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Dingwall Owners Club

#20,101
I have both, and either works for me. There is a much bigger range of tones on the PJ, no doubt about it. With the Glockenlang preamp its even more varied.

With the Super P I usually roll off tone, and I'm super stoked on the punch. I"m hanging out between the detent and rolled almost all the way off. I don't really use the other side of the fusion, I'm not looking to scoop at all. I'm using flats, going after the solid thunk.

I sure liked it when I had the zingy DR Pure Blues rounds on there. Who says you cant slap a P?

The simplicity of the Super P is really working for me.

Good point about the volume difference, I usually have some room to adjust on my volume knob. I've found it gives me some range to interact with my Smoothie comp. There's a sweet spot were i can get it fatter without getting louder. If i need louder still, I'll be adjusting the amp volume, or I'll just end up in a tug of war with the compressor.

I
 
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#20,103
TheEmptyCell said:
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.
Click to expand...

I think it's a cool design feature, but I rarely used it. I personally prefer having more adjustment range available on the standard tone control side.
 
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#20,107
Anytime I play a precision, the tone is all the way up. When I had my custom guard made, I just had one hole cut for the volume control. The tone control is still in the circuit (at its detent), but wrapped in foam and resting in the cavity.

Z584yAH.jpg
 
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#20,108
spiritbass said:
Anytime I play a precision, the tone is all the way up. When I had my custom guard made, I just had one hole cut for the volume control. The tone control is still in the circuit (at its detent), but wrapped in foam and resting in the cavity.

View attachment 2943379
Click to expand...

That's a more concrete committment to the statement than I think many people would make!

B>
 
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#20,109
DEFELDUS said:
I know most guys here go for the 5's for the low b string effect, but how are 4's in the fanned system? Still a noticeable difference in tone and tension?
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I see a market demand of about ten 5’s to one 4. But I think it only because Dingwall became known for the low B and folks dont stop to consider the advantages of the 4s. The E on a 4 is just as awesome as the B on a 5. Simple physics tells us that the long scale basses will have greater articulation and sustain and with the fan fret it is a win/win.
 
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#20,110
bebass said:
I see a market demand of about ten 5’s to one 4. But I think it only because Dingwall became known for the low B and folks dont stop to consider the advantages of the 4s. The E on a 4 is just as awesome as the B on a 5. Simple physics tells us that the long scale basses will have greater articulation and sustain and with the fan fret it is a win/win.
Click to expand...

Several of us have E-C on 35-32" scale basses, and the E is in definite "piano" territory without the brittle G (or C).
 
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#20,111
spiritbass said:
Anytime I play a precision, the tone is all the way up. When I had my custom guard made, I just had one hole cut for the volume control. The tone control is still in the circuit (at its detent), but wrapped in foam and resting in the cavity.

View attachment 2943379
Click to expand...
This takes the minimalist prize. No contest.
 
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#20,113
spiritbass said:
Anytime I play a precision, the tone is all the way up. When I had my custom guard made, I just had one hole cut for the volume control. The tone control is still in the circuit (at its detent), but wrapped in foam and resting in the cavity.

View attachment 2943379
Click to expand...
But why do you need a volume control? Can't you just play softer? ;-)
 
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#20,114
Soooo I almost played with Guthrie Govan yesterday...

Guthrie gave a workshop in my city and about 3 hours before stage time, the event manager of the conservatory I go to posted a message on FB saying that they were looking for a bass player to play during the workshop. I was on my bike on my way to buy some groceries and a friend called me to tell me I should call. I freaked out...
but ended up calling and talked to the drummer.
He sent me some sheets and mp3s and asked me to call back to confirm that I could make the gig. I got home as fast as I could to listen to the material. By the time I got there my heart was beating so fast I could feel it in my neck. Some stuff was definitely manageable, other songs were pretty tricky, but I thought "I'll just give it a shot. How often do you get this opportunity!?" I called back and told him that I could do it and he said that he'd get back to me in a few mins.

In the meantime I kept listening to the songs and started to look for fingering patterns for some of the riffs/licks/etc. And then I saw on FB that a friend of mine wrote that he'd be playing with Guthrie. I have to admit that I definitely felt some relieve and I texted him to congratulate him. It doesn't end there though.
About 30 minutes later the drummer calls me again and asks me if I was still available. I started panicking again. I told him that I could, but that I knew that my friend was also gonna play. He then told me that he wanted to have two bass players, just in case and asked again if I could make it. My head started spinning and I basically went: "Yes, I can. Yeah. No, you know what. I know my friend can do a better job than I can. He's a good player and is the right guy for the job" He thanked me for my honesty and for being professional and asked if we could chat after the workshop was done.

My buddy "JB" did a killer job last night and his Super P sounded MASSIVE. Props to him for having the guts to step up on such short notice. I think I would've puked on stage. Several times :laugh:
IMG_0498.JPG
IMG_0503.JPG
 
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#20,115
IvanBassist said:
Soooo I almost played with Guthrie Govan yesterday...

Guthrie gave a workshop in my city and about 3 hours before stage time, the event manager of the conservatory I go to posted a message on FB saying that they were looking for a bass player to play during the workshop. I was on my bike on my way to buy some groceries and a friend called me to tell me I should call. I freaked out...
but ended up calling and talked to the drummer.
He sent me some sheets and mp3s and asked me to call back to confirm that I could make the gig. I got home as fast as I could to listen to the material. By the time I got there my heart was beating so fast I could feel it in my neck. Some stuff was definitely manageable, other songs were pretty tricky, but I thought "I'll just give it a shot. How often do you get this opportunity!?" I called back and told him that I could do it and he said that he'd get back to me in a few mins.

In the meantime I kept listening to the songs and started to look for fingering patterns for some of the riffs/licks/etc. And then I saw on FB that a friend of mine wrote that he'd be playing with Guthrie. I have to admit that I definitely felt some relieve and I texted him to congratulate him. It doesn't end there though.
About 30 minutes later the drummer calls me again and asks me if I was still available. I started panicking again. I told him that I could, but that I knew that my friend was also gonna play. He then told me that he wanted to have two bass players, just in case and asked again if I could make it. My head started spinning and I basically went: "Yes, I can. Yeah. No, you know what. I know my friend can do a better job than I can. He's a good player and is the right guy for the job" He thanked me for my honesty and for being professional and asked if we could chat after the workshop was done.

My buddy "JB" did a killer job last night and his Super P sounded MASSIVE. Props to him for having the guts to step up on such short notice. I think I would've puked on stage. Several times :laugh:
View attachment 2943644 View attachment 2943645
Click to expand...

Sometimes we're our own hardest critic. You totally could have done that gig.
 
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