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Dingwall Owners Club
- Thread starter FroggyOne2
- Start date
- Apr 3, 2003
- 35,515
- 19,945
- Disclosures
- Editor-in-Chief, Bass Gear Magazine
I have had three 4-string Dingwalls (Afterburner, Super-J and D-Bird), and still own and love two of them (Afterburner and D-Bird). I should have kept the Super-J, and regret trading it (for some PA gear which, admittedly, I do use a lot). The fanned frets and other design elements of Dingwall basses work just as well in a 4-string format, IME/IMHO.
I second this. The multiscale length is just the most outwardly visible thing that sets Dingwalls apart (or used to be anyway), and is just one part of the multi-faceted, elegant design that (IMO) makes these more fun to play than any other bass I've yet to find.
Unless you really like great, even tone and timbre across all strings on each note all over the fretboard, well thought out and refined design, superior craftsmanship and attention to detail, a really friendly and helpful community of other Dingwall players, and the ability to direct your questions right at the designer of the instruments himself, I highly recommend you do not buy one.
I’m a recent convert to the Dingwall bass... I was a Fender P player for decades. But, everything that has been said about the state-of-the-artness of dingwalls is true. The difference between my Super P and any of my Fender Ps is remarkable. Every detail is transcendent in comparison.
I played my first major gig with the SP5 last weekend and I received many unsolicited comments about how clear and impactful my bass tone was. And this is with a band that includes a Hammond B3 on the stage with me. Apoearantly, me and my Super P ruled the stage.
I played my first major gig with the SP5 last weekend and I received many unsolicited comments about how clear and impactful my bass tone was. And this is with a band that includes a Hammond B3 on the stage with me. Apoearantly, me and my Super P ruled the stage.
Congrats Matt, well done! I applaud your humility, but don't be afraid to acknowledge that the positive accolades you received are as much a reflection of your obviously excellent playing as they are of the wonderful virtues of the instrument. When you get a GREAT instrument in the hands of a GREAT player, TRULY GREAT things happen!
I had a sweet ABZ before selling it to buy my two AB1s. This ABZ had a Glock preamp, which I rarely used. Otherwise, it was a standard ABZ with maple board and neck, two pickups and the satin finish. It did have a killer natural to blackburst finish so it was very aesthetically pleasing.
The ABZ was everybit the player as the AB1s. This should not be surprising because after all, they are the same platform. But I really prefer the alder body to the ash. Nothing wrong with ash mind you, but the ash is a bit compressed in the mids, which of course makes it nice and punchy. I also love the wenge necks on my AB1s, although I do like the maple neck and board as well. I just like the slightly warmer mids from the alder. If I could have afforded to keep the ABZ, I certainly would have. Oh, and the gloss tops on the AB1 are spectacular. Oh, and the weights are very comparable. The alder bodied ABs may be a bit more heavy on average, but not enough to matter.
It really depends how much money you are willing to spend. The ABZ is a gorgeous bass, but the satin finsh and ash body permit a lower price point. If you prefer ash or don't have a preference, that may be the way to go. The satin is very nice and looks awesome. But, if you prefer gloss and if you are looking for a more spectacular top, you need to migrate to the AB1.
I have an ABZ and and AB1 the only real difference between the two is the finish.
ABZ left (black), AB1 middle (red).
ABZ left (black), AB1 middle (red).
Haha I don't doubt the entirety of the instrument is well crafted, I'm just weighing the fanned fret system vs other boutique brands I'm looking at (namely Sadowsky and Fodera classics). A 4 string Super P is the specific model I'm interested in.Unless you really like great, even tone and timbre across all strings on each note all over the fretboard, well thought out and refined design, superior craftsmanship and attention to detail, a really friendly and helpful community of other Dingwall players, and the ability to direct your questions right at the designer of the instruments himself, I highly recommend you do not buy one.
I got a Fodera Imperial Elite shortly after my first Dingwall. Sold off nearly all of my other musical gear to afford the very "affordable" $7k used price tag for that bass. Played it one time out and a few times at home and quickly realized that my Super PJ just DESTROYED it. Owned a Sadowsky NYC PJ5 before my first Dingwall. Owned an Alleva-Coppolo PJ5 and J after deciding I wanted to go back to parallel frets for a while. Here I am, back with the most unassuming of Dingwalls, and the one type I always return to for any gig or style: a Super P5. Get the Super P, you won't regret it.
Matt Dean hit it on the nose when he said everything about these basses is transcendent. Even the feel of the wood. It's as if the wood itself is imbued with some sort of living essence that all other basses lack. I'll stop overselling it before I start to sound like a blind fanatic, but man oh man.
Joeykun
pronounced ジョーイくん
- Jun 22, 2007
- 4,200
- 16,150
- Disclosures
- Endorsing: LAKLAND SADOWSKY GENZLER DARKGLASS NORDSTRAND TEMPLEBOARD KIRLIN DRSTRINGS ACCESS
Just heard from Carrie at the shop. My combustion routed pickguard and knobs shipped today!!!
Truth telling isn't overselling, brother.
Just don't tell anyone about the production stage where the secret tone butter is applied. Oops! 
Probably shouldn’t him with pictures. That would be cruel.
BurningSkies
CRAZY BALDHEAD
- Feb 20, 2005
- 27,956
- 20,348
- Disclosures
- Endorsing artist: Dingwall Guitars
Yeah, that makes sense, definitely changes the geometry. Some of us wouldn't jump on a D Bird that wasn't a 5 though.
FD-3's and P-tones are split coils.
Super P, or Super PJ? The super PJ just has a regular tone control and the multi-way switch. Why doesn't the slightly more interesting tone fusion appear on the PJ? Any comparisons from people who own both?
I'm taking delivery of a super P5 on the weekend, and expect it will be completely awesome, but if the medium-scale suits, aspire to a super PJ5 customed out to spec down the track.
Thanks
I'm taking delivery of a super P5 on the weekend, and expect it will be completely awesome, but if the medium-scale suits, aspire to a super PJ5 customed out to spec down the track.
Thanks
My educated guess is that on the PJ, there you get the traditional mid scooped sound in the 3rd rotary position, with P and J in parallel. The Tone Fusion is just to give a little bit of versatility to the single pup bass. That said, I mostly only use it as a passive tone, and the passive tone on every super series I've owned has been very expressive.
After being a Fender P player for so long, Tone Fusion is one of those upgrades that I find transcendent on the Super P.
As someone who converted a P to PJ, I can say that the Tone Fusion isn’t all it’s cracked up to be. If there was a way to balance the volume difference between the standard tone control side and the mid cut size it would be usable, but I just don’t ever find it useful. I will eventually change it out for a no-load tone pot.
