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Club Sadowsky!!!

#9,862
Any excuse to show her again - I'm still exploring the PJ thing. I find the P is a lot hotter than the J but I need to play it more in a band situation as it is dangerous to figure out the "right" sound in isolation.

mmm, 59 burst

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#9,863
Il Capo said:
Hey Lineman, that's my old bass that you're rockin' (and it killed!). Since I've handled it a bit, I have to tell you that D'addario chromes .105 really enhanced its sound. Not precisely sure why that was the case, but it was a remarkable improvement that may not apply to all MV4's.

To be precise, what I found was that the high frequencies were not at all compromised while the mids and lows thickened nicely. Compared to the Black Beauties I gave you (which were great strings in their own right), the Chromes made it sound like a whole new bass. I don't know what kind of stuff you're playing, but I'm confident when I say that a set Chromes will probably do the trick for most styles. There was just something about that bass and those strings..

My $.02. I hope the bass is serving you well.
Click to expand...

Hey Il Capo.

Great to hear from you.

Yes... I am loving this bass! She is a real beauty!!

SadowskyTWMV4Body.jpg


I've always been a round-wound player, but I may just give those Chromes a try if the Nickels don't do what I want. Don't get me wrong, the bass still slays with either the black beauties or the Sadowsky SS Blues, but for me it is a "feel" as well as tone that I am looking for. I think the Blue SS may have just a bit too much tension for my tastes? Regardless, I'll get it dialed and in the meantime, she's being put to good use and making both me, my band mates and our sound man VERY HAPPY! :bassist:
 
#9,864
Nice to see it alive and well, Lineman. That bass is such a keeper. If I hadn't jumped on this NYC original P, the MV4 would have stayed with me indefinitely; it was hands down the best Metro I ever played (out of 4 separate experiences). Funny thing is that on my NYC, the steels sounded thicker and meaner while the Chromes sounded kind of muddy. I guess there's just so many idiosyncrasies that account for why a bass sounds the way that it does). But on your MV, the Chromes were otherworldly. If you want the chromes of which I speak, I'd be happy to send them to you gratis, just PM me. I dig the smoothness of Chromes, but can totally relate to the need to have rounds keep your fretting fixed..

Cheers brother!
Limeman said:
Hey Il Capo.

Great to hear from you.

Yes... I am loving this bass! She is a real beauty!!

SadowskyTWMV4Body.jpg


I've always been a round-wound player, but I may just give those Chromes a try if the Nickels don't do what I want. Don't get me wrong, the bass still slays with either the black beauties or the Sadowsky SS Blues, but for me it is a "feel" as well as tone that I am looking for. I think the Blue SS may have just a bit too much tension for my tastes? Regardless, I'll get it dialed and in the meantime, she's being put to good use and making both me, my band mates and our sound man VERY HAPPY! :bassist:
Click to expand...
 
#9,866
Chef said:
If this is problematic for you, try lowering the P pup, and raising the J pup.
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I've dropped the P a bit. I don't want to go too high with the J for fear of choking vibration. I need to mess around a little with string and pickup height though...but I wanted to get a few more hours in a live situation and learn the various tones before I started messing around too much. In the past I've been too impatient trying to get it "perfect" when in fact I have to spend time getting acquainted with her.

It's kinda like dating. But less annoying.
 
#9,867
tombowlus said:
Sure, I will try and help explain things a bit. With regard to the two controls which are accessible through the control cavity cover, the blue one controls the amount of mid-boost that you get when you engage the circuit. Because this will increase your overall volume, the white control is an overall gain reduction (all frequencies), so that when you turn the mid-boost on and off, you can keep the net volume the same in either position. The more mid-boost you dial in, the more you will want to cut back on the overall gain. Please note, this overall gain reduction only applies when the mid-boost is engaged.

With regard to the narrow or wide band Q of the mid boost, a narrow band of frequencies will focus the boost on its center frequency without impacting the frequencies above and below the center point as much. The wide boost, will affect a greater range of frequencies both above and below the center frequency. A narrow Q is great at focusing in on either 500Hz or 800Hz, and a wide Q is great for a more general boost to the mids. In some ways, a narrow Q gets you more bite and bark, and a wider Q gets you more meat and fullness in the mids.

I am sure that others can do a much better job of explaining this (and I could probably do a better job, myself, if I wasn't writing this on the fly), but hopefully this helps to clear things up a bit.
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Sounds like a very cool circuit!
 
#9,874
I got my Thunderfunk yesterday and got to spend some quality time with it, my UV70 and my Aggie GS410.

I am speechless! I did not think the TF was going to be that much better than the Aggie but I was WRONG!!! I think the three of them make such a killer combination. Those of you who said the TF is a great head are dead on. I would put it up against ANY head on the market.

So, if anyone gets the chance to try a TF, I highly suggest doing it. Ever since the first time I plugged into one, I was hooked. It took me almost 3 years to get one, but it was well worth the wait.
 
#9,875
While I loved the TFB for upright, it just didn't have enough top end sheen for me with electric.
However, I didn't have a Sadowsky when I had the TFB; and the Sadowsky RV5 I got recently has puh-lenty of top end on its own. I could see those working very well together!
 
#9,877
Glad you are happy with the Sadowsky\Thunderfunk combination - I absolutely love the tone I get with mine. I keep the enhance set low - just enough to put a bit of pillow under the notes. Then dial in a tiny bit of bass from the on-board pre to fatten things up a touch and add some highs in to make everything just "come out". I can see where the criticism comes regarding the high end with the TFunk, though. Even though I like a pretty fundamental tone, I sometimes dial in 1/3 or so treble boost (though I admit I'm using some fairly old nickle strings). If I were a funk player into some serious slapping or played only passive basses, it wouldn't be as good (IMO). But the Sadowsky matches very, very well...

Sadowksy produces (to me) the best sounding bass tone I've heard and the Thunderfunk is perhaps the most musical sounding head. It's a great match!
 
#9,879
I did my first gig with the new Will Lee last night in a wonderful lodge on the Applegate river in Oregon. The room sounded amazing and we sold out and we perform flawlessly (almost).

Here's a pic.
16360_1189353771290_1151701533_3049.jpg


About the will Lee: Its the first time i could really play with the VTC. On my other Sadowsky, I get about a 1/4 inch of play on the whole knob so its either all or nothing.
The VTC on the Will Lee work almost on the whole spectrum of the knob so I was able to dial in some really nice tone and I really liked it.

I didn't use the mid boost a whole lot because the acoustic of the room was middy already but I did try it for a couple songs and it makes the bass cut like a knife without being too harsh.

While I had the mid boost on I did a couple feels which required slap. That didn't work very well. Its like the bass was gone for that measure.

So, from now on if I know I'm gonna slap at all in a song, I will leave the mid boost off. I kind off knew this before.

One thing I discover about the mid boost is if I play with the neck p/ups solo and the mid boost on I feel like I'm getting even closer to a P-bass sound.

During the show I change bass for a couple songs because I did not want the other Sad to be jealous of the new W/L.

I did not feel a change in sound but the neck, oh my god, the neck on the W/L is very fast especially in the first position.

Thanks to Nino for building an amazing instrument. I wish my other Sads were W/L now.

I was playing with Blue SS through a Aguilar DB750 and 2X Berg AE210
 
#9,880
johnnydi said:
One thing I discover about the mid boost is if I play with the neck p/ups solo and the mid boost on I feel like I'm getting even closer to a P-bass sound.
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First off, thanks for sharing your insights! And congrats on what looks like a great gig!

With regard to your comment, above, one of the things that I noticed with the mid boost was that it seemed to accentuate the differences you would normally get from varying the pickup balance. It also seems to provide the ability to fine-tune not only the EQ of the bass, but the growl. This last part is especially true if you tweak the mid-boost circuits settings to best effectuate the growl that you are after.

And I agree, that neck is heavenly! :cool:

Tom.
 

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