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you are #267. welcome
it looks like a very nice bass, but hard to see on that tiny pic
Wow!
killer burst on that WL!
congrats.
killer burst on that WL!
congrats.I started a separate thread on my new Will Lee, but I gotta post a pic or two of it here for posterity's sake.
you are #267. welcome
it looks like a very nice bass, but hard to see on that tiny pic
I will keep working on the pictures , thanks for the #
I started a separate thread on my new Will Lee, but I gotta post a pic or two of it here for posterity's sake.
And here it is with the "bass formerly known as #1," my alder/Braz. RW PJ.
I'm very, very happy with the pair of them.Together, they cover a lot of nice sonic ground.
Splendid. Both of them.
Thanks Jerry!
We've got to get together sometime soon and compare new Sadowskys!
I'm loving the mid-boost on the WL for hard rock songs, but I'm thinking I might just dial it back a touch. It's so aggressive it's almost over the top.
lowb_2277: We don't gig up in Seattle, but I try to make it out to most local GTGs (had to miss the last one in Seattle though), so maybe you'll get to see it/hear it at one of them!
And thanks to all for your kind comments. I can't take my eyes or hands off it for long.
So how many years of harassing Roger will it take to get a 24 fret vintage 6 string? Or should I just take a trip overseas?
This was also my experience. I left the frequency and Q the same (500W), but set the gain and boost such that it just added little bit of a bump. For me, that worked a lot better.
I still can't imagine boosting anything on an ash/maple Sadowsky with singles (maybe 10% bass when slapping). I can see a slight mid boost at around 500 hz would be a positive for the more scooped HC pickups, but that circuit continues to make little sense to me with singles (which I understand is the Will Lee spec). With the singles, as you can hear on the clip I put up on YouTube a couple of days ago, a slight favoring of the bridge pickup just SLAMS the mid mids into the voicing of that bass.
Of course, given Will's technique and the amps, monitors he uses, etc., I'm sure it makes total sense for him. For the typical player... not so much IMO.
I guess that's why I never was much interested in these 'tribute' basses. IMO there!
- Apr 3, 2003
- 35,516
- 19,950
- Disclosures
- Editor-in-Chief, Bass Gear Magazine
Most of the time, I play mine with the mid-boost off. But in situations where the mix gets really busy, it can definitely help punch you through. The variable gain option (in addition to the frequency and Q switches) is just killer, and really helps you fine tune this control.
Most of the time, I play mine with the mid-boost off. But in situations where the mix gets really busy, it can definitely help punch you through. The variable gain option (in addition to the frequency and Q switches) is just killer, and really helps you fine tune this control.
I can see that, although digging in close to the bridge with a slight blend toward the bridge pickup should get you to the same place IMO and IME.
- Apr 3, 2003
- 35,516
- 19,950
- Disclosures
- Editor-in-Chief, Bass Gear Magazine
But I am philosophically opposed to playing over the bridge pickup and/or favoring the bridge pickup, so I'm glad to have this option.
But I am philosophically opposed to playing over the bridge pickup and/or favoring the bridge pickup, so I'm glad to have this option.
Some of the same results, but not the same sound.
I must say, initially, I was really in love with the mid circuit. Then, after spending a little time with it, at least at its default setting (which I personally feel is too extreme, and might pair better with HC pickups), I kinda' fell out of love with it. However, I then started tweaking it, and I have to say, after "mellowing it out" some, I really started to like it again. I still feel I'd not use it most of the time, but it really was quite usable and effective... I can definitely see the rock applicability.
Most of the time, I play mine with the mid-boost off. But in situations where the mix gets really busy, it can definitely help punch you through. The variable gain option (in addition to the frequency and Q switches) is just killer, and really helps you fine tune this control.
That's how I plan on using it. I used it on a couple songs on the first gig (I'd just gotten it that afternoon), but mostly left it off through three sets. I love the extra snarl for the hard rock, but I'm going to dial it back a fair bit.
I like to think of it as "the afterburner."
Not something I'll use most of the time, but nice to have for a little more punch in spots. The accessability of it as a set-and-forget in/out switch is what makes it so useable. It's just a flick away for a little more oomph on the heavier rock we play (my band plays everything from the Beatles and Johnny Cash to the occasional Alice in Chains or RHCP song).For me, it's a different tone than favoring the bridge.
I also think of it less as a "tribute" bass and more as the result of a collaboration between one of the best luthiers and one of the best bass players around. It's not like Roger came up with it just as a way to sell more basses or to have something for NAMM.
