino, the soapbar is NOT a P configuration. It is two full length coils, side by side. It would sound like a P due to it's location, the width of the magnetic field and the fact that it is a humbucker.

Also, I think you meant to say "a Soapbar equipped bass, no matter the position DOES NOT sound like a Sadowsky J with HumCancelling J's".

Roger

 

[Joeykun]

Last time I took my ash/maple JJ (SC pickups, DR SS HiBeams) into the studio, I found the best most balanced tone was when I backed the VTC off to about 60-70% "on". In otherwords, rolled back just enough to smooth out the high end a bit, but not enough to actually "dull" the tone. Sounded great. IMHO.

I would have to agree here. I went into the studio over the summer and did a recording for a folk artist. I used my Standard 5 ash/maple (HC pups with Blue Label SS strings). I rolled back the VTC and got a real nice tone that I usually dont go for. But, for that song it just fit perfectly and even the engineer said the bass sounded fantastic.

+1 on getting your sound before any board adjustments!

Have fun in the studio!

 

[KJung]

Also, I think you meant to say "a Soapbar equipped bass, no matter the position DOES NOT sound like a Sadowsky J with HumCancelling J's".

Roger

That's what I assumed Nino meant to type, and totally agree. Also, in the future, I hope people actually read the posts they are responding to before they respond to it

That all being said, it is very impressive how much 'P' you can get out of the Modern with the Sadowsky soaps and soloing the neck pickup. Not my thing, but still pretty cool for those who dig these instruments. It seems the 'P' thing really is, in large part (or at least 'some part'), that 'sweet spot' pickup placement and the general 'humbucking' nature of thepickup (as you posted above and that was my original point!). Even the MTD basses with those very aggressive, modern active Barts get relatively 'P like' when soloing the neck pickup.

 

[KJung]

I would have to agree here. I went into the studio over the summer and did a recording for a folk artist. I used my Standard 5 ash/maple (HC pups with Blue Label SS strings). I rolled back the VTC and got a real nice tone that I usually dont go for. But, for that song it just fit perfectly and even the engineer said the bass sounded fantastic.

+1 on getting your sound before any board adjustments!

Have fun in the studio!

+1 Rolling of a bit of treble and edge with a passive tone control is a very different vibe from reducing treble with an active EQ at the board.

 

[peterpalmieri]

my band is entering the studio soon and I'd love to get some advice from the Sadowsky experts.

I am playing my PJ with Sadowsky flats and my J with Blue Nickels. Recording will be straight through a DI/preamp (maybe we'll reamp the bass tracks later for some grit).

Now, I love to use the VTC with varying degrees depending on the song, but I'm afraid of cutting too much treble while recording. My question is: Should I leave the VTC with zero roll off and then eq the excess treble on the mixing stage?

Do you usually use the onboard eq while recording or do you record with flat eq or passive mode?

Any recording tips regarding how to get the best out of my Sadowskys is very welcome.

Since it doesn't seem that you have a favorite Preamp or DI. I'd suggest if you can sit in the control room and listen to what your bass sounds like once the signal chain is established. This should be pretty easy for them to set up the bass DI in the control room. Once you get a feel for that, make sure that you can translate that tone into a set of cans (headphones) if that's how you're doing the recording.

At that point I'd go for getting your preferred tone on tape, I wouldn't suggest having excess treble response and assume that it will be tamed at mix down. If you have a ton of control over this project you could probably do that. I wouldn't want to bet that anyone is going to remember to tame your track later.

That all being said if you can have a chat with the producer and engineer I'd see what they have to say if you put your thoughts out there.

 

[MikeBass]

Plug in and pretty much leave it all flat.
If you're not mixing it, or gonna be there during mixing, it's out of your hands anyway.

And don't get what I call "Demo Love". Where you fall in love with your tone with a rough demo/mix of the session. Because it WILL change!

I always try and run two signals in the studio. One I can fiddle with so I can be happy (leaving the on board EQ flat- useing out-board gear) and the second that goes to the board flat that actually gets recorded.
A lot of the time they record both. And a good number of times they used my signal as opposed to the flat one.

My normal set up is to roll back the VTC about 15/20% and bump the bass boost up about 10%.
I'll start there usually, but I always let them hear the flat setting on the bass as well if I only have one track.

 

[Wadge]

In the studio I often use my Sadowsky UV 5 string. Even with new strings, my bass sounds really warm and doesn't have a particularly bright hight end (even though its ash and maple). I tend to leave it flat. I work very closely with the engineer at a local studio and I've seen him often enough having to struggle with crazy eq-s some musicans use.

The engineer is the one who is ultimately going to put the different instruments together and I usually trust them enough to believe they know what they're doing.

 

[svtb15]

Since we are on a left turn for a minute..

Mike get that dog on your facebook.. or i will..
back to the show!

OK......your loss.....

Like you could get me anyway......


(wow, did this thread just take a left turn or what!??!)

 

[lgrankin]

++1

Plug in and pretty much leave it all flat.
If you're not mixing it, or gonna be there during mixing, it's out of your hands anyway.

And don't get what I call "Demo Love". Where you fall in love with your tone with a rough demo/mix of the session. Because it WILL change!

I always try and run two signals in the studio. One I can fiddle with so I can be happy (leaving the on board EQ flat- useing out-board gear) and the second that goes to the board flat that actually gets recorded.
A lot of the time they record both. And a good number of times they used my signal as opposed to the flat one.

My normal set up is to roll back the VTC about 15/20% and bump the bass boost up about 10%.
I'll start there usually, but I always let them hear the flat setting on the bass as well if I only have one track.

 

[Vic]

Plug in and pretty much leave it all flat.
If you're not mixing it, or gonna be there during mixing, it's out of your hands anyway.

And don't get what I call "Demo Love". Where you fall in love with your tone with a rough demo/mix of the session. Because it WILL change!

This almost sounds like you're saying don't concern yourself about the tonal quality of the track you lay down since you don't have final control. I hope that's a misunderstanding, otherwise, I sharply disagree.

True, you can't control what they do after the fact, BUT, you CAN control what they have to work with. You can (sadly) make a good track sound bad, but you CAN NOT make a bad track sound good. I make it my personal responsibility to at least assure they start with a good track.

Again, tho, IMHO.