ABOUT THE GUITARS

MODEL 5-24 Standard Modern
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
MODEL 5-21 Vintage J-bass
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
MODEL 4-21 Vintage J-bass
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
MODEL Standard SS-13 Broadway
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
MODEL 5-24 Standard Single Cut
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
MODEL 5-21 Standard J-bass
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.

  1.  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.
  2. 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.