I've always had the opposite experience. Love the blues but the B is tighter on the blacks.
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I've always had the opposite experience. Love the blues but the B is tighter on the blacks.
I am looking at basically the same collection.... except mine will be Metro's. I don't have that kind of cash flow. Very nice!!!!!
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Very cool. Metro or NYC it will be great. The Metros are so good it honestly doesn't matter.
Good luck with whatever you get! I know I dig my Sadowskys a lot!
JC
I had lots of issues with the Black labels. Especially the "B" which seemed to have a wolf tone that drove me nuts. I also had difficulty intonating that string. I never have tried the Blue Labels.
Hey Folks,
Just got my Sadowsky original P on Friday and, since there's not a tremendous number of reviews out there, I wanted to share with you my initial impressions in case any of you were wondering what these basses are all about. I should preface my write-up by saying that this is my first NYC Sadowsky, so the wait for it to arrive was fraught with much anxiety and excitement. In recent years, I've owned two different Metros and loved them, so given everything I have read about the NYC offerings, the bar was raised high. With that being said, this bass does not disappoint. In terms of its look, it might not be for everyone, but I love the classic aesthetic. From far away, it's nothing flashy. Up close, the beautiful and complex body/neck ash/tinted maple grain becomes clearly visible and instantly communicates an instrument comprised of premium materials. The pickguard is 5-ply, very thick and very badass. As much as I love the look of some flashier basses, I just feel like the simplicity of the appearance suites my overall style. Oh, and this bass is 8.1lbs. Amazing.
Now, I should say that I had a fresh set of .105 chromes all ready to go. It arrived set up with Sadowsky Blue Label Steels and, in my mind, I was already convinced that they were the wrong strings for this bass. Nevertheless, I was so eager to hear what this bass could do, I took it for a test drive with the rounds, right out of the case. Let's just say that I was so impressed with the combo of the steels and this wood that the chromes went right back into the drawer (for now). After raising the action a smidge and adjusting the intonation, I plugged into my Walkabout 12 combo and proceeded to get blown away. The Sadowsky original P sound with the rounds is not quite as wide/broad as the standard precision tonal wavelength (to my ear). As such, the bass hits very hard in the upper mid-range but all the while maintains a good, thick bottom that is not at all muddy. The passive tone is pure 50s P, but a bit better focused, even with the D and G. Overall, my hope was that this design would give me some j-bass flavor married happily to a precision fundamental. So far, it seems to possess just that.
With the pre-amp engaged, forget about it. The high end sizzle is dangerous, but I'm a meat and potato/pocket kind of player so I probably won't use it much. Still, if I were a slapper, this bass would take someone's head off; it's just unbelievably piercing. For my sound, something about the Sadowsky preamp, the steels, and the Mesa set flat, create this thick, but articulate, growl that becomes even more interesting when I increase the VTC treble boost, which was to my surprise not too zingy (unless, of course, I crank the non-VTC treble boost). The best part is that every note keeps its second and third dimensions or, in other words, "blossoms" proportionately from high to low.
It's always difficult to articulate what something sounds like, but trust me when I say that every note from top to bottom is exceptionally well-balanced (no dead spots or wolf notes). The notes project in such a way that I can only describe as a cutting, but dense snarl (intensified even more if I crank the gain stage on the Mesa). For hard driving tunes, this bass would be very difficult to beat. And when I need old school thump, I just roll off the treble and it's right there, never muddy, and surprisingly convincing even with the steels (I can only imagine how old school it can get with a good set of flats and I assure you that I'll be trying some later). This versatility is of particular importance to me because I play in two bands: one that is straight ahead garage while the other is along the lines of mellower Neil Young. This bass masterfully covers both bases. I don't think I even need another as I have yet to find a single ax that can do either as well as this original P can do both.
I hemmed and hawed for a long time and thanks to the wealth of critical information available here on TB, I saved my duckets and found just what I was looking for at a very reasonable, used price. If you ever wondered about the Original P, I hope that this basic evaluation helps you gain a more intimate sense of just what you're getting into: the cream of the crop!
[Invalid or Expired Link Removed]
Just got my Sadowsky original P on Friday and, since there's not a tremendous number of reviews out there, I wanted to share with you my initial impressions in case any of you were wondering what these basses are all about. I should preface my write-up by saying that this is my first NYC Sadowsky, so the wait for it to arrive was fraught with much anxiety and excitement. In recent years, I've owned two different Metros and loved them, so given everything I have read about the NYC offerings, the bar was raised high. With that being said, this bass does not disappoint. In terms of its look, it might not be for everyone, but I love the classic aesthetic. From far away, it's nothing flashy. Up close, the beautiful and complex body/neck ash/tinted maple grain becomes clearly visible and instantly communicates an instrument comprised of premium materials. The pickguard is 5-ply, very thick and very badass. As much as I love the look of some flashier basses, I just feel like the simplicity of the appearance suites my overall style. Oh, and this bass is 8.1lbs. Amazing.
Now, I should say that I had a fresh set of .105 chromes all ready to go. It arrived set up with Sadowsky Blue Label Steels and, in my mind, I was already convinced that they were the wrong strings for this bass. Nevertheless, I was so eager to hear what this bass could do, I took it for a test drive with the rounds, right out of the case. Let's just say that I was so impressed with the combo of the steels and this wood that the chromes went right back into the drawer (for now). After raising the action a smidge and adjusting the intonation, I plugged into my Walkabout 12 combo and proceeded to get blown away. The Sadowsky original P sound with the rounds is not quite as wide/broad as the standard precision tonal wavelength (to my ear). As such, the bass hits very hard in the upper mid-range but all the while maintains a good, thick bottom that is not at all muddy. The passive tone is pure 50s P, but a bit better focused, even with the D and G. Overall, my hope was that this design would give me some j-bass flavor married happily to a precision fundamental. So far, it seems to possess just that.
With the pre-amp engaged, forget about it. The high end sizzle is dangerous, but I'm a meat and potato/pocket kind of player so I probably won't use it much. Still, if I were a slapper, this bass would take someone's head off; it's just unbelievably piercing. For my sound, something about the Sadowsky preamp, the steels, and the Mesa set flat, create this thick, but articulate, growl that becomes even more interesting when I increase the VTC treble boost, which was to my surprise not too zingy (unless, of course, I crank the non-VTC treble boost). The best part is that every note keeps its second and third dimensions or, in other words, "blossoms" proportionately from high to low.
It's always difficult to articulate what something sounds like, but trust me when I say that every note from top to bottom is exceptionally well-balanced (no dead spots or wolf notes). The notes project in such a way that I can only describe as a cutting, but dense snarl (intensified even more if I crank the gain stage on the Mesa). For hard driving tunes, this bass would be very difficult to beat. And when I need old school thump, I just roll off the treble and it's right there, never muddy, and surprisingly convincing even with the steels (I can only imagine how old school it can get with a good set of flats and I assure you that I'll be trying some later). This versatility is of particular importance to me because I play in two bands: one that is straight ahead garage while the other is along the lines of mellower Neil Young. This bass masterfully covers both bases. I don't think I even need another as I have yet to find a single ax that can do either as well as this original P can do both.
I hemmed and hawed for a long time and thanks to the wealth of critical information available here on TB, I saved my duckets and found just what I was looking for at a very reasonable, used price. If you ever wondered about the Original P, I hope that this basic evaluation helps you gain a more intimate sense of just what you're getting into: the cream of the crop!
[Invalid or Expired Link Removed]
That's a killer looking bass. I never liked the big pickguard much but it's growing on me.
Just a little note about the eq: The VTC is not a passive boost but a passive treble cut, which means that clockwise all the way is flat and as you turn it counterclockwise you roll off the treble.
Just a little note about the eq: The VTC is not a passive boost but a passive treble cut, which means that clockwise all the way is flat and as you turn it counterclockwise you roll off the treble.
Wow! Thanks for the great review, Il Capo. That's an absolutely stunning bass. It's a great feeling when you find "The One". Congratulations!!!
I have stuff I would really like to review about my new W/L. BUT, after an eloquent review like yours Il Capo I'm a little intimidate to do so.
Good job, you write very well.
I have a gig this wednesday and I'll use the W/L. maybe I'll be inspire to write something then.
Good job, you write very well.
I have a gig this wednesday and I'll use the W/L. maybe I'll be inspire to write something then.
Haven't you learned by now that there are no standards for excellence here at TB??? I mean c'mon, they let ME in here for cryin' out loud!!!!
Seriously tho, please share your thoughts. Nobody is here to pass judgment or compare you to others. We just wanna' hear what you have to say, in your own words.
I think this is the beauty of the VTC. I've found with my RV5 PJ it is a very different bass with the preamp in or out. It is great to have that versatility in a single instrument.
Thanks Vic, I was half joking. I will write something after my next gig because I want a live situation to contrast with the "by it self" and the rehearsal situation. I've been taking notes.
P.S. hopefully by then the rest of you will forget how well Il Capo writes.
P.S. hopefully by then the rest of you will forget how well Il Capo writes.
Question? Does anyone here have a TF 550B and Aggie 4x10 that they run their Sadowsky though? I just sold my AG500SC and bought a TF 550B and cannot wait to let it sing out. I love my Aggie head, but the TF has been on my lust list for a long time now.
HI
Hey Chris. I use a TF 550B with a Bergantino HS410. Before that, I had an SA200 tube head with the same cab. Both sound great. The TF is the tubiest sounding SS head Ive owned. I like the grind I get out of it. I run it pretty flat. I set the enhance at 0, timbre just left of center, bass and treble to taste. I let the preamps on my basses do the rest. Tons of headroom with the TF. Lets not discount the Berg cabinet. Amazing cabs!
Rob
Hey Chris. I use a TF 550B with a Bergantino HS410. Before that, I had an SA200 tube head with the same cab. Both sound great. The TF is the tubiest sounding SS head Ive owned. I like the grind I get out of it. I run it pretty flat. I set the enhance at 0, timbre just left of center, bass and treble to taste. I let the preamps on my basses do the rest. Tons of headroom with the TF. Lets not discount the Berg cabinet. Amazing cabs!
Rob
Thanks Rob!!! That was one thing that killed me the first time I played a TF. It was set flat and just crushed! It was very warm but had a great attack to it as well. I hope the Aggie GS410 works well with the combo. While the cab is heavy, I love the sound of the speakers. Though, I cannot help to think that a Bergie or Epi might fit the bill too.... 
HI
Yea. Be careful with enhance control. Sounds cool at home, lost in the mix at a gig!! LOL
Love the Berg cabs. Epi's are great too but the more I gig neo speakers, the more I like ceramic speakers. LOL
Rob
Yea. Be careful with enhance control. Sounds cool at home, lost in the mix at a gig!! LOL
Love the Berg cabs. Epi's are great too but the more I gig neo speakers, the more I like ceramic speakers. LOL
Rob
