birdy

Just met up with Pete to do a swap deal involving a Japanese Fender, A mexican Fender and a Korg D3200 recorder. Couldn't chat for long as it was too cold but an easy deal with a great bloke. Would recommend.

Steve

Steve's been giving me bass lessons for the last 12 months and so I have seen his gear and set up. I bought his girlfriends P bass and he may be buying my P bass so positive feedback from me all round.

Steve

Peter and I did an effortless deal back in April 2006 when I took a Sadowsky Metro off his hands for a stingray, cab and combo if I remember correctly.

Plain Sailing and a top bloke!

Steve

Thats Lovely....Won't be here long!

I think the closest analogy I have seen with vintage Fenders against new ones is related to cars. Most of todays cars are better built etc but many people still crave the old ones!

I have a 65 Jazz that is as good as anything else I have ever played with regards the tone and playability (which are both subjective) but as an instrument it certainly isn't worth anymore than a Sadowsky or Fodera. What you are paying for is obviously the rarity and collectability. For me its win win. I get something I enjoy now and it goes up in value hopefully. If it doesn't I have still enjoyed it.

Steve

As the title says, were you busy?

I did 64 in my covers band and 5 in the originals outfit that I play with so 69 in total!

Steve

[quote name='bassaussie' post='110184' date='Dec 28 2007, 12:44 PM']Hey Steve - I only just saw this post!! Congratulations, that's a cracking looking bass!!! I don't know if you tried to contact me in Ireland about this, but I'm no longer working in Dublin.

Funny enough, the first thing I wanted to ask was this .....



.... and your answer is nearly indentical to what I thought when I had that Metro and was comparing it to my NYC Sadowsky basses.




The Metro seems to be nearly everything that the NYC is, yet I found my NYC basses just had "something" that I couldn't quite put my finger on. I actually wrote it off to the fact that my basses are both maple fingerboards and ash bodies, versus the morado/alder combination of the Metro.

It's strange, because I thought the Metro was a perfect bass - just such a nice bass to play, and yet the NYC basses just seem to be better - 105% perfection, maybe?!!! I dunno, it starts to sound a bit silly when we talk about basses being "perfect", yet I've had both my basses for around 4 or 5 years, and I still love them, and my biggest regret over the last 5 years, as far as bass purchases and sales go, is giving that Metro back to you!! [/quote]

Hi Mark, good to hear from you. Drop me a mail or PM me your new eMail address when you get sorted.

I don't think my bass has the chambered body or graphite in the necks - I would be interested to see how that affects the basses. I presume that yours don't either as they are 4 or 5 years old? I gigged for the second time with it tonight and was really impressed at the sound.

Steve

[quote name='OutToPlayJazz' post='110139' date='Dec 28 2007, 09:56 AM']That's a lovely looking bass... Quite fancy one like Tal Wilkenfeld's in the natural with the active circuit, etc. So you're a full-on Sadowsky-ite now, then?[/quote]

Thanks, Yea I really like the way they play and sound. I must admit it took me a while to realise how good they were. I had an older (94) NYC model about 3 years ago that I sold after a few months and then the white Metro that I have now went to Bassaussie as part of a deal and then came back again as part of another deal! In between getting the Metro back I got another Metro off Greeneking which was lovely as well and has since gone.

The Sadowskys just seem to work well for me. They are very versatile, record wonderfully and sound tight in a mix. Its horses for courses however. Funkmunly and myself AB'ed my Metro with the Fender Custom Shop that I had and he preferred the Custom Shop and it sounded better when he played it through his rig. When I got home and played both through my rig the Sadowsky sounded better to me.

With regards to the one you quite fancy I think they all have the active circuit. You can switch to passive should your battery die but pretty sure they are all active. The only slight oddity is that the NYC versions come with a vintage tone control (VTC) which allows you to back off the treble whereas the Metros dont have this as standard (although I think the Metro P's do).

Steve

I dont know why but I am hearing a trumpet in there! I know there isn't one but the multiple sounds gives that effect. Overall I think its a good take on a song thats hard to put your own touch too.

Steve

Wow Mark!! I can't believe how good that looks.... Have a bump!

Steve

[quote name='Crazykiwi' post='109026' date='Dec 24 2007, 06:31 PM']lovely looking axe mate how does it compare to the white metro you had a while back? I thought that was a pretty sweet instrument.[/quote]

Hi Steve, I still have the white Metro (so glad I didn't sell it) and to be honest there isn't much between them at all which is what I expected as Roger Sadowsky says that the Metros are as good as the NYC basses if you don't want any special features.

The NYC is to my ears slightly growlier maybe because its got a Brazilian Rosewood board whereas the Metro is Moraddo and I think the string spacing is slightly wider and its slightly lighter as well.

Theres not much in it all but I think the NYC has an extra 5% that the Metro doesn't but its really hard to quantify.

For gods sake don't let me near your Celinders as I have heard great things about them. Oh no is it GAS?!?...

Funkmunky - Pretty sure I will still have it by the new year so you will get to have a go!!

EDIT: Just a point regarding my opinion of Sadowsky basses for anyone who is interested and has heard one or played one and doesn't get what all the fuss is about. When you play them solo they sound good but I have heard nicer sounding tones on other high end basses depending on what you like. Where they excel is on recordings and live. They really cut through the mix so well and have great defined low end with sizzling highs.

Anyway enough of the sales pitch - I don't get commision :-)


Steve

Thanks for the comments guys, really enjoying the bass :-)

When I say an end to GAS I see it like in the past I have always thought that I would be a better player if I had a certain, better, bass. Now that I have this it really doesn't get any better. Sure we could all argue that an Alembic or Lakland may be better but this is one of the best jazz basses that money can buy.

With that realisation comes the knowledge that I need to PLAY the things rather than swapping them to improve!!

Steve

A good question and one that has potentially a lot of answers. In my opinion, generally, you get what you pay for. The 3K+ bass will play and sound better than a £300 one as a rule of thumb. It probably won't sound 10 times or even twice as good but there will be some difference that people feel justified in spending the extra money on.

You could draw similar parallels with cars, tennis rackets etc. I guess that you can spend £20 or £2000 on a tennis racket and to most people the difference would be relatively insignificant but to some people they would be prepared to pay the extra even for a perceived 1% better product.

I think I personally feel better when playing a more expensive bass and more inclined to pick it up. Then again I could just be shallow :-)

EDIT: In reference to your original point gutting a bass or replacing parts won't turn a MIM jazz into a USA Lakland or a Sadowsky whatever you do. Sure you can improve it but its all about degrees of improvement and what is important to the player. For what it's worth the difference in money that you need to spend to see an improvement isn't worth it unless you can afford it because as has been posted before a great player will sound great on a £50 bass!


Steve

My first bass was a Satellite Jazz bass purchased in 1979 second hand. I bought it from a friends brother for £50.00 when I was 13. I remember at the time I had about 30 LP's and I sold 25 of them to get the £50.00 to buy the bass.

I really wish I still had this bass just for nostalgia. The bass was shortly followed by an amp for a birthday present. A Laney K50B combo which I still have in the garage.

Steve

Thanks Guys,

If you heard me try and play fretless you would know that that isn't really an option :-) As for 5 strings I have tried and tried and just feel more at home on a 4 at the moment.

One of my new years resolutions is not to buy or swap any more basses!!!

Steve

This is now mine....

[url="http://www.sadowsky.com/stock/view/3948.html"]http://www.sadowsky.com/stock/view/3948.html[/url]

Its possibly the best jazz bass I have ever played and thats saying something. I am really hoping that I can now just stop switching basses every few months :-)

I have always wanted a NYC Sadowsky and always felt I shouldnt as I am not a pro player but my advice to anyone is get the best bass you can afford and want as you will always be craving it till you get it...

Anyway hope you like the pics, the sound is killer!

Steve

I have one of these and would also vouch for the quality and the price. Also Flanker is a top guy to deal with so someone snap this up quick!

Steve

The topic on how many basses do we own collectively and seeing some people with a lot got me thinking as to if you had to choose ONE only to keep out of your current crop which would it be and why?

Imagine all your basses are in your house/flat and a fire is ravaging through it. All humans and pets are safe and as you escape yourself you can save any ONE of your basses. Which would it be and why? Would you save the most valuable, a sentimental one perhaps?

I'll start - I would without doubt save my Sadowsky Metro. I have two other more expensive basses but the Sadowsky gets the job done all the time whether recording or gigging with no hassle and is a joy to play.

Steve

+4

= [b]214[/b]

Hi Peter, you certainly have some lovely basses! Which one(s) are your favourite(s) and/or the one you play most?

Steve

From Wikipedia....

Flea's main basses have almost always been ones with active electronics. His signature live bass up until Californication was the Music Man StingRay, which he also used to record the albums The Red Hot Chili Peppers and Freaky Styley. In the studios for The Uplift Mofo Party Plan and Mother's Milk Flea used a Spector bass. Blood Sugar Sex Magik was recorded with a Wal Mach II, Stingray 5 string and One Hot Minute with an Alembic Epic. From Californication onwards, he received a signature model from Modulus Guitars, which is based on the StingRay. For Stadium Arcadium, he used a '61 Fender Jazz bass. The Jazz Bass was initially used during the subsequent Stadium Arcadium tour, but Flea later decided that he wasn't cutting through enough, and went back to using his Modulus Signature. Flea can be heard using several different effects pedals throughout his career; current pedals listed below.

This was pretty much my understanding also before reading this after various threads on the subject on talkbass.

Steve

[quote name='niceguyhomer' post='90670' date='Nov 19 2007, 09:22 AM']James Brown's Sex Machine.[/quote]

Really???? This is a floor filler whenever we play it... strange!

Definately consider the Mesa Walkabout. Its not cheap but portable and great sounds!

Steve

Like to add my postive experience of dealing with Steve to this forum also. Traded my custom shop jazz for his Roscoe 5 string in a pleasant and easy deal. Very friendly.

Thanks Steve!

Steve

The photos don't do this justice! At last a 5 string bass I feel comfortable on...The F bass was even hotter!!!

Steve