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Club Sadowsky!!!

#9,881
johnnydi said:
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.
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This makes perfect sense (of course.) I've never known any slappers to actually boost mids... in fact, if anything, as you clearly know, cutting them is typically regarded as the best thing to do with slap (as well as boosting lows, and sometimes highs depending on the eq point of the treble control... typically desired higher than for finger style).

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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This also makes perfect sense. One thing that really distinguishes a P bass is the rich woody mids in that P pickup. It's really not the native nature of the beast in neck J pickup, so the ability to bump the mids for that purpose should work very nicely.

If the WL5 comes to fruition, I WILL have one (no pun intended... at least that you'll get me to admit to ;)). Even in a relatively brief audition at NAMM, it was very clear how beneficial that circuit is to the overall scheme of things. Yeah, Will knows what's going on. He's played in just a "few" different things. :)
 
#9,882
Ok, i've had my Sadowsky for about a week now and im just lovin' it! Im workin as a professional musician and I needed bass that fits on every situation with solid B-string, and my MS5 does everything I need! :bassist:

So, i've had some band practises last week (Rock,Pop,Latin,Jazz) and it worked really well on all of those! One thing that took some "getting used to" was sadowskys "wide" neck profile. But now i dont even think about it anymore, plays like butter! :)

Here is a sample i recorded today to see how it sits in the mix... You can decide how it works! ;) i recorded bass straight to line in without any effects or amplifiers. Bass has both pickups full and preamp on with slight bass/treble boost. On the second last part i put bridge PU on and roll off tone a little bit and on the last part its both PU's full and tone open for some slappin!

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#9,883
Mr.Typhus said:
Ok, i've had my Sadowsky for about a week now and im just lovin' it! Im workin as a professional musician and I needed bass that fits on every situation with solid B-string, and my MS5 does everything I need! :bassist:

So, i've had some band practises last week (Rock,Pop,Latin,Jazz) and it worked really well on all of those! One thing that took some "getting used to" was sadowskys "wide" neck profile. But now i dont even think about it anymore, plays like butter! :)

Here is a sample i recorded today to see how it sits in the mix... You can decide how it works! ;) i recorded bass straight to line in without any effects or amplifiers. Bass has both pickups full and preamp on with slight bass/treble boost. On the second last part i put bridge PU on and roll off tone a little bit and on the last part its both PU's full and tone open for some slappin!
Click to expand...

Nice playing. Very solid and clean. How did you record this?
 
#9,885
Vic said:
This makes perfect sense (of course.) I've never known any slappers to actually boost mids... in fact, if anything, as you clearly know, cutting them is typically regarded as the best thing to do with slap (as well as boosting lows, and sometimes highs depending on the eq point of the treble control... typically desired higher than for finger style).
Click to expand...

You're right, I knew that but I don't think I ever had a bass with a mid boost and I'm certainly not a big slapper.

I started playing with the circuit a little but I'm realizing that I have to try them with the band. One by one. In my house, I hear the difference but I don't know how well its gonna be heard in the mix.

I don't like tweaking that much so I don't know how much patience I gonna have with this.
 
#9,891
I'm now a two time member of the club. My new (to me) Metro M5-24. I've just gotten her cleaned up. Significantly lighter than my RV-5.


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#9,896
I'm just curious and I don't want to start a war or anything but, What is the deal with the P/Js. I never owned a Sadowsky P/J which I'm sure its a premium instrument. I'm talking about the P/ups configuration.

So many people get P/Js it seems to me these days. I own one P/J and it was a Bacchus and really I did not see the point and maybe I just missed it.

I was believing people were getting these because they wanted to own one bass only so the bass needed to be versatile. But I see people with two or three of them now so I must be missing the boat.

My experience with a P/J was: You can either play with either p/ups solo in which case you get the bridge sound a la Jaco or you play them as a P-bass with only the neck p/up on.

Whenever I would blend the p/ups half/half I though the sound was very nasal and unpleasant.

I tried different combination and I was finding it tolerable with full P and a 1/4 J but really it was still a P sound.

I'm I missing something here? I know it make sense on paper but my experience was not what I was expecting.

Can anyone illuminate me.
 
#9,897
I play an NYC PJ as my #1. I like the sound. So does the band. Sometimes I roll to the P pickup soloed, but mostly I keep both pickups full on and just vary my right hand technique to change tones.

I'm not sure what your issue is with the tone. It sounds great to my ears. Then again, I haven't tried a Bacchus PJ and don't know how it compares to my Sadowsky, which has been my undisputed #1 for over a year of gigging regularly.

YMMV.

Maybe something was wired funky on your Bacchus?
 
#9,898
I would love to hear a clip of a Sad P/J with both p/ups on.
I've tried a few other p/j basses in music store and they always sounded nasal to me.

Don't get me wrong. The reason for all of this is because I want my next Sadowsky to be a P-bass so I'm thinking maybe it would be smart to get a P/J but then I remember my bad experience.
 
#9,899
I wouldn't call my PJ nasal at all. Here's what I put on another thread on this topic:

As I mess around more with my PJ, I find that it is about 5 or 6 different basses in one. The VTC really changes the character of the instrument. In passive mode the sound is very round and supportive. There isn't any aggression, and rolling between P and J gives a pretty wide pallete.

Preamp engaged is the classic Sadowsky sound with a twist. Equal PJ is a wider bottom with an edge. Rolling up a bit of treble and bass fills it out even more. I find that I like to be just off of dead center on the mix pot in either direction. Then when you swing all the way to a single pickup it is something else again.

While you can just pick it up and plug it in and play, I think the PJ is a bass that you need to work with and investigate. imho you could get a Sadowsky PJ and get rid of a couple of different basses (heresy I know).
 

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