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  1. Same! Used it on every type of gig and stage huge and small and never had an issue! Joined a conga at a wedding once and was two rooms away, I couldn’t hear the PA, but was told there wasn’t any drop outs 😂 It doesn’t shred through batteries either!
  2. Yet, you still don’t know his actual name 😂
  3. Yeah, I’d agree with that. Even the Japanese Metros has something about them. The guy that headed up the workshop had worked with Roger, it was kind of an interesting story, and the basses were immaculately made. From NYC they were not, but you knew they were proper Sadowsky for sure.
  4. I should have clarified, I was referring to the 5s I believe the 4 stringers have Sadowsky stamped Hipshot HB1s. Maybe that changed at some point though.
  5. The Metros have always had Licensed Ultralites, I believe. My old one did anyway.
  6. This was mine, bought new from Bass Direct Before I sold to it Freddie. Fantastic cab!
  7. Mine have been ok. First back was playing standard pop covers for 3000 people, on a lawn that had been cut with socially distanced longer grass patches for families to sit in the sun and enjoy. Did that 3 afternoons on the bounce. It was fine, kind of weird, but very well thought out and was nice to be playing again. Then a small outside duo gig, which was more chilled. Most of my bookings have been cancelled, and the ones that look likely to go ahead are getting cancelled last minute. At this point, can’t say I’m too upset as if they do go ahead they’re likely to be a lot of hassle, or just rubbish.
  8. I didn’t know that. I really like the stock strings too. Weirdly, didn’t get on with them on an old VM5, but feel they really suit my SL5 very well. Maybe they’ve changed in that 5 year gap between the two basses. I actually hadn’t used SS rounds for years since getting the SL5 last year, but I’ve been turned again! The only other strings I’ve had on it have been Dunlop nickels (which i hated) not really interested in experimenting further as the Sandbergs (or GHS) sounds great and last well. agreed on the Super Light series too. Mine has been my only bass for about 15 months. Zero GAS for anything else... maybe a Marlowe DK 5... 🙄
  9. Anybody using this with an iPhone 7? If so, any issues with using the lightning > 3.5mm adapter?
  10. I had a bad time with Sadowsky pickguard for a Metro. They sent me two from different batches direct from NYC and they just didn't fit. Nothing on the NYC guys, they explained that the fit is "very different" to the US models, and the design has changed over the years. So unless your Metro matches the stock they have, it could be WAY off, size wise. To their credit, they refunded all costs, and were extremely helpful, but be aware before paying any hefty shipping fees.
  11. Agree with all of that. The pre is very musical and useable, and actually, being able to roll off treble or bass a touch is as useful to me as boosting.
  12. These two, an MV5 and a Mk1 Sire V7. Don't get me wrong, the Sadowsky is a few steps ahead. But the 7.5" radius and 18mm spacing worked really well for me on the Sire. Objectively the Sadowsky was clearly better, but for me, at that time, not £1600 better.
  13. New camera, zero gigs = photoshoot... The TT5 SL is still the one, been playing it more in passive mode lately, will never fail to appreciate the lack of weight, balance and playability of this one!
  14. I did go the other direction! Both incredible, but the Yammy would win if I had to choose between them. Nothing in it with regards to craftsmanship. The Sadowsky did feel special and was SOLID, and Roger is great, but ultimately I sold it, because I didn't feel it offered anything more than my Sire, and I preffered the neck and feel of the Sire and the sound of it passive was exactly what I was after... Blasphemy, right. I mean, I'd love another, but a chance to sell it 2 years after purchase for exactly what I bought it for was too tempting. So many great basses, too little money, and I wanted to try the new BB's - as you know, if the BB had been lighter I'd never have sold it. The Sadowsky's recorded tone was like no other though, rounds or flats, what a tone. As a recording bass it did it all.
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