leroydiamond

i use the 2by10 traveler cab with my little mark 11 and though it is not as low ended as I would like, i prefer it to the 1by15 traveler cab. Has any of you guys had the experience of using the 1by12 traveler cab?. in theory it might be a good compromise

[quote name='Toasted' post='1328285' date='Aug 5 2011, 09:23 AM']I think a better word might be provenance, and Western Society is pretty much built on it.[/quote] +1. £3k is a big sum of money for a bass and one consideration is re-sale value. you never know when circumstances might change so £3k needs to be a sound investment and some boutique basses can sell like hot cakes whereas others generate very little interest

[quote name='skidder652003' post='1288294' date='Jun 30 2011, 10:11 PM']i have the ASC -15db filters after i exchanged them from the -17db filters which i didnt like. However the -15db filters were designed for solo singers or classical instumentalists and to be honest theyt're even worse, so im going back to the -17db filters. They're fine for rehersals but you loose the sheer oomph when you're gigging.[/quote] For sure, but its the oomph that causes hearing loss and tinnitus (I have both and its not worth it) i have been using ASC plugs for a number of years and am satisfied. Once you get used of them you will never gig without them

[quote name='bassjamm' post='1323334' date='Aug 1 2011, 05:59 PM']Just spotted this post of yours pal... Custom basses are a minefield if you don't know exactly what you want and why you want it. You can go to any luthier as say you want a Super Jazz that has that 70's honk and that kicks but...and with £3k to play with you'll find pretty much every luthier will entertain you there...but you really need to know your stuff to make it worth while in my opinion. You could easily spend £3k on getting a custom built bass, going along with the luthier's suggestions, end up with a great bass. But you could just as easily walk into a boutique bass dealer, pick up a second Sadowsky or Nordy that's £1200 that does exactly what you want. Getting a bass built, especially at that level of outlay, requires an extreme amount of testing out and trialing different basses across a massive spectrum of different configurations. You may like the feel of a single cut Sei, but the tone of a Marleaux Constat. The ease of an F Bass' fingerboard with the mandolin frets, or the playability and comfort of an Overwater Progress... It's a minefield! This is all just my opinion of course. I just remember being where you are now and almost made a massive mistake because I didn't really know what I wanted, what woods I really wanted, neck profile, string spacing, neck type etc. My apologies for the rant... Jamie[/quote]I agree 100% I purchased a NYC Sadowsky Jazz via the web and had to return the neck for a reshape. Thankfully Sadowsky done a great job at a reasonable cost so all was fine in the end. personally I think if a super jazz is on the menu I would seriously consider a vintage jazz which can be available at a reasonable price given the current economic situation I. I purchased a 1964 refinished Jazz at a reasonable price and it is super in every sense of the word. Its a nice weight, looks great and soundwise is superior to the Sadowsky IMO. I will never part with it . Most importantly try the bass out prior to purchase.

[quote name='LukeFRC' post='1319923' date='Jul 29 2011, 12:22 AM']i've never really heard much about the G&L jazz type bass. Played a few metro sadowskys, I wouldn't buy if i wanted a jazz but couldn't fault what they were doing. there is as good out there for less. but the same with most things, who cares? otherwise we would all be playing squiers[/quote] Never tried a metro but I own a Sadowsky NYC. I brought this one back from the USA with me so avoided all the tax and duty (What a rip off!) which really add up and make these an expensive purchase on this side of the pond. The comparrison with fenders is understandable given the shape and pickup placement but really thats where the similarities end. Neck shape and radius is quite different as is the string spacing at both the bridge and the nut and the sound is more modern given the onboard preamp. I feel that the common description of the Sadowsky as a "Fender jazz on steroids" is quite misleading as they are very different basses. A big selling point for NYC Sadowsky's is that they are very lightweight (My one comes in at just over 7 pounds!) which means long gigs are effortless. The finish is first class in every sense as is the customer support ( Are you listening Fender). I recently purchased a new Fender Jazz but was really dissapointed with the finish as the fret edges protrudedpast the fretboard and rendered the bass unplayable! However I do own a 1964 Fender Jazz and nothing touches it

[quote name='BigRedX' post='1259352' date='Jun 7 2011, 09:37 AM']Different basses suit different things. That's why we have more than one. You should use the bass that suits the type of music you are playing for looks and sound. BTW is cutting through the mix a good thing? Unless you're Mark King or Hooky most bass parts need to sit in the mix holding the sound of the band together.[/quote] thanks for the comment. I guess its the degree of a bass guitars ability to cut through the mix that is the issue for me. Its important that a bass sound honours its role of sitting in the pocket and holding the sound together. Also its important that the sound of the bass can be heard clearly. Many bassses I have tried can have a good frequency response but sound a bit muffled and lack clarity. My 1964 jazz projects each and every note distinctly and is very even across the fretboard. Together with the sound of the bass playability is important and again the 64 jazz is just like butter, better than anything i have ever played.

[quote name='JTUK' post='1259291' date='Jun 7 2011, 08:20 AM']No problem if that is what you prefer. On paper it seems you have two very nice choices, but you can't judge these things on paper and supposed spec. A 44 year old bass has no devine right to be any good...but if it has been in business that long there may be a reason it survived being chopped for firewood. I suggest you are very lucky. I've played my mate's '62 P-bass which is worth a lot of money and frankly, it is a dog, IMO.[/quote] Thanks for the comment. Firstly my math suck. The bass is 47 years old. Agreed I have come across a couple of vitage fenders that have been less than impressive

[quote name='BigRedX' post='1259352' date='Jun 7 2011, 09:37 AM']Different basses suit different things. That's why we have more than one. You should use the bass that suits the type of music you are playing for looks and sound. BTW is cutting through the mix a good thing? Unless you're Mark King or Hooky most bass parts need to sit in the mix holding the sound of the band together.[/quote] thanks for the comment. I guess its the degree of a bass guitars ability to cut through the mix that is the issue for me. Its important that a bass sound honours its role of sitting in the pocket and holding the sound together. Also its important that the sound of the bass can be heard clearly. Many bassses I have tried can have a good frequency response but sound a bit muffled and lack clarity. My 1964 jazz projects each and every note distinctly and is very even across the fretboard. Together with the sound of the bass playability is important and again the 64 jazz is just like butter, better than anything i have ever played.

[quote name='BassBod' post='1260373' date='Jun 7 2011, 10:03 PM']Some thoughts. The Sadowsky is always active, even when the preamp eq is bypassed, so you never hear it without the preamp..even if its only acting as a buffer. Also the Sadowsky pickups are spec'd and voiced by Sadowsky, even though they're probably made by DiMarzio or Seymour Duncan. Given Sadowsky's origins as a "hot rodder" for Fenders I'd guess they are voiced for a bit more edge or bite than stock Fender pickups...as that was what a lot of players were looking for back in the late 70's and 80's. The Marcus and Will Lee approach needed an impact that stock Fender basses couldn't do without some active help. With current amps stock Fenders can sound a lot better than they did back in the old days (!) - may be some of what you're hearing is improved amplification of what was always there...and the more "modern" voicing of the Sadowsky?[/quote] I think this is a good point. I share your view that modern bass amps are an improvement on what was available in the old days (I use markbass). However I have used a number of stock fenders and they were just ok. None of them matched my 1964 jazz.

[quote name='Musicman20' post='1259108' date='Jun 6 2011, 11:06 PM']IMO, the Fender will have that 'full on' jazz tone. It can be very upfront and aggressive! I've yet to hear a Sadowsky match that grunt and aggression. No doubt the quality of the Sadowsky is at least a touch higher.[/quote] Yea the build quality on the sadowsky is better. Fret finishing is perfect and the neck pocket tight as you like. The fender falls behind on both these counts, yet curiously the fender wins hands down. Heading away for a couple of days so will not be online. Thanks for all the comments and keep them coming

[quote name='Ou7shined' post='1259087' date='Jun 6 2011, 10:41 PM']I'm dead jealous that the guys in your band could tell the difference.[/quote] Darn right!! But that old vintage grunt seemed to get their attention!!. In fairness the Sadowsky is a fine instrument and i am sure that the wood and wire is of the highest standard but the old fender beats it hands down, no contest.

heres the deal. i have been using a Sadowsky NYC jj bass for the 18u months. Yep a fab bass no doubt. light as a feather with hum cancelling pickups and a fabulous sadowsky pre amp with the lovely VTC control. No complaints. This weekend however i decided to take out my 1964 fender jazz bass and it simply kicked the sadowsky into touch. The neck is super fast and the sound just cut through the mix like a monster. The guys in the band were blown away by the fender and are begging me to stick with it and retire the sadowsky.So how does a 44 year old instrument rock so good when compared with a modern precision crafted top of the range boutique bass ?. Any comments welcome