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narrowed down to mtd, sadowsky, lakland

#41
KJung said:
Yeah, I always found my 55-94 a 'close but no cigar' sort of thing. It 'kind of' sounded like a J, 'kind of' sounded like a P, and 'kind of' sounded like an MM... but not really. With the MM tapped and the neck pickup/bridge blended, it did a pretty good job of vibing a 60's style J with Bartolini HC J pickups.
Click to expand...

I like J/MM basses, but they do not accurately mimic Precisions or Stingrays. Like Ken, I think they do a good Jazz sound, but to my ears, the bridge humbucker works much better as a super Jazz bridge pickup than as a thin sounding copy of a Stingray.

The J/MM together can give a good modern tone.
 
#42
Dr. Cheese said:
I like J/MM basses, but they do not accurately mimic Precisions or Stingrays. Like Ken, I think they do a good Jazz sound, but to my ears, the bridge humbucker works much better as a super Jazz bridge pickup than as a thin sounding copy of a Stingray.

The J/MM together can give a good modern tone.
Click to expand...

+1 It was amazing how different the 55-76 (true MM position) sounded from the 55-94 in MM mode. Most people didn't understand the big difference that made, and viewed the 55-76 as 'a 55-94 without the J neck pickup', and hence it didn't sell and was discontinued. In fact, it was the elusive and much wished for '19MM 5 string Stingray', but nobody realized it!
 
#43
The deal with the MM/J configuration is that you can split the MM to get a JJ. But, the classic MM pickup position is not the classic J bridge position. So, every MM/J bass has to either a) put the MM in the classic MM position, which is the wrong position for a J bridge pickup when you split it for JJ, or b) put the MM in the "wrong" position so that when you split it, the J is in the right place when you split it for a JJ.

The Lakland chooses the "right position for the J" option. The Lakland is a "super Fender" that gives you something of an MM option. If that is what you want, it's good at it. If you want an MM, you won't be satisfied.
 
#44
KJung said:
Why would you think that a passive tone control on a bass is a 'con'. It is just the classic passive tone control found on virtually all P and J inspired basses. I actually wouldn't really want a bass without one.

And yes, Sadowsky bass pickups seemed to be wound to work wonderfully with the Sadowsky pre, and the basses aren't really voiced for 'everyday passive' operation (although they still sound fine).
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I almost choose my basses (I happen to have a few, not this value tho') by the active/passive option

What I meant is that I really think nothin' beats a Sadowsky pre: this to the point that its active tone is too good for its passive mode...

I demand a bass that it's (almost) equal between active and passive operation, that's why I love G&Ls (not disputed here) Sadowsky is not

Fender is almost equal between active and passive operation (both American Deluxe and MIM Reggie Hamilton's pre are so) Sadowsky is not

As already stated, IMHO the beauty behind Sadowskies is that
their active sounds are as true and veritable as super passives
while their passive sounds are so lame in comparison to let you
discover how really boosted is their active tone: the best one!

Sorry for the misunderstandin'

Cheers,
Wallace
 
#45
Wallace320 said:
I almost choose my basses (I happen to have a few, not this value tho') by the active/passive option

What I meant is that I really think nothin' beats a Sadowsky pre: this to the point that its active tone is too good for its passive mode...

I demand a bass that it's (almost) equal between active and passive operation, that's why I love G&Ls (not disputed here) Sadowsky is not

Fender is almost equal between active and passive operation (both American Deluxe and MIM Reggie Hamilton's pre are so) Sadowsky is not

As already stated, IMHO the beauty behind Sadowskies is that
their active sounds are as true and veritable as super passives
while their passive sounds are so lame in comparison to let you
discover how really boosted is their active tone: the best one!

Sorry for the misunderstandin'

Cheers,
Wallace
Click to expand...

Ah, that makes total sense. It has nothing to do with the passive tone control option, but rather that the Sadowsky pickups seem to be wound to perform best in active mode. I think Roger himself has posted that he considers the passive setting more of a 'nice to have in an emergency.

My Alleva-Coppolo sounds VERY similar in passive mode and in 'active mode with no tone control boosting', which I also see as a positive.

However, as you state, that active Sadowsky J tone is something special, and unique for sure. Definitely not just a 'Fender J knock-off'. It truly has its own voice.
 
#47
I have owned a Lakland 55-02, a MTD535 and a few Sadowkys.

The Sadowskys are by far the favorite of ALL of the sound engineers I have worked with. The MTD is sometimes a challenge for a sound guy.

The Sadowskys cut the best IME, but you can't go wrong with any of the 3. The 55-02 is a great value (the 55-94 is pretty expensive), the MTD is a work of art and the neck is one of the best I have ever played. PERSONALLY, I would go Sadowsky.
 
#48
I think im leaning towards sadowsky metro. How are the models different?
How is the mv5 different than other models in tone?
KJung said:
That being said, if you are leaning toward a 'modern J' tone, it is hard to beat a Sadowsky Metro J. I very much like the unique MV models, which are ash/maple (like a 70's J), but yet have 60's pickup position for a bit more punch and grunt. VERY nice all around performer IMO, and a pretty safe bet for what you want to do.

Edit: Sadowsky uses 'fixed pricing', so the Metro's cost the same no matter where you buy them. You might consider buying a Metro MV directly from the Sadowsky shop. You get a no questions asked 7 day return policy (as long as you don't remove the plastic protection film, etc.). That is a very nice, no risk (other than some shipping cost) to try a Sadowsky and see if it is what you want.
Click to expand...
 
#49
johnbkim93 said:
I think im leaning towards sadowsky metro. How are the models different?
How is the mv5 different than other models in tone?
Click to expand...

If I remember the Metro line-up:

MV Ash/maple/60's J position.... classic Sadowsky tone... nice and bright and grindy with plenty of pop and punch, nice reduced sized J body

RV alder/Morado/60's J position... quite frankly, not that different sounding than the MV... the Morado board looks like RW but sounds a bit like maple. In general, just a touch warmer, with the same reduced size J body.

Between the two above, IMO more of an aesthetic choice than a massive tone difference.

The Will Lee versions of the above have a narrower nut width (I think), and the addition of a mid boost switch... not that big of a deal for the money IMO.

The Modern is closer to the MTD (somewhat) than the Sadowsky J's. Punchy, very smooth, modern 'ping' to the top end, no grind, not a ton of growl... clean, smooth punch. Body allows for a bit more upper fret access. Definitely in that 'Ken Smith/Roscoe/Cirrus tone universe of big soaps stacked close to the bridge. Burpy... lots of space between the notes, relatively unforgiving of slop or technique issues.

UL... this is a full sized J body, ash/maple with binding and 70's pickup position.... a bit wider, grindier, brighter tone.

The PJ is basically an MV or RW with a PJ pickup combination versus the JJ. I'm not a particular fan of the PJ.. the P pickup seems to overwhelm the J, but pretty nice if you want a P tone in a J body (5 string... the 4 string is a P body, with the ability to dial in a touch more snap when needed.
 
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#52
Chasarms said:
With all of that said, any bass works for any style. Any tonal variations are so subtle to the non-player that they are lost in the mix of a live setting. You can always EQ a good bass into it's pocket in the mix. Buy the bass that compels you to play and evokes the most creativity and expression from you as a player.


After 25 years playing, I have come to realize the subtleties are for me and me alone.
Click to expand...

An extremely large and hairy +1. I have tried to say this time and again, but was never so exacting and eloquent. It is very sage advice, please pay attention.
 
#53
Blueszilla said:
An extremely large and hairy +1. I have tried to say this time and again, but was never so exacting and eloquent. It is very sage advice, please pay attention.
Click to expand...


His point is a good one. Play an instrument that speaks to you on all dimensions, and you can usually pound through voicing issues with enough skill and EQ and rig choice.
 
#54
KJung said:
RV alder/Morado/60's J position... quite frankly, not that different sounding than the MV... the Morado board looks like RW but sounds a bit like maple. In general, just a touch warmer, with the same reduced size J body.

Between the two above, IMO more of an aesthetic choice than a massive tone difference.

The Modern is closer to the MTD (somewhat) than the Sadowsky J's. Punchy, very smooth, modern 'ping' to the top end, no grind, not a ton of growl... clean, smooth punch. Body allows for a bit more upper fret access. Definitely in that 'Ken Smith/Roscoe/Cirrus tone universe of big soaps stacked close to the bridge. Burpy... lots of space between the notes, relatively unforgiving of slop or technique issues.

.
Click to expand...

Thanks. According to your description, i would get rv or modern if i choose to go with sadowsky metro. Do you think modern be able to do the work I want?
 
#55
johnbkim93 said:
Thanks. According to your description, i would get rv or modern if i choose to go with sadowsky metro. Do you think modern be able to do the work I want?
Click to expand...

Again, those are such TOTALLY differently voiced instruments that many who really dig one really DON'T dig the other. If you are looking for a big, fat, smooth, modern soapbar loaded instrument with a very present low mid voice, the Sadowsky Modern is a good one. If you are looking for a more J type instrument with that nice dose of J upper mids/grind, and a bit more 'classic' tone, the Sadowsky J's would most likely work for you (assuming you aren't looking for an exact Fender tone).

So, hard to say. The good news with Sadowsky is that, again, you can buy one from the shop (they list available instruments, and instruments (Metro's) soon to be available), and you can order one up and return it if it isn't our thing.
 
#57
KJung:

Agreed.
The Modern was 100% not for me.

And, in fact, the Sadowsky J with the HC pickups wasn't gonna work for me either.
I nearly sold mine without trying the single coils, and I'm really glad I tried them.

However, Sadowsky J with single coils=perfect.
 
#58
Chef said:
Well now; that depends how you spec your Carvin SB.
Sure; if you go 100% bottom of the line, you'll have some significant coin. On the other hand, it's easy to run one up to $1800 or more.

I've played one, it's a nice bass, with their single coils and preamp.
Click to expand...

I didn't mean spec'd through the roof with all of Carvin's available options or bottom of the line: I meant spec'd like a new $2700 Metro. For example, ash body/clear finish/maple neck and board or sunburst alder body/maple neck and rosewood board. That bass runs you $1100/1200 new and leaves you 1500 bucks to 'adjust' your rig.
 
#59
johnbkim93 said:
That is true, but people still want the bass that is Easier to make the tone to their style and the tone they want than a bass that just can make it close to it.
Click to expand...

For the styles you've mentioned any of the three basses will be fine. If you specifically mentioned "old Motown" or Stax then I'd say get a Fender, but for Gospel (new or older), hip-hop, funk - a Sadowsky Jazz will work fantastically.
 
#60
Does anyone have feedback as to WHY the MTDs were so difficult to fit into the live mix? I've seen a few threads on this issue over the past couple days, and I'm curious to learn what was problematic in terms of the signal.

Lonnybass
 

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