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I am super close to dropping a deposit on an MS4 just like the one below. 4-5 month wait which I'm cool with!
no pun intended ???
Sorry!
Ya caught me red handed. (so to speak )
B.
I am super close to dropping a deposit on an MS4 just like the one below. 4-5 month wait which I'm cool with!
That's just like the one Walter Becker used on "Everything Must Go" (Steely Dan's CD) VERY nice!
B.
Here is my sweetie.
Badass bridge, MOP neck dots, MOP knobs, flame maple fingerboard, quilt top, custom hardware, vol.vol.passive tone,treble, bass-pull for passive, spoke wheel truss rod, clear guard, detuner, no neck plate, graphtech nut, single coils, etc.
Sounds absolutely fabulous!
Badass bridge, MOP neck dots, MOP knobs, flame maple fingerboard, quilt top, custom hardware, vol.vol.passive tone,treble, bass-pull for passive, spoke wheel truss rod, clear guard, detuner, no neck plate, graphtech nut, single coils, etc.
Sounds absolutely fabulous!
I think an explanation is required
Exactly..that setup is definitely not standard Sadowsky. Is this maybe a Tokyo?
I remember that bass, it was built by a former Sadowsky employee. Is that you or you bought it from him?
Hi guys,
I made the bass when I worked for Roger at the 1600 Broadway location in N.Y. It was the time of my life, where everyday it was all about BASS.
I did a lot of extra work to this instrument to make it unique- some of it cosmetic, some for playability, and some for the resulting tone.
At the time, it was unusual to have single coils, so after A/B'ing humbucking coils (which were wound side by side), stacked coils, and single coils, I noticed that the single coils had more of an "open top", and my theory was that it's easier to reduce tonal qualities than to add to them- the resulting signal is just cleaner.
The neck sits deeper in the body, I did a plate-less neck mount as we now see on all 4-string models, and I used a Badass 2 bridge- which was not entirely uncommon on some special orders. I used gold tuners, but added black string post ferrules for a nice contrast.
The plexiglass pickguard is 1/4 inch thick- almost operates like a ramp for its thickness.
I installed recessed straplocks for a cleaner look, and I used a roller string tree on the headstock to eliminate the chance of binding while tuning.
Intersting note- we nerded out on the affect of bell covers over the pickups. We A/B'd basses and Tele guitars to see if it was merely a cosmetic function or that PLUS an affect on tone. We found that there is indeed an affect on tone with bell covers. With the bell cover on, there was a "compression" affect on the tone- kind of a subtle coloring on the top end of the tone from the covered pickup. Keep in mind that to hear the difference, the tone/vol controls have to be wide open, and the amp needs to be CRANKED! ....but, the difference was there!
I know you guys know this already, but Sadowsky instruments are built by a group of people that really care, and won't settle for second best. Walking through the front door everyday at the shop was inspiring, and I couldn't help but tailor this bass to my taste. All of this done back in 2000/2001.
Premium Ash/Maple + Single coils= big tone. Studios in New York, producers and listeners all agree that this bass has THICK JUICY PHAT tone!
I made the bass when I worked for Roger at the 1600 Broadway location in N.Y. It was the time of my life, where everyday it was all about BASS.
I did a lot of extra work to this instrument to make it unique- some of it cosmetic, some for playability, and some for the resulting tone.
At the time, it was unusual to have single coils, so after A/B'ing humbucking coils (which were wound side by side), stacked coils, and single coils, I noticed that the single coils had more of an "open top", and my theory was that it's easier to reduce tonal qualities than to add to them- the resulting signal is just cleaner.
The neck sits deeper in the body, I did a plate-less neck mount as we now see on all 4-string models, and I used a Badass 2 bridge- which was not entirely uncommon on some special orders. I used gold tuners, but added black string post ferrules for a nice contrast.
The plexiglass pickguard is 1/4 inch thick- almost operates like a ramp for its thickness.
I installed recessed straplocks for a cleaner look, and I used a roller string tree on the headstock to eliminate the chance of binding while tuning.
Intersting note- we nerded out on the affect of bell covers over the pickups. We A/B'd basses and Tele guitars to see if it was merely a cosmetic function or that PLUS an affect on tone. We found that there is indeed an affect on tone with bell covers. With the bell cover on, there was a "compression" affect on the tone- kind of a subtle coloring on the top end of the tone from the covered pickup. Keep in mind that to hear the difference, the tone/vol controls have to be wide open, and the amp needs to be CRANKED! ....but, the difference was there!
I know you guys know this already, but Sadowsky instruments are built by a group of people that really care, and won't settle for second best. Walking through the front door everyday at the shop was inspiring, and I couldn't help but tailor this bass to my taste. All of this done back in 2000/2001.
Premium Ash/Maple + Single coils= big tone. Studios in New York, producers and listeners all agree that this bass has THICK JUICY PHAT tone!
Attachments
What material is the nut made of & what reason for it's use? What do you think of the rolling string tree after your assessment? Worthwhile? Thanks bro.
B.
Hi P. Bass
The nut is made from a material called Graphtech. It has graphite in it, and as a result it provides easy string movement with minimal binding- so when you go to drop D and back up, you are less likely to go out of tune.
The string tree does indeed work as designed, however the difference in performace from a standard string tree is negligeable. It simply comes down to a matter of taste.
The nut is made from a material called Graphtech. It has graphite in it, and as a result it provides easy string movement with minimal binding- so when you go to drop D and back up, you are less likely to go out of tune.
The string tree does indeed work as designed, however the difference in performace from a standard string tree is negligeable. It simply comes down to a matter of taste.
TimothyGroovy
Commercial User
- Aug 3, 2000
- 2,374
- 2,097
- Disclosures
- Owner: Uni•Sound Endorsing Artist: Sadowsky Guitars, Olinto Bass, LaBella Strings
TimothyGroovy
Commercial User
- Aug 3, 2000
- 2,374
- 2,097
- Disclosures
- Owner: Uni•Sound Endorsing Artist: Sadowsky Guitars, Olinto Bass, LaBella Strings
- Apr 3, 2003
- 35,515
- 19,945
- Disclosures
- Editor-in-Chief, Bass Gear Magazine
Over the past two weekends, I had an opportunity to fill in with a friend's country band. My '74 P-bass seemed like an obvious choice, but since many of these modern country tunes (which I am really digging, btw) call for a low D or deeper, I ended up playing my P/J 5 pretty much exclusively. It fit the bill perfectly! The last gig was at the Quarter Horse Congress in Columbus this past Friday, and I brought along a full Reeves rig. Oh man, did that pair up with my Sadowsky! 
Chef
In Memoriam
- Apr 3, 2003
- 35,515
- 19,945
- Disclosures
- Editor-in-Chief, Bass Gear Magazine
