How so? I'm not sure I follow you. For all the problems a Dingwall fixes, it creates a different problem. I think they're great instruments, and I wish I could afford to have one along with everything else I own. If they really solved the problems I've had, I'd buy one in a second.The cure for this, and many other problems, is as ever Dingwall!
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Any players just can't get into 5'ers?
- Thread starter theophilus762
- Start date
The bottom "B" takes getting used to. I like the E flat because of the Jazz/horn keys.
It took me a good year to get totally used to the 5th string.
It took me a good year to get totally used to the 5th string.
The stretching different amounts in different places on the neck. I know the true Dingwall players say this goes away quickly, but it makes using a variety of basses besides Dingwall become just another thing you have to think about.
My major dislike of the Dingwall is chording. It really screws up the shapes of some of the chords with regard to finger position, making some voicings completely impossible.
But that B string is something else!
Well, people are different and like different things, but Charlie Hunter doesn't seem to have trouble chording and comping basslines on his 8 strings. It can be done, but you have to put a little time into it. Eventually any difficulties you had at first would go away. The question you have to ask is whether it's worth it to you or not. Me, I opted out of the whole multi-string thing years ago and only use it when someone demands it.
Right. I dont' think it's an insurmountable problem, but at this point for the effort I put into something has to be worth the end result. Return on investment. I've just never felt that the benefits of a variable-scale instrument like the Dingwall was worth that kind of time for my needs. As nice as the B string is, it doesn't seem to make a huge difference in the way I play, nor in the sound others hear. I saw a guy in Orlando gigging with a Dingwall last year. It was a 5 string Afterburner of some sort. It sounded awesome, but I can't say it sounded any better than any other decent 5 string, even on the lower notes.
Of course, the intangible part of playing an instrument is how the player feels when he's playing it. If it makes you feel good, that's worth the price of admission alone. I didn't get that with Dingwall basses I tried myself, so I didn't feel the need to linger.
My "other problems" comment was somewhat of a joke, although Dingwalls are more than a good B string in my opinion.
I switched to 5ers back in 1990, and haven't owned a 4 since.
I think for most, the "camp" you find yourself in has to do with what music you set yourself up for, and what you consider convenient. I mostly play a wide variety of covers, so I never spent time focussing just on what tunes or types of music my "heroes" play, and modelling how I equip myself after them. When I saw that some tunes needed notes lower than E, I considered what my options were. For me, it was illogical to have a device on a four-string that flatted the E string so I could have a whole step or whatever just for one song (or however many), and while I was doing that have to get used to the different interval between the E and A strings. Nor was I ever interested in or required to play tunes that were all in flatted tunings (heavier guitar stuff -- metal and all its variants, if you will) -- not my cup o' tea.
So simply having an extra string with the same intervallic relationship as the others seemed the best way to go, and in the widest examination (IMO) of the current state of popular (non-classical) music, it seems like it was a good choice. I've never like the idea of switching back and forth between instruments during a gig (no time), and I'm not in so many bands that I feel like I've got to assume a different "bass identity" in each one. So, different strokes, I guess.
I think for most, the "camp" you find yourself in has to do with what music you set yourself up for, and what you consider convenient. I mostly play a wide variety of covers, so I never spent time focussing just on what tunes or types of music my "heroes" play, and modelling how I equip myself after them. When I saw that some tunes needed notes lower than E, I considered what my options were. For me, it was illogical to have a device on a four-string that flatted the E string so I could have a whole step or whatever just for one song (or however many), and while I was doing that have to get used to the different interval between the E and A strings. Nor was I ever interested in or required to play tunes that were all in flatted tunings (heavier guitar stuff -- metal and all its variants, if you will) -- not my cup o' tea.
So simply having an extra string with the same intervallic relationship as the others seemed the best way to go, and in the widest examination (IMO) of the current state of popular (non-classical) music, it seems like it was a good choice. I've never like the idea of switching back and forth between instruments during a gig (no time), and I'm not in so many bands that I feel like I've got to assume a different "bass identity" in each one. So, different strokes, I guess.
Well ... when I started playing bass I knew that I whanted a 5 strings bass. My idole at that time played with 5 strings and I whanted to play their music so.
Now ... 15 years later with my trusty 5 strings , a college degre in music ( classical and jazz ) I jumped on 6 strings basses. Low B is very useful for me and High C is fun for soloing , do chords and do stuff impossible without the High C. Like playing note around 15th fret on G strings while keeping High C string vibrate , or play A , B and C past the G of the 24th fret of G strings.
I think I'm not a traditionnalist
Now ... 15 years later with my trusty 5 strings , a college degre in music ( classical and jazz ) I jumped on 6 strings basses. Low B is very useful for me and High C is fun for soloing , do chords and do stuff impossible without the High C. Like playing note around 15th fret on G strings while keeping High C string vibrate , or play A , B and C past the G of the 24th fret of G strings.
I think I'm not a traditionnalist
Oh, sorry!
I agree, the Dingwalls are much more than that! Great instruments! Very well made, high quality. I did very much like the even string-to-string tension and the neck contour. Everything you'd expect on a high-quality bass was right there. They are worth checking out for anyone who gets a chance.
I got my first 5er two weeks ago...a Squier Deluxe Active V...
the neck is very wide for a 5er (19mm string spacing)...it took a little getting used to, but after only about 5-6 hours logged on it, I can honestly say that I am quite comfortable with it.
Playing a 4 string P-bass after this feels a bit "tiny" but not awkward...after about 5 mins warmup, I can easily switch either way. The only thing I have to think about a little at the moment, is making sure that I mute the B (I use the side of my thumb when I'm resting on E) otherwise I can really dig the instrument, it opens up a LOT more playing ideas up the neck...
and yes, the 4's will still get a lot of play time, too...(for now, at least)
the neck is very wide for a 5er (19mm string spacing)...it took a little getting used to, but after only about 5-6 hours logged on it, I can honestly say that I am quite comfortable with it.
Playing a 4 string P-bass after this feels a bit "tiny" but not awkward...after about 5 mins warmup, I can easily switch either way. The only thing I have to think about a little at the moment, is making sure that I mute the B (I use the side of my thumb when I'm resting on E) otherwise I can really dig the instrument, it opens up a LOT more playing ideas up the neck...
and yes, the 4's will still get a lot of play time, too...(for now, at least)
