Both of our pedal preamps are perfect for vintage basses where installation of an onboard preamp would affect the instrument’s original condition and resale value. Also recommended for all passive basses, basses with active pickups, and instruments that have active electronics that can be bypassed. It also works great with all upright bass pickups.
- SPB-1 Preamp/DI Pedal: Our fully featured preamp pedal: XLR DI out, preamp bypass footswitch (on/off), a mute footswitch, and a live tuner out. Also includes a ground lift switch for the DI and a low battery indicator LED. Read more...
- SBP-2 Preamp Pedal: The same famous circuit as the Preamp/DI pedal—but with a slimmed down design and smaller footprint perfect for crammed pedalboards. Read more...
What’s the difference between the SBP-1 and SBP-2?: The SBP-1 is physically bigger and has more features like an XLR DI output to plug directly into a soundboard live or in the studio. It also has a second footswitch to mute your signal completely between songs or during and instrument change and a tuner out jack to keep your tuner out of your signal chain. The SBP-2 has the same preamp circuit but is more like a traditional stomp box with just an in and out jack and a slimmed down enclosure—geared more towards players with smaller pedalboards.
Our onboard preamps are perfect for adding the Sadowsky sound to J-style basses with a plate. They can also be removed from the plate for rear installation for basses with a control cavity.
Sadowsky Onboard Bass Preamp 4-Knob: A completely prewired system offering the same controls and preamp as all Sadowsky Basses: vol, pan, bass boost, treble boost, and vintage tone control (see below). The preamp can be installed with the included control plate or mounted through a rear control cavity in either a 4 in line or diamond pattern. Pickups attach via solderless connectors at the pan pot. Installation requires a side jack and a battery compartment. Read more...
What is a VTC (Vintage Tone Control)?: “It works just like a standard Fender tone control. It is a passive control in which 10 is flat and as you roll it down it knocks off a broad swath of high end to give you a warmer tone. Although the control is passive, it functions with the bass in either active or passive mode. A little rolled off knocks off a lot of string noise. All the way rolled off, it gives you a lot of that "motown/flatwound" sound.” — Roger Sadowsky