ABOUT THE GUITARS
FINISH | Natural |
BODY | Myrtle on chambered okoume |
NECK | Roasted maple with thin matte nitro finish |
FINGERBOARD | Amazon Rosewood, 12″ radius, 1.75″ nut width |
PICKGUARD | None |
HARDWARE | Black |
PICKUPS | Sadowsky soapbars in modern locations |
PREAMP | Sadowsky preamp with vintage tone control |
PRICE | $5,800 |
FINISH | Natural |
BODY | Chambered Okume |
NECK | Roasted flame maple with thin matte nitro finish |
FINGERBOARD | Mastergrade Brazilian Rosewood, 12″ radius, 1.875″ nut width |
NECKGUARD | None |
HARDWARE | Black |
PICKUPS | Sadowsky Humcancelling |
PREAMP | Sadowsky preamp with vintage tone control |
PRICE | $6,700 |
FINISH | Custom T-Blue |
BODY | Master Grade flame maple on chambered swamp ash |
NECK | Maple with thin matte nitro finish |
FINGERBOARD | Maple, 12″ radius, 1.5″ nut width |
PICKGUARD | Plexi |
HARDWARE | Chrome |
PICKUPS | Humcancelling |
PREAMP | Sadowsky preamp with vintage tone control |
PRICE | $5,250 |
FINISH | Natural |
BODY | Koa (top and back) on chambered spruce |
NECK | Roasted maple with thin matte nitro finish |
FINGERBOARD | Brazilian rosewood, 12″ radius, 1 11/16″ nut width |
PICKGUARD | None |
HARDWARE | Gold |
PICKUPS | Sadowsky humbuckers |
PREAMP | Sadowsky preamp with mid and mid/gain boost |
PRICE | $9,175 |
FINISH | Natural |
BODY | Chambered swamp ash |
NECK | maple with thin matte nitro finish |
FINGERBOARD | Birdseye maple, 12″ radius, 1.75″ nut width |
PICKGUARD | None |
HARDWARE | Black |
PICKUPS | Sadowsky soapbars in modern locations |
PREAMP | Sadowsky preamp with switchable mid-boost |
PRICE | $6,350 |
FINISH | Natural |
BODY | Buckeye burl on chambered alder |
NECK | Roasted maple with thin matte nitro finish |
FINGERBOARD | Ebony, 12″ radius, 1.75″ nut width |
PICKGUARD | None |
HARDWARE | Black |
PICKUPS | Sadowsky single-coil |
PREAMP | Sadowsky preamp with vintage tone control |
PRICE | $7,050 |
ABOUT THE BUILDER
Roger Sadowsky is one of the most highly respected instrument makers in the world. His instruments are played by many of the world’s greatest artists including guitarists Jim Hall, John Abercrombie, Pat Metheny, Lee Ritenour, Chuck Loeb and bass players Marcus Miller, Will Lee, Rickey Minor, Michael Rhodes, Verdine White and Jason Newsted.
- How did you get started building instruments? During graduate school, I got in with a group of professional folk musicians and admired all of their vintage Martin guitars. I got obsessed with the guitar and had this romantic notion that if I could learn to build them, I could escape from the rat race, live in the country and musicians would beat a path to my door. After a year of writing to guitar makers all over the world with no success, I finally got a job with Augie LoPrinzi, who was building acoustic guitars in New Jersey.
- What differentiates your instruments from others in the field? I think my background in acoustic instruments helped me build a lightweight, acoustically resonant instrument. And my background in shielding and hum cancelling technology produced instruments that were significantly quieter than many others on the market. Of course, I have always had a reputation for being “picky” and a stickler for quality, regarding both materials and workmanship.