Realized I never answered your question. All of my basses are active, but I play them passive 99% of the time only because I haven't had the need to switch it on. If I do, just a little bass boost and treble roll off. Once in a while I forget I have that active boost at my fingertips. I'd be open to a passive only bass.
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Dingwall Owners Club
- Thread starter FroggyOne2
- Start date
Realized I never answered your question. All of my basses are active, but I play them passive 99% of the time only because I haven't had the need to switch it on. If I do, just a little bass boost and treble roll off. Once in a while I forget I have that active boost at my fingertips. I'd be open to a passive only bass.
I was just thinking "Medium Jumbo Frets". What kind of description is that? Are they medium or are they jumbo? Are there small jumbo and large jumbo? Are there jumbo jumbo frets? Only in reggae, huh? 
BurningSkies
CRAZY BALDHEAD
- Feb 20, 2005
- 27,956
- 20,348
- Disclosures
- Endorsing artist: Dingwall Guitars
I was just thinking "Medium Jumbo Frets". What kind of description is that? Are they medium or are they jumbo? Are there small jumbo and large jumbo? Are there jumbo jumbo frets? Only in reggae, huh?
I dunno. I really like the banjo frets over any sort of jumbo to the point I’ve considered refretting the one Dingwall I have with jumbos.
I’ve had five Dingwalls over the past ten years. Three passive and two with preamps. One Super PJ had the Aguilar, the other had the a Glockenlang. I’d use the preamps less than 5%, if that much. There’s something about the passive sound I prefer, but it’s hard to quantify. Maybe a little more dynamic, and organic response.
The passive tone circuits, blueqube, or the hybrid in my Super P are fine for my tastes.
I do go with a Ptone or P pickup whenever the option is available.
I prefer the small frets as well.
The passive tone circuits, blueqube, or the hybrid in my Super P are fine for my tastes.
I do go with a Ptone or P pickup whenever the option is available.
I prefer the small frets as well.
I know I'm going against the grain with larger frets. Most are very happy with standard banjo frets. I was until I had my NG2 retrofitted with frettrax a couple of years ago and they wouldn't do it with the banjo frets (not enough contact area for the wires or something like that), so I had to put in larger frets. Turned out I preferred them. I do a fair amount of slapping and popping, and 2-3 solos every gig which incorporate that style. I go for the jazz bass sound, like Marcus Miller (Jazz) or Larry Graham (Jazz) or Louis Johnson (Music Man). To emulate that sound it helps to have larger frets, more metal under your thumb and when a string is "popped" onto a fret. Sure the banjo frets will work fine. But I get a "meatier" and more percussive sound with the larger frets. I also like to dig in when playing finger style. I prefer the larger frets for that as well. The whole banjo fret thing was Lee Sklar's idea. But I don't play like Lee Slar. Anyway, long explanation, but there it is @NaH
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I can see that. Maybe Sheldon will offer up a “slap fret” option one day. I’m thinking just the last highest two or three frets would be jumbos. It’s not like I’m using those frets for anything else.
There were some models with the fretboard cut away at the very highest notes to allow better slap access. I forget who owned those basses.
There were some models with the fretboard cut away at the very highest notes to allow better slap access. I forget who owned those basses.
Derek Blakey.
You couldn’t put just a couple of jumbos at the heel of the neck..... I’m sure that would drive a person crazy with the buzz/rattle
They’d have to be leveled with the others. Or maybe a chunk of something brass set just slightly below fret height. Something tough. I know I beat the crap out of those last frets.
johnsonabq
Watch out where the huskies go...
One day, I’ll have a green bass! Metallic dark candy, maybe some ghost flames. Definitely, a Super P.
Didn’t Mark King wear a wide band ring on his thumb?
Didn’t Mark King wear a wide band ring on his thumb?
Peter Lufrano
Blues. and nothing but the Blues.
hi all,
If one were to convert a Super J, to a “Super PJ” using the existing route that exists under the pick guard, is the P pickup in the same location as it would be on a standard Super P?
And for those of you who may use such a PJ, do you feel this is “compromised” somehow compared to a Super P if using the neck P pickup solo’d?
Thank you in advance!
If one were to convert a Super J, to a “Super PJ” using the existing route that exists under the pick guard, is the P pickup in the same location as it would be on a standard Super P?
And for those of you who may use such a PJ, do you feel this is “compromised” somehow compared to a Super P if using the neck P pickup solo’d?
Thank you in advance!
You're welcome in retrospect.
On the SJ, the P position is 1/4" closer to the neck. Slightly less mids, but it's no compromise IMO. I solo the P most of the time when I'm playing my SJ/P4. Gorgeous precision tones. 
I agree with @spiritbass, having both I don't feel like there is a compromise. In fact, I think I prefer the P-tone on my SJ5 (P/J) than I do on my SP5 (converted to P/J - started life as a P). That may just be due to those particular instruments.
Peter Lufrano
Blues. and nothing but the Blues.
You're welcome in retrospect.
Is the neck pick up location being closer to the neck the same on the 4's and 5 string models?
This one was a tone monster. I don't miss it, but I do have many fond memories...
