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Sadowsky Chambered Bodies
- Thread starter KCFrets
- Start date
Difficult to say without playing the same bass pre and post chambering. I’ve had both chambered and non-chambered Sadowsky Jazzes and I didn’t keep any of them. 
What turned you off?Difficult to say without playing the same bass pre and post chambering. I’ve had both chambered and non-chambered Sadowsky Jazzes and I didn’t keep any of them.
Oh, the basses just weren’t exactly the flavour I wanted. I still have a Sadowsky Modern which I love, but I’ve never played a solid body Modern. I have a chambered Lull Jazz as well - which is great. I don’t think the chambering is what will ultimately make or break a bass’ tone but that’s just a guess. This is one of those topics where a lot of people seem to come to conclusions based more on theory than on actual experience.
I currently own a NYC 5 string with the chambered body used to own a Metro 5 string, non-chambered. I find the main difference of this feature is weight. While I'm sure there are some tonal differences, I think pickups and electronics play a bigger role. I especially found this with the pickups. My NYC has single coils and my Metro had the hum cancelling. I definitely prefer the single coils.
That being said, I think Sadowskys over all the different price points are really fine basses.
Bones
That being said, I think Sadowskys over all the different price points are really fine basses.
Bones
Thanks; I suspected the only difference was weight (always a good thing). Definitely looking at the singles-NYC; glad to hear the PUs/pre-amp steps up.
I owned 30 Sadowsky in my life. Had all flavors. When it was all said and done, my favorites were a metro PJ, Metro JJ UV70 and an early JJ NYC. All were non chambered, thin headstock examples that weighed 8.5 to 8.8lbs. Had many chanbered NYCs. Didnt do it for me
I've owned 3 Sadowskys; 1 chambered and 2 not chambered. The chambered one had a serious neck-dive issue and, IMO, lacked focus sound-wise. While I'm not sure in this case that chambering affected the tone, I do feel that it affected the weight balance. Stands to reason that if you make the body of the instrument lighter, you risk having a neck that's too heavy relative to that.
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While the bass will be lightweight overall, it will transfer a noticeable amount of instrument weight to the neck.
The chambered basses I've played lacked focus and the sustain wasn't great, felt like the bodies absorbed alot of the attack. Acoustically very loud and resonant, but resonance and amplified response are a whole other large collection of threads, enjoy your Sunday...
Chambering works really well for guitars to soften out the attack and push the mids forward a bit, but for bass its a nogo for me. I'm a fan of medium to heavy solid bodies.
The chambered basses I've played lacked focus and the sustain wasn't great, felt like the bodies absorbed alot of the attack. Acoustically very loud and resonant, but resonance and amplified response are a whole other large collection of threads, enjoy your Sunday...
Chambering works really well for guitars to soften out the attack and push the mids forward a bit, but for bass its a nogo for me. I'm a fan of medium to heavy solid bodies.
Well, the neck on the Lull has a different profile. I don’t know if I’d say it’s faster but maybe. I do prefer it slightly more than the Sadowsky but then again I tend to get used to whatever bass I’m playing most and then find the necks on my other basses less comfortable by comparison. Both Lull and Sadowsky have pretty comfy necks though.
I have a chambered 4 and a non chambered 5. They both sound great but the 4 has some nuances going on that the 5 can't get to. It's a bit more open and forward sounding - more responsive and technique sensitive overall. Subtle yes, but apparent in both passive and active modes.
I’ve owned / gigged both. Currently have an NYC chambered 4; and my offspring will probably sell it someday.
This is a player pref issue. The way I would put it is that you can compare a good lightweight early 60’s Jazz Bass and a good heavy 70’s Jazz Bass; and they will both have good, but different things going on. The lighter instruments tend to have more acoustic resonant nuance, which plays well with pizz parts. The heavier 70’s bass will have a more solid growl and hit, which plays well with slap oriented parts. Obviously, both have significant voicing influence in our pedagogy.
Roger’s chambering system is an effective construction technique to augment that early 60’s lightweight vibe. Which may or may not be what a given player is looking for. So, players who favor that kind of bass will be pleased by the chambering.
The Sadowsky preamp is robust enough that it pretty much overwhelms either of those two distinct player vibes in the mix. So, IME, the solid vs chambered thing is nearly impossible to differentiate in the mix. Which is not to downplay the difference; just keeping it in perspective.
FWIW, I opted (Roger does build either way) for chambered, because I figured that construction is most signatory of Roger’s embellishments on the Jazz Bass; which I happen to appreciate.
Regarding balance, it is a fact of simple Physics that lighter weight bodies shift the balance of the bass toward the neck. Gravity happens. Same thing, again, with that coveted lightweight early 60’s Jazz Bass. A decent strap halts the neck dive thing; and the big gain is that the lightweight bass is way less taxing on the shoulder.
About a year after taking delivery of my NYC 4, I took delivery of a solid ash bodied MTD 5. These two instruments are my “retirement” instruments, intended to meet my specs for a good 4 and a good 5. I went with the MTD for the 5, strictly because I prefer an 18mm neck taper on a 5 string; kinda like the MM SR5. Mike was perfectly happy to build that instrument for me. Roger is limited to 19mm necks. I’ve gigged those as well; so, done the experiment. Anyhow, the MTD kind of initially disappointed me; because it came in at 9 pounds 10 oz, exceeding my <9.5 pound preference by just a bit. I know, picky, picky, picky. Anyhow, after sorting out a few other things, I am now overly fond of the MTD, and wouldn’t change a thing about it. That heavier Northern Ash body generates an addictive low mid growl and complete slam for slapped parts.
Both chambered Sadowsky and solid MTD are fantastic basses, representing both sides of the OP discussion point. I’m fortunate to have and enjoy both.
This is a player pref issue. The way I would put it is that you can compare a good lightweight early 60’s Jazz Bass and a good heavy 70’s Jazz Bass; and they will both have good, but different things going on. The lighter instruments tend to have more acoustic resonant nuance, which plays well with pizz parts. The heavier 70’s bass will have a more solid growl and hit, which plays well with slap oriented parts. Obviously, both have significant voicing influence in our pedagogy.
Roger’s chambering system is an effective construction technique to augment that early 60’s lightweight vibe. Which may or may not be what a given player is looking for. So, players who favor that kind of bass will be pleased by the chambering.
The Sadowsky preamp is robust enough that it pretty much overwhelms either of those two distinct player vibes in the mix. So, IME, the solid vs chambered thing is nearly impossible to differentiate in the mix. Which is not to downplay the difference; just keeping it in perspective.
FWIW, I opted (Roger does build either way) for chambered, because I figured that construction is most signatory of Roger’s embellishments on the Jazz Bass; which I happen to appreciate.
Regarding balance, it is a fact of simple Physics that lighter weight bodies shift the balance of the bass toward the neck. Gravity happens. Same thing, again, with that coveted lightweight early 60’s Jazz Bass. A decent strap halts the neck dive thing; and the big gain is that the lightweight bass is way less taxing on the shoulder.
About a year after taking delivery of my NYC 4, I took delivery of a solid ash bodied MTD 5. These two instruments are my “retirement” instruments, intended to meet my specs for a good 4 and a good 5. I went with the MTD for the 5, strictly because I prefer an 18mm neck taper on a 5 string; kinda like the MM SR5. Mike was perfectly happy to build that instrument for me. Roger is limited to 19mm necks. I’ve gigged those as well; so, done the experiment. Anyhow, the MTD kind of initially disappointed me; because it came in at 9 pounds 10 oz, exceeding my <9.5 pound preference by just a bit. I know, picky, picky, picky. Anyhow, after sorting out a few other things, I am now overly fond of the MTD, and wouldn’t change a thing about it. That heavier Northern Ash body generates an addictive low mid growl and complete slam for slapped parts.
Both chambered Sadowsky and solid MTD are fantastic basses, representing both sides of the OP discussion point. I’m fortunate to have and enjoy both.
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I don’t know about the resonance thing. Acoustically the most resonant Sadowsky I owned was, without a doubt, my solid ash bodied NYC Jazz (9lbs).
I’ll also point out that the straps I use are nothing special and are fairly slick (they don’t grab onto clothing the way some straps do). They are about three inches wide. Still no issues with neck dive. Of course, it could well be that I just got lucky.
I’ll also point out that the straps I use are nothing special and are fairly slick (they don’t grab onto clothing the way some straps do). They are about three inches wide. Still no issues with neck dive. Of course, it could well be that I just got lucky.
I think the German masterbuilt and custom shop will have chambered body. Metroline will continue to use solid body.If I'm not mistaken the MIG (Made in Germany) Metros will have chambered bodies!
It seems my notion of measurements is completely off. I just checked and my straps are only two inches wide.I’ll also point out that the straps I use are nothing special and are fairly slick (they don’t grab onto clothing the way some straps do). They are about three inches wide. Still no issues with neck dive. Of course, it could well be that I just got lucky.
