Also, fretless Dingwall finally ordered.
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Dingwall Owners Club
- Thread starter FroggyOne2
- Start date
...me too... my beloved $$ has been related to backup. I find myself trying to get my ABII to sound as much like my Wick as I can though. I still like a lot of things about the wick, but weight and balance are the biggest things that make the ABII more comfortable.
+1 (though I'm still waiting on my first Dingwall)
I still remember going back and forth demoing between my 90's SSII (which had a thin wenge neck) and a ABII with wenge neck. Felt amazing, sounded 2x better.
- Sep 3, 2006
- 4,358
- 6,117
- Disclosures
- Authorized dealer for Dingwall, Genzler, Phil Jones Bass, Cort, Traynor, Yorkville Sound
My understanding is the Combustions 3x and the NG3 are the same except for pre and body wood/finish. Different pickup placement on the 2x.
Another question about medium-scales. How do people with both Super Js and Super Ps related/contrast them? Which one is last out of your basses?
There are some overlaps. I have always felt that Dingwalls have many of the features I liked in Warwicks, but none of the many things I did not like.
Not to mention the banjo frets, 18mm spacing and compound radius. I could never deal with 16.5 mm spacing. And although it wasn't the worst thing, I much prefer the banjo frets over those gigantic jumbo bell brass frets. Oh, and not a fan of the MEC electronics either.
The last Warwick I had was the best I ever had. The streamer stage 2 had such a glorious sound. 4 string that played amazing.
It was a keeper..... except I sold it. Lol.
But man the tone out of it was just sssooooooo rich.
Anyways down to Dingwall players now and gonna even downsize that collection a little further.
I just took the new to me NG2 for its first test drive last night with the band and it did quite well. It’s definitely the best one I’ve played but if I keep it it will indeed be getting a 3rd pick up.
I’m finding the jazz position in parallel has become the setting of choice in this project which is totally different from the thrash band where musicman position in series was the position preferred.
Oh the diversity of sounds available with these wonderful tools.
It was a keeper..... except I sold it. Lol.
But man the tone out of it was just sssooooooo rich.
Anyways down to Dingwall players now and gonna even downsize that collection a little further.
I just took the new to me NG2 for its first test drive last night with the band and it did quite well. It’s definitely the best one I’ve played but if I keep it it will indeed be getting a 3rd pick up.
I’m finding the jazz position in parallel has become the setting of choice in this project which is totally different from the thrash band where musicman position in series was the position preferred.
Oh the diversity of sounds available with these wonderful tools.
I would love to hear sound clips from whoever owns the AB with solid bubinga body and wenge neck, speaking of warwicks. I bet it would sound soo good.
I'm still 'hung up' on soloing the neck pickup on my four-string NG-2. It sounds even more like a giant precision bass since I wired it in series.
Sheldon considers these a 'Stingray killer'. IMO, the solo'd neck pickup on the NG will slay the G&L Wunkay, which many consider to be Leo's ultimate P... 
I'll weigh in on the SJ5XXX vs SPJ5 today when I can, but if I had to choose it would be the SJ5XXX, but would be a difficult choice to make.
SJ5XXX is less sensitive to plucking hand location. And the volume is more balanced string to string. The tone is bigger and rounder.
The SPJ5 has more growl, but I have to pluck the D and G string more forcefully to get the same volume as the B-A, although much better since I did the reverse P. I also have to pluck nearer the neck on the D-G, but at this point it is automatic.
IMO the SPJ5 would be perfect if.the bridge PUP was closer to the P PUP so it would be useful solo'd, or even a SPJ5XXX, but that's just me.
SJ5XXX is less sensitive to plucking hand location. And the volume is more balanced string to string. The tone is bigger and rounder.
The SPJ5 has more growl, but I have to pluck the D and G string more forcefully to get the same volume as the B-A, although much better since I did the reverse P. I also have to pluck nearer the neck on the D-G, but at this point it is automatic.
IMO the SPJ5 would be perfect if.the bridge PUP was closer to the P PUP so it would be useful solo'd, or even a SPJ5XXX, but that's just me.
I love my ash/maple/maple SP4 and alder/maple/pau ferro SJ/P4 w/Glock pre. The neck on the P is simply perfect. It and my SJ/P have AlNico V NP-4a (+ Big Split on the SJ) pickups and sound killer. If I were forced to pick between the two, I would part with the SP first...
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I know this may be a stupid question, but have you tried to raise the treble side of the pickups up a bit to increase the output? Or lower the opposite side to balance the volume out? Or both?
I doubt that. But then again, it took me awhile to get used to plucking up and down the strings at an angle roughly equal to that of the bridge angle to maintain relative position on the strings. I used to move my right hand more straight up and down and of course, as you move down to the physically lower (tonally higher) strings, one moves closer to the end of the bridge on the D and G strings and that reduced the eveness of the tone and volume.
I know this is not exactly the same situation, but when I put a P-tone FD3 in an ABZ I used to own, I could never get the pickups to balance out by rasing and lowering them either. Maybe it has to do with the PJ set up? Is the bridge pup in parallel internally? I was going to try re-wiring the bridge internally in series, but then I sold it in favor of my AB1s so I never got to try that.
