Chef
In Memoriam
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The Valenti Megathread Part III
- Thread starter Bryan R. Tyler
- Start date
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In regards to your alder rosewood stable -
It seems like your Sadowsky and Valenti have the same electronics. Are they really close or do they vary. Tonally how do they differ from your AC. Do you also have a passive Alder/rosewood fender?
Just curious what your many points of differentiation are on these.
Chef
In Memoriam
The Sadowsky has HC pickups, very different from the Valenti, which is SC pickups.
The Alleva is muuuch more old school.
The Alleva is muuuch more old school.
Just thought I'd jump in here with an update on #100. Occasionally, something works out perfectly. In this case, it was Chef's and my swap (#046 for #100). It appears that #046 is a perfect fit for him, and #100 certainly is for me.
Again on Sunday I received compliments on the tone from one of our head soundmen (who has had extensive experience mixing major acts, Vic Wooten and Anthony Wellington among them), along with a bassist, the original owner of #046.
I'm not sure what makes this one so special, but I believe it's a blend of the unique wood combination, plus mating the Sadowsky pre with Carey's '70's wind singles. The positioning ('70's) of the bridge J adds to the unique flavor as well. And, of course, I think it compliments my playing style, attack, etc... and it just seems easier for me to make this bass say what I want it to say , if that makes sense.
Ken, in the Alleva thread a while back, was discussing his thoughts on the RA5 he had (same basic spec's as my Valenti - alder/maple/70's/single coils). Ironically, many of the reasons that the RA was not for him were the same reasons that I prefer it to a standard alder/rosewood or ash/maple recipe. The nuances of tone are subtle, but it's cool to see how different things fit different players.
This wood combo just happens to really, really fit my playing style and tone preferences. But, best of all, as Mike (bassist) put it on Sunday, he "could hear every note of every run, as well as all the notes just holding down the groove." He said, "It was really clear, but really thick, punchy, and deep all at the same time." That's just the bass running through a Countryman DI.
Anyway, my only real exposure to Nino's work was #046, which I'd constantly borrow from Mike for gigs, before I actually bought it from him. I wondered if it was a fluke - one of those situations where these particular pieces of wood just happend happened to work really well together. Having had the pleasure of owning #100, I can say it's no fluke.
I'm not usually the effusive praise type of guy, but Nino's stuff warrants it. I am sort of befuddled that I don't want to search the classifieds for other basses. I'd like a 6, and I'm kicking myself for not picking up that green Valenti fretless 4 that was in the classifieds a while back. But as far as a 5 string "utility bass" that fits any situation, I'm done.
If you're considering a Valenti, I would say don't hesitate. Also, I'm extremely ill currently, and a bit dazed, so if any of this has been rambling and incoherant, my deepest apologies.
Again on Sunday I received compliments on the tone from one of our head soundmen (who has had extensive experience mixing major acts, Vic Wooten and Anthony Wellington among them), along with a bassist, the original owner of #046.
I'm not sure what makes this one so special, but I believe it's a blend of the unique wood combination, plus mating the Sadowsky pre with Carey's '70's wind singles. The positioning ('70's) of the bridge J adds to the unique flavor as well. And, of course, I think it compliments my playing style, attack, etc... and it just seems easier for me to make this bass say what I want it to say , if that makes sense.
Ken, in the Alleva thread a while back, was discussing his thoughts on the RA5 he had (same basic spec's as my Valenti - alder/maple/70's/single coils). Ironically, many of the reasons that the RA was not for him were the same reasons that I prefer it to a standard alder/rosewood or ash/maple recipe. The nuances of tone are subtle, but it's cool to see how different things fit different players.
This wood combo just happens to really, really fit my playing style and tone preferences. But, best of all, as Mike (bassist) put it on Sunday, he "could hear every note of every run, as well as all the notes just holding down the groove." He said, "It was really clear, but really thick, punchy, and deep all at the same time." That's just the bass running through a Countryman DI.
Anyway, my only real exposure to Nino's work was #046, which I'd constantly borrow from Mike for gigs, before I actually bought it from him. I wondered if it was a fluke - one of those situations where these particular pieces of wood just happend happened to work really well together. Having had the pleasure of owning #100, I can say it's no fluke.
I'm not usually the effusive praise type of guy, but Nino's stuff warrants it. I am sort of befuddled that I don't want to search the classifieds for other basses. I'd like a 6, and I'm kicking myself for not picking up that green Valenti fretless 4 that was in the classifieds a while back. But as far as a 5 string "utility bass" that fits any situation, I'm done.
If you're considering a Valenti, I would say don't hesitate. Also, I'm extremely ill currently, and a bit dazed, so if any of this has been rambling and incoherant, my deepest apologies.
I second this notion. Nino build good basses and his quality is as good as any of the other high end jazz bass builders. I want another one!
Chef
In Memoriam
Chef
In Memoriam
MY LG5 has a honduran rosewood fingerboard which is much brighter and is big in the mids. I bought it used that way, if I was ordering a new AC I'd probably stick with the East Indian rosewood board.
In any case Nino's bass is really nice. The Sadowsky blue steels are well broken in similar to aged nickels and they are at their sweat spot right now.
Chef
In Memoriam
To mimic Ivan's comments, the first time I gigged out with #008, we were outside facing a brick wall 100' away. Goofy aucoustics to be sure YET, the thing that stuck out to the "sound engineer" was clarity.
Valenti's have something I usually reserve for talk about bond portfolios,
clarity and definition. They are very articulate basses. I beleive its one of their primary characteristics regardless of configuration.
Valenti's have something I usually reserve for talk about bond portfolios,
clarity and definition. They are very articulate basses. I beleive its one of their primary characteristics regardless of configuration.
Chef
In Memoriam
Nice to see that someone else is sticking by their 5 strings. The kids can be pretty mean about it these days.
Hey! I just put the tort guard back on mine too, after about two years. I thought I would go a little retro for a while (although I'm not sure an ash-maple 5 string with a tort guard was really seen much I the "old days".I'll be rockin' the tort guard on my P5 tonight because: 1) Nino was kind enough to send it; 2) I was dumb enough to show it to my wife who immediately declared, "Ohhhhh, I like it... change it!"
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