According to @bebass , no. A few months ago, he was lobbying DR to make a long-scale set, but it hasn't happened.
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Dingwall Owners Club
- Thread starter FroggyOne2
- Start date
According to @bebass , no. A few months ago, he was lobbying DR to make a long-scale set, but it hasn't happened.
johnsonabq
Watch out where the huskies go...
I just put a set of DR Hi Beams on the Super P5. I opted for a lighter gauge 40-120. Also tweaked the truss rod, then a slight bridge adjustment. Just playing this acoustically it sounds great. Can't wait to crank it up with the band! I also weighted it and it came in at 8.4lbs. Perfect!
Hi the Dingwall Club,
I actually do not have a Dingwall bass but I think it will come to change soon
My choice will go on the 5 stringed NG models.
I did not find something on the Internet, so sorry if the question has already been asked, but I can not decide between the two or three pickups models.
I know the differences there are between the pickups positions of them, but I don't know their impacts on the tone
To NG2/3 users, which combination pickups do you prefer in which genre of music?
Thank you
I actually do not have a Dingwall bass but I think it will come to change soon
My choice will go on the 5 stringed NG models.
I did not find something on the Internet, so sorry if the question has already been asked, but I can not decide between the two or three pickups models.
I know the differences there are between the pickups positions of them, but I don't know their impacts on the tone
To NG2/3 users, which combination pickups do you prefer in which genre of music?
Thank you
Hi qh89,
I proudly own a NG-2 of the newer series, with the rounded pickups.
The settings I use most:
middle pickup only: I swear, the best sounding P-tone ever. It took me a bit to figure out the EQing and amp settings, but this is now my go-to setting for just about everything "normal" like acoustic sessions or pocket playing... but also aggressive pick style stuff. The definite number one.
both pickups parallel: whenever I need funky or punchy tone, I play this setting. Rage against the machine style heavy fingerpicking. It sounds very direct, MM like. Can definitely cover the same styles. It is missing the distinct Stingray grunt though. Still I could not live without that setting.
both in Series: rarely use it. My setting for overdriven sounds and heavier style. The abrasive and cutting mids work very well in a busy and heavy mix.
I don't use the bridge PU solo at all.
Also, I've experimented with moving the middle pickup to the neck position. So I also know the jazz bass setting and neck pu only. After hearing the great middle pickup solo I was looking forward to the neck only, but it just doesn't compare somehow. The jazz setting (neck and bridge in parallel) is great, has the best sound for just noodling around. That's the best sounding tone setting imo, but it's not that usable in the kind of mixes that I play in.
I proudly own a NG-2 of the newer series, with the rounded pickups.
The settings I use most:
middle pickup only: I swear, the best sounding P-tone ever. It took me a bit to figure out the EQing and amp settings, but this is now my go-to setting for just about everything "normal" like acoustic sessions or pocket playing... but also aggressive pick style stuff. The definite number one.
both pickups parallel: whenever I need funky or punchy tone, I play this setting. Rage against the machine style heavy fingerpicking. It sounds very direct, MM like. Can definitely cover the same styles. It is missing the distinct Stingray grunt though. Still I could not live without that setting.
both in Series: rarely use it. My setting for overdriven sounds and heavier style. The abrasive and cutting mids work very well in a busy and heavy mix.
I don't use the bridge PU solo at all.
Also, I've experimented with moving the middle pickup to the neck position. So I also know the jazz bass setting and neck pu only. After hearing the great middle pickup solo I was looking forward to the neck only, but it just doesn't compare somehow. The jazz setting (neck and bridge in parallel) is great, has the best sound for just noodling around. That's the best sounding tone setting imo, but it's not that usable in the kind of mixes that I play in.
BurningSkies
CRAZY BALDHEAD
- Feb 20, 2005
- 27,956
- 20,348
- Disclosures
- Endorsing artist: Dingwall Guitars
I'm using bridge/middle in series almost all the time. For recording and some outdoor stages I use the neck/bridge in parallel. Playing reggae/soul most of the time.
Thank you
Last Friday, I could tried the two models with rounded PUs.
I agree with you, on the NG2, the bridge/middle in parallel had a nice slapping tone.
The two in series had more volume and aggressiveness.
The middle in solo seemed to be the most versatile.
On the NG3, the three pickups together gave a LOT of volume comparatively to the others combinations
In comparision, I play my Ibanez SR505 with the two Bartolini PU together and a neutral EQ.
Did you replaced the original pickguard by a Combustion one ?
Last Friday, I could tried the two models with rounded PUs.
I agree with you, on the NG2, the bridge/middle in parallel had a nice slapping tone.
The two in series had more volume and aggressiveness.
The middle in solo seemed to be the most versatile.
On the NG3, the three pickups together gave a LOT of volume comparatively to the others combinations
In comparision, I play my Ibanez SR505 with the two Bartolini PU together and a neutral EQ.
Did you replaced the original pickguard by a Combustion one ?
Speaking of pickups. My biggest gripe about the NG3 is: no bridge-neck selection. When I had a Z3 and SJ5, that was my go-to. It's the iconic "jazz bass" setting. Playing in a R&B/Funk band. Gotta have that.
I normally agree. It’s my go to as well. The mm was for metal but anything not as heavy got the J set up.
That said. I didn’t worry about it on my fretless build as I think the other 4 positions of the D bird switch are going to be more useful in that scenario
I decided to go ahead and make a couple of "last minute" changes(which I do find amusing, since my basses are probably another year out, LOL!). I'm having the D-Bird switch put in all of them and I'm gonna see about changing the color of the 6'er. The switch is probably good to go, but I'm gonna be pretty psyched if I can get the color I have in mind...
I know the OP was asking about NGs, but FWIW, this is what I like in the Super Series:
I like the N, NM, MB, M setup in my SJ5XXX. N is FD3, M is Ptone, B is FDV. The MB in parallel does a nice Jazz bass tone. Of course, with the series/parallel switches I also like MB with M parallel and B series. I favor this bass over my SPJ5.
My SPJ5 has the typical N, NB series, NB parallel, B setup. The B solo has no application for me, even with the FDV PUP.
I like the N, NM, MB, M setup in my SJ5XXX. N is FD3, M is Ptone, B is FDV. The MB in parallel does a nice Jazz bass tone. Of course, with the series/parallel switches I also like MB with M parallel and B series. I favor this bass over my SPJ5.
My SPJ5 has the typical N, NB series, NB parallel, B setup. The B solo has no application for me, even with the FDV PUP.
Lowendtech
Happily trending in my own peculiar direction.
Ditto to all the above. I have the NG3, but have only had it about a month, and even though I've played it almost everyday, I'm still in the early stages of picking all the settings I like for all the stuff I want to play. I just finally determined which strings I like on it (Payson reduced cores, thanks to Nate and to reading months worth of entries on this thread), and this is my first Dingwall, so likely others have better viewpoints.
I too wish I had, a NB (Jazz) setting available to try, but really like M soloed. It's pretty much the "go to" setting. Thus, you don't really need an NG3 for that. If my curiosity builds to a breaking point, I may opt to experiment swapping the DBird switch for a 3X switch to get the Jazz config. I guess you could move a PU on the NG2 to get that config, too. There's a great looking NG3 on here for sale (from none other than Bassheart) customized with every PU selection option imaginable. That would be crazy cool, too.
NMB is a lot. Like huge. More than most manly men could handle. I was persistent with it though (hey, I bought a bass with 3 PUs, and to get the most for my money I NEED to use all 3, right? Haha), and got to some very cool places. Generally, I had to back off bass, mids, and treb all at least somewhat below half and do some EQing on my amp too. I ended up getting some tones like nothing I've heard. Very complex, very intriguing. Layer upon layer upon layer. I haven't tried it in a band setting yet, though, so I'm not sure it'd fit, or if the coolness would just get lost in the mix.
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If/When I get an NG, it'll definitely be a two pickup model. I already have a 3X ABHS, and for a four string I usually want more simplicity.
Are you satisfied with the DWs fret job?
For me, their fret work is only drawback and it's been bugging me quite for a while.
Anyway I brought my Lee Sklar to a local repair shop for a polishing job.
I'll post some before and after shots next week.
For me, their fret work is only drawback and it's been bugging me quite for a while.
Anyway I brought my Lee Sklar to a local repair shop for a polishing job.
I'll post some before and after shots next week.
The fretwork on both my Canadian Dingwalls has been impeccable. Perfectly finished edges, smooth to the touch. No issues with levels, either. I've heard only good things about the Combustion models as well.
No issues here. They show wear lines very quickly but being diagonal to the strings that is to be expected. It shouldn’t affect playability for many many a song.
@AB Nate@
suspect it is superficial. Marks can appear during the break in period & may not get much worse. My
finger doesn't detect any ridges, at this time.
Frets good on my Combustion & concur with AB Nate that marks have appeared quicker than expected but
suspect it is superficial. Marks can appear during the break in period & may not get much worse. My
finger doesn't detect any ridges, at this time.
