Fodera or Sadowsky

[friendlybass]

Mothman is my vote.

 

[Biggbass]

get the best of both...put a Fodera Neck on a Sadowsky body and call it a Fodowsky.

 

[Bassconbeatz]

I have owned both and I have always leaned towards to Sadowsky. Classic look and sound. The Sadowsky preamp is so simple to use to get the sound you want. The Fodera take a bit more fiddling around with to get that sound. Resell value of NYC Sadowskys seems to hold better too.

 

[wintremute]

I don't see carrots on that list.​

 

[MobileHolmes]

Mike Merritt of the Conan band also made the switch from Sadowsky to Fodera. I think the Basic Cable Band covers a lot of musical styles too. I happen to own both brands and they're both great basses. The Sadowsky might be a bit more suited for the OP's needs as being to fit in almost any style of music.
As far as price, the new Fodera Standards are comparable with the Sadowsky NYCs and they (the Standards) are amazing basses. But now Sadowsky has the NYC built line of Satin basses that challenge the Metros price wise. For $300-400 more you can get a NY made, chambered body bass weighing 1 1/2-2 lbs less than the Metros.

James Genus also plays a Fodera on SNL iirc

 

[pbass2]

Ask yourself " Am I going to gig this bass?" If so, "Am I comfortable taking a 4K or 5K bass to the kind of places I play?" What do you think these basses will do that your current bass will not do?
I was at a show recently and the bass player had a Fodera bass and I was really looking forward to hearing the band. The bass player came out first, plugged in and started noodling around. He got a nice burp out of the bass. I was really looking forward to hearing him play. The rest of the band came out and as they started playing, the bass tone, IMHO was completely wrong for the style of music they were playing. The bass player was on a kind of jazz trip and the band was playing a kind of Americana music. It seemed to me that the bass was completely wrong for the band. IMHO. Go to NY and Audition them both.

Man, if there's one thing I can't stand is players using something like the "Jaco tone" on music that it just doesn't fit in--americana, roots, reggae, etc. etc. It's really unprofessional. Would be like using a metal tone for classic country music--just as inappropriate.
Anyhow, since the OP says he plays many genres, I think you can't go wrong with a Sadowsky, perhaps a PJ. Do any Sadowsky's have the option to run passive these days? That would make it that much better/more versatile. I loved my Sadowsky J, but there were times when admittedly it WAS a tad too "modern".

 

[Gnal]

Do any Sadowsky's have the option to run passive these days? That would make it that much better/more versatile.

I'm pretty sure that all Sadowsky's have a active/passive switch as a push/pull on the VTC.

 

[bucephylus]

On the DVD of Rock Candy Funk Party's show at the Iridium in NYC, Mike was using both a Sadowsky and a Fodera on different tunes.

Just wanted to repeat something from earlier in the thread: the OP might want to buy it or find some clips from that DVD, to compare the tone of the two basses. Same player, same band, same mix--the only variable is the bass. To my ears, the difference in the voices of the basses is pretty noticeable.

Very hip stuff; and yes, that is a pretty good example of a lot of the tonal differences. The Sadowsky appears to be a Metro (?) with the humcancelling pickups (to my ear). I would say that the Sadowskys are capable of distinctly other sounds as well, pickups depending. But, that particular Sadowsky sound is a mainstay. I listened to the vids on YouTube, and agree those are good examples in the context of that particular kind of mix.

 

[bucephylus]

Man, if there's one thing I can't stand is players using something like the "Jaco tone" on music that it just doesn't fit in--americana, roots, reggae, etc. etc. It's really unprofessional.

For the sake of argument, and allowing that I may be misunderstanding your post, I just strongly disagree with this statement.

Maybe I should first ask what you mean by "Jaco tone?" Do you mean playing staccato over the bridge J pickup? Because, if so, you are certainly welcome to your opinion; but, I have been playing that way when appropriate since about 1972, well before I ever heard of Jaco; I use the technique wherever I deem it to be an appropriate technique for the tune I am playing, and can see no rational reason for bass players not to use the technique where it is appropriate, purely because one of the great bass players happened to use it. You don't take a technique and hang it like a sports jersey in the rafters so no one can ever use the number again. That ain't musical. IMO. There isn't any copyright and it's just a technique.

I will agree that players who are trying to impersonate someone that they are not; especially to the exclusion of the needs of the song are somewhat lame. OTOH, I'm not too worried about anyone upstaging Jaco any time soon. Even when the best cats in the biz try to do it on purpose, for example in the recent WOM efforts, the differences are immediately clear. No one is stepping into Jaco's shoes any time soon. (Now, I'm getting sad)

BTW, here is a reggae derived tune I sort of used the technique on. I think it works for the tune. YMMV

 

[pbass2]

For the sake of argument, and allowing that I may be misunderstanding your post, I just strongly disagree with this statement.

Maybe I should first ask what you mean by "Jaco tone?" Do you mean playing staccato over the bridge J pickup? Because, if so, you are certainly welcome to your opinion; but, I have been playing that way when appropriate since about 1972, well before I ever heard of Jaco; I use the technique wherever I deem it to be an appropriate technique for the tune I am playing, and can see no rational reason for bass players not to use the technique where it is appropriate, purely because one of the great bass players happened to use it. You don't take a technique and hang it like a sports jersey in the rafters so no one can ever use the number again. That ain't musical. IMO. There isn't any copyright and it's just a technique.

I will agree that players who are trying to impersonate someone that they are not; especially to the exclusion of the needs of the song are somewhat lame. OTOH, I'm not too worried about anyone upstaging Jaco any time soon. Even when the best cats in the biz try to do it on purpose, for example in the recent WOM efforts, the differences are immediately clear. No one is stepping into Jaco's shoes any time soon. (Now, I'm getting sad)

BTW, here is a reggae derived tune I sort of used the technique on. I think it works for the tune. YMMV

Whoa! Yes, you're completely misunderstanding my post. All I said was essentially what you say here as well, "use the technique where it is appropriate" (that goes for any technique/sound). That is all.

 

[bucephylus]

Whoa! Yes, you're completely misunderstanding my post. All I said was essentially what you say here as well, "use the technique where it is appropriate" (that goes for any technique/sound). That is all.

Mea culpa. Same elephant, different ends!

 

[kjones]

For the sake of argument, and allowing that I may be misunderstanding your post, I just strongly disagree with this statement.

Maybe I should first ask what you mean by "Jaco tone?" Do you mean playing staccato over the bridge J pickup? Because, if so, you are certainly welcome to your opinion; but, I have been playing that way when appropriate since about 1972, well before I ever heard of Jaco; I use the technique wherever I deem it to be an appropriate technique for the tune I am playing, and can see no rational reason for bass players not to use the technique where it is appropriate, purely because one of the great bass players happened to use it. You don't take a technique and hang it like a sports jersey in the rafters so no one can ever use the number again. That ain't musical. IMO. There isn't any copyright and it's just a technique.

I will agree that players who are trying to impersonate someone that they are not; especially to the exclusion of the needs of the song are somewhat lame. OTOH, I'm not too worried about anyone upstaging Jaco any time soon. Even when the best cats in the biz try to do it on purpose, for example in the recent WOM efforts, the differences are immediately clear. No one is stepping into Jaco's shoes any time soon. (Now, I'm getting sad)

BTW, here is a reggae derived tune I sort of used the technique on. I think it works for the tune. YMMV

Dude, I have a huge smile on my face listening to that. I have a thing for any band where the vast majority of the interesting things happening musically is coming from the bass. No offense to your fellow musicians, and I'm sure it's different on different songs, but that is "Bucephylus and Five Guys Named Fred."

 

[deepestend]

First, that should be a very serviceable axe. I've been gigging for the most part lately with a Sadowsky RV4 and a Fender Jazz with the Sadowsky preamp; both with Delano JMVC4 pickups. The Sadowsky is hands down a better instrument, especially as a player (the Fender has a pro fret leveling /ramp etc so setup not an issue); but both instruments produce essentially the same result in the mix. I keep the Fender because there are situations where one needs Fender on the headstock, especially on the pro/am bar circuit; or what's left of it.

IMO, for you getting a Sadowsky would give you a nicer instrument that would likely vibe better and be put together more carefully in all the right places; but your sound in the mix will be in the same zone. So, that choice kind of depends on what you can afford and what you value; but the raw result in the mix isn't going to be night and day. Roger, bless his heart, has made his sound accessible pretty much to any player who wants it.

The Fodera is quite a different situation. Impeccable instruments for sure. However, they have a much wider range of specification options; and between the variations in woods, electronics, scale lengths etc etc, they seem to me to purposely allow a much wider range in the tonal results. Which is great if you are pretty sure what you want and why you want it. But, you do see even players who are dedicated to Fodera sometimes going through a couple of instruments to get what they want. Sadowsky players also do this, of course; but I don't think the tonal results vary as much. Just something to be aware of. Fodera purposely puts the tonal result in the customer's corner, provides guidance, and produces stellar results. But, as a player, little things matter which you may or may not articulate well the first time around. Just something to be aware of. One good reason if you go that route to go play a few of their instruments first. But, then there is always that learning experience when you get the instrument out on the first gig....

Lots of great discussion points in this thread. Props to all the good comments. Nice to see TB'ers with so much knowledge and batting around a good discussion. Carry on.

One thing that you can't discount in the Sadowsky is the player feel. Compared to a fender the are generally lighter and much better constructed. All of the rough edges of fit and feel have been smoothed out. While that may not produce a "better" sound, it probably does translate into a better playing experience which adds in to how at one the player feels with their instrument.

Also, like someone said before, it's easy to dial in your sound with a Sadowsky. That is by design, not chance.

 

[deepestend]

Let us know what Fodera and Sadowsly have going in a few years and then we can give more informed opinions.

The new Sadowsky singlecut! Only a few right now, but in a few months when the second round makes it through production, there will a bunch. Great design. Also, if the sadowsky's aren't boutique enough, check out the 24 fret modern shape.

 

[bucephylus]

Dude, I have a huge smile on my face listening to that. I have a thing for any band where the vast majority of the interesting things happening musically is coming from the bass. No offense to your fellow musicians, and I'm sure it's different on different songs, but that is "Bucephylus and Five Guys Named Fred."

That is very kind of you to post that. Many thanks.

Still, there was a ton of talent in that band. One of the vocalists sang the National Anthem at the Republican convention in 2008. That drummer had one of the best feels of any drummer I have ever played with. He made playing the bass easy. Good drummers will do that.

 

[Flaked Beans]

I say both. But if you can only afford one then yes the music you play would be helpful. If you are on a tighter budget the Sadowsky may be the best option View attachment 910504

This! ^ ^

 

[kjones]

That is very kind of you to post that. Many thanks.

Still, there was a ton of talent in that band. One of the vocalists sang the National Anthem at the Republican convention in 2008. That drummer had one of the best feels of any drummer I have ever played with. He made playing the bass easy. Good drummers will do that.

Oh, I have no doubt about that, but it kind of just stood out.

It was indeed a nice groove by the drummer; isn't it great when you don't have to spend half your time keeping one in time?

Sorry for the derail, back to the thread. I'm not sure I understand the point of it very well, though. To me, this is like asking, "Do I want a Mercedes or a pick-up?" Only the OP knows what needs he has and what tonal goals he's looking for-we can't answer that for him.

I've played my Sadowskys for over ten years because they have the sound I'm looking for. I play in classic rock, modern alternative rock, Christian worship, and regional musical theater settings. My Sadowskys are perfect for those situations. If I played music that was more jazz/experimental like the Flecktones, I would be more likely to have a Fodera.

It just seems to me that if you go to New York or some other more convenient setting and audition both, you are unlikely to have any doubt about which you prefer for your requirements and your ear.

 

[pbass2]

Just visited the Sadowsky site for the first time in ages. Damn, the Will Lee model looks hot!!!
[Invalid or Expired Link Removed]

 

[Brother Goose]

For the sake of argument, and allowing that I may be misunderstanding your post, I just strongly disagree with this statement.

Maybe I should first ask what you mean by "Jaco tone?" Do you mean playing staccato over the bridge J pickup? Because, if so, you are certainly welcome to your opinion; but, I have been playing that way when appropriate since about 1972, well before I ever heard of Jaco; I use the technique wherever I deem it to be an appropriate technique for the tune I am playing, and can see no rational reason for bass players not to use the technique where it is appropriate, purely because one of the great bass players happened to use it. You don't take a technique and hang it like a sports jersey in the rafters so no one can ever use the number again. That ain't musical. IMO. There isn't any copyright and it's just a technique.

I will agree that players who are trying to impersonate someone that they are not; especially to the exclusion of the needs of the song are somewhat lame. OTOH, I'm not too worried about anyone upstaging Jaco any time soon. Even when the best cats in the biz try to do it on purpose, for example in the recent WOM efforts, the differences are immediately clear. No one is stepping into Jaco's shoes any time soon. (Now, I'm getting sad)

BTW, here is a reggae derived tune I sort of used the technique on. I think it works for the tune. YMMV

Shoot me a message if your in Tucson- ya'll should play my buddies bar. This band is ADORABLE! (for lack of a better word)

 

[Gord_oh]

Valenti.