Dingwall Owners Club

[singlemalt]

You can buy flat pack fEarful kits from Speaker Hardware. All the cutting and biscuit joints are already done.

Prewired crossovers are also available.

My last build, (12/6 cube) I picked up the drivers and a prewired crossover for $250 from someone who bailed on their build.

If you have even the cheapest of routers and a straight cut bit, building a circle jig is super easy. Or you can make one for a jigsaw.

You don’t even need solder skills, there’s crimp connectors and wire nuts, shrink tubing. My first crossover used scrap romex, ground wire crimps, wire nuts, tape and shrink, all mounted on a scrap of plywood. Never had an issue, it’s heavy duty. Not pretty, but it works.

I got plenty of help from Burningskies and other fEarful builders. I’m into the wood working part, but the crossover was the first time I’d tried anything electronic.

FEarfuls go great with Dingwalls.

 

[Wyvern]

Well after being hugely disappointed with the new model LTD B-1005MS (sound wise brilliant! construction and balance terrible) I finally scored a B-stock Ding Combustion 2 pup, should be here in a week or so.

How would one tell the age of it? I'm assuming its a 2018 as it has rounded pup's a black burst ash body matte black guard, also, do they ship with stainless or nickel-steel strings? I refuse to use stainless especially with baby frets (I already have new strings in hand).

Looking forward to seeing what all the hype is about.

 

[EMoneySC2]

Well after being hugely disappointed with the new model LTD B-1005MS (sound wise brilliant! construction and balance terrible) I finally scored a B-stock Ding Combustion 2 pup, should be here in a week or so.

How would one tell the age of it? I'm assuming its a 2018 as it has rounded pup's a black burst ash body matte black guard, also, do they ship with stainless or nickel-steel strings? I refuse to use stainless especially with baby frets (I already have new strings in hand).

Looking forward to seeing what all the hype is about.

Rounded pickups mean 2018 or newer - and Dingwall basses ship with nickel strings.

We'll look forward to hearing your impressions!

 

[Wyvern]

Awesome! $1500 for a Chinese bass was a hard pill to swallow, but where something is made doesn't mean it's going to be good or bad- plus they do the most important thing in Canada- fret dressing.

 

[EMoneySC2]

Awesome! $1500 for a Chinese bass was a hard pill to swallow, but where something is made doesn't mean it's going to be good or bad- plus they do the most important thing in Canada- fret dressing.

I've got two of the China made Dingwalls and they are first rate! Great fit and finish. Sheldon and company have high standards for the imported instruments, and since everything passes through their shop before shipping out you can be confident that everything has a consistent level of quality.

 

[BurningSkies]

Why so? Is it a crazy idea, or a creative idea, or just plain dumb, or what? You have piqued my curiosity.

I honestly don't know a lot of guys who are IEM'ing and listening to full mixes. For me, I actually don't have a ton of bass in the mix (I'm in front of my amp anyway) and I have the vocals rolled way back.

...you'd be listening to lots of kick/hat up front, keys and vocals further back and not hardly any guitar.

 

[xnewyorka]

I honestly don't know a lot of guys who are IEM'ing and listening to full mixes. For me, I actually don't have a ton of bass in the mix (I'm in front of my amp anyway) and I have the vocals rolled way back.

...you'd be listening to lots of kick/hat up front, keys and vocals further back and not hardly any guitar.

He is ampless, so I won't hear anything direct but drums and the house speakers off to my sides unless his guitarist has an amp on stage.
Perhaps I should ask him for the frequency for the lead vocalist's IEMs? That might be interesting to hear as well.

 

[BurningSkies]

He is ampless, so I won't hear anything direct but drums and the house speakers off to my sides unless his guitarist has an amp on stage.
Perhaps I should ask him for the frequency for the lead vocalist's IEMs? That might be interesting to hear as well.

I wouldn't wish a lead vocalist's mix on anyone.

Honestly, the best mix will be FOH. IEM mixes and monitor mixes are always 'utility mixes' for the player;they're not done to be enjoyable or to be a good representation of what the band is doing but to be able to hear yourself and focus on which lines help you stay tight with the band.

 

[Rocky55]

I wouldn't wish a lead vocalist's mix on anyone.

Honestly, the best mix will be FOH. IEM mixes and monitor mixes are always 'utility mixes' for the player;they're not done to be enjoyable or to be a good representation of what the band is doing but to be able to hear yourself and focus on which lines help you stay tight with the band.

Agreed that I wouldn’t want a lead vocalist’s mix
I’ve been on iem since 2003 wether it’s smaller venues to major festivals. It’s almost like playing along with a CD with the bass and drums slightly on top. My drummer uses a click for tempo and I started adding it to my mix. It’s great to know the tempo before the count in and when you lock in with it, it pretty much disappears. The band is pretty friggin tight. Stereo mix with lines partially panned depending on position on stage is the way to go.

For festivals, I bring a split snake, A&H SQ6 and use my mics and DIs. Consistent monitoring from show to show. Some musicians’ mixes, I wouldn’t want but I know most of us have fairly full mixes with “me” on top.

 

[Peter Lufrano]

Hi all,

I have a question about the little retuning lever on the E string tuning peg on my SJ4’s.
I have no use for the thing and I’d like to remove it. Can this be done or do I need to replace the tuning machine all together?

Thank you in advance!

 

[Waltsdog]

Assuming you’re talking about a drop tuner?
Yeah, you’d need to replace the whole tuner.
I’d just leave it as a super tuner might be a little tricky to find, if I remember correctly they are slightly different than standard hipshots.

 

[xnewyorka]

Assuming you’re talking about a drop tuner?
Yeah, you’d need to replace the whole tuner.
I’d just leave it as a super tuner might be a little tricky to find, if I remember correctly they are slightly different than standard hipshots.

I don't think that's correct. It should be this one:

HB6 - 3/8

They are the 3/8" shiny nickel with clover keys.

 

[Waltsdog]

I don't think that's correct. It should be this one:

HB6 - 3/8

They are the 3/8" shiny nickel with clover keys.

I’m pretty sure the older Supers had tuners with shorter posts. But yes that is the standard hipshot replacement.
Best thing to do is measure the posts to make sure they are standard.

 

[BassBH]

Agreed that I wouldn’t want a lead vocalist’s mix
I’ve been on iem since 2003 wether it’s smaller venues to major festivals. It’s almost like playing along with a CD with the bass and drums slightly on top. My drummer uses a click for tempo and I started adding it to my mix. It’s great to know the tempo before the count in and when you lock in with it, it pretty much disappears. The band is pretty friggin tight. Stereo mix with lines partially panned depending on position on stage is the way to go.

For festivals, I bring a split snake, A&H SQ6 and use my mics and DIs. Consistent monitoring from show to show. Some musicians’ mixes, I wouldn’t want but I know most of us have fairly full mixes with “me” on top.

I've been lazy lately and not panned. Thanks for the reminder! I find its good practice with a busy stage. Like today (at church - 2 acoustic guitars, electric guitar, keys, drums, mandolin, violin, main vocal, 2 backup vocals, and me). I didn't have much in my mix, but it would have been nice to have the mando since it was my daughter, and her BGV.

We use the A&H ME system, and I'm on an ME-1. Can have up to 40 channels grouped into 16 buttons, and can change levels of the items inside the group. Sort of like what you might do with drums on a mixing board. We separate kick and snare out as their own dedicated buttons for quick access, though.

I know some folks that try to put everything into there mix, with the main things they need more prominent, maybe some one in the band will do that. I don't think it's that common though, except in situations where there's plenty room for improv.

 

[been_effected]

Me too, I just bought a ticket in the second row dead center. Really looking forward to the show. This will be my first time seeing a Dingwall in use on a big stage. I also asked Matt to find out and let me know what channel is IEMs are on, so that if my receiver will work on that channel, I can listen in. That would be pretty cool, since I will be sitting so close to the stage that I won't have an ideal house mix.

This is freakin' rad.

 

[jakka1]

I’m pretty sure the older Supers had tuners with shorter posts. But yes that is the standard hipshot replacement.
Best thing to do is measure the posts to make sure they are standard.

Yes the older Supers have a shorter post. I just noticed that as I bought a D tuner for mine and the post is slightly taller. It's not enough that it really bothers me or is that noticeable.

 

[BurningSkies]

You can buy flat pack fEarful kits from Speaker Hardware. All the cutting and biscuit joints are already done.

Prewired crossovers are also available.

My last build, (12/6 cube) I picked up the drivers and a prewired crossover for $250 from someone who bailed on their build.

If you have even the cheapest of routers and a straight cut bit, building a circle jig is super easy. Or you can make one for a jigsaw.

You don’t even need solder skills, there’s crimp connectors and wire nuts, shrink tubing. My first crossover used scrap romex, ground wire crimps, wire nuts, tape and shrink, all mounted on a scrap of plywood. Never had an issue, it’s heavy duty. Not pretty, but it works.

I got plenty of help from Burningskies and other fEarful builders. I’m into the wood working part, but the crossover was the first time I’d tried anything electronic.

FEarfuls go great with Dingwalls.

Yeah, I moved from using a Berg HT115 and a Schroeder 1212 to my fEARfuls and wouldn't go back. The cool thing about Dave's designs is that they they're much more 'representative' and fuller frequency than many traditional cabs which means they work great with Dingwall basses.

If you're cool with some woodwork and some electronics stuff (minimal and fairly large components so not doing any of that surface mount micro stuff!), fEARfuls would be an option, though I'd also suggest an easier way would be a fEARless from an authorize builder...the designs are a bit more evolved and you don't have to get your fingers dirty.

Agreed that I wouldn’t want a lead vocalist’s mix
I’ve been on iem since 2003 wether it’s smaller venues to major festivals. It’s almost like playing along with a CD with the bass and drums slightly on top. My drummer uses a click for tempo and I started adding it to my mix. It’s great to know the tempo before the count in and when you lock in with it, it pretty much disappears. The band is pretty friggin tight. Stereo mix with lines partially panned depending on position on stage is the way to go.

For festivals, I bring a split snake, A&H SQ6 and use my mics and DIs. Consistent monitoring from show to show. Some musicians’ mixes, I wouldn’t want but I know most of us have fairly full mixes with “me” on top.

We carry a batch of our own mics to make things easier as well. We're slowly filling that stuff out over time. Our singers carry 58's of their own (for sanitary reasons); and while not the most glamorous mic, every sound engineer in the world knows what to expect. We also carry a e906 for the guitar, a condenser for our hat (I have a set of EV drum mics which get used if a stage is lacking) a few of our own DI's and I pack 3x58 and 2x57 as in-case-of mics. My DI never changes and my level is the most consistent as I use my Monique and my pedalboard has not only a 76CB on it but also a LA-2A limiter that's always running.

Our ears box is 3x ART S8 iso-splits (we use 2 then have a level of redundancy in case or if we need extra lines); with a pre-wired fan-snake out and lines into our Soundcraft Ui24R stage mixer. We have a line for click, which is not sent anywhere besides the ears and also a line set up for a FOH condenser should anyone want more audience sound.

At least one of our singers has his vocal and his guitar fully cranked in his mix, so I wouldn't want that in my ears.

My mix is low on both guitar and bass. I'm right in front of my amp so I don't need a ton, I also find that the DI send is a bit brighter than I like and very dry so I get distracted by it if I'm using my ears. I'm also about the same distance from a pretty loud Fender 135w silverface Twin. No need to get a lot of guitar. I do have a fair amount of keys...our keys guy doesn't have a stage amp and is on the far side of the stage for me, so I have more keys than guitar or bass. I also don't need the vocals 'out front' I just want enough that I can hear what they're doing rather than having them at standard 'lead vocal' level.

I've recently taken over duties on our live multitrack mixdowns after the fact (we do record nearly everything) . I've come to realize that part of the problem is that our guitarist's lead tones (has a Strymon Sunset with a bunch of presets) are just too loud. I have to mix to the loudest tone, then he complains that his rhythm tone is too low in the mix and lost. I keep saying 'lower your lead tone and you'll get more clean tone on the recordings' and also, mention that he's making it tough for the sound engineer out front...who also has to mix to his loudest tone not the quietest one.

 

[Bassheart365]

Yeah, I moved from using a Berg HT115 and a Schroeder 1212 to my fEARfuls and wouldn't go back. The cool thing about Dave's designs is that they they're much more 'representative' and fuller frequency than many traditional cabs which means they work great with Dingwall basses.

If you're cool with some woodwork and some electronics stuff (minimal and fairly large components so not doing any of that surface mount micro stuff!), fEARfuls would be an option, though I'd also suggest an easier way would be a fEARless from an authorize builder...the designs are a bit more evolved and you don't have to get your fingers dirty.



We carry a batch of our own mics to make things easier as well. We're slowly filling that stuff out over time. Our singers carry 58's of their own (for sanitary reasons); and while not the most glamorous mic, every sound engineer in the world knows what to expect. We also carry a e906 for the guitar, a condenser for our hat (I have a set of EV drum mics which get used if a stage is lacking) a few of our own DI's and I pack 3x58 and 2x57 as in-case-of mics. My DI never changes and my level is the most consistent as I use my Monique and my pedalboard has not only a 76CB on it but also a LA-2A limiter that's always running.

Our ears box is 3x ART S8 iso-splits (we use 2 then have a level of redundancy in case or if we need extra lines); with a pre-wired fan-snake out and lines into our Soundcraft Ui24R stage mixer. We have a line for click, which is not sent anywhere besides the ears and also a line set up for a FOH condenser should anyone want more audience sound.

At least one of our singers has his vocal and his guitar fully cranked in his mix, so I wouldn't want that in my ears.

My mix is low on both guitar and bass. I'm right in front of my amp so I don't need a ton, I also find that the DI send is a bit brighter than I like and very dry so I get distracted by it if I'm using my ears. I'm also about the same distance from a pretty loud Fender 135w silverface Twin. No need to get a lot of guitar. I do have a fair amount of keys...our keys guy doesn't have a stage amp and is on the far side of the stage for me, so I have more keys than guitar or bass. I also don't need the vocals 'out front' I just want enough that I can hear what they're doing rather than having them at standard 'lead vocal' level.

I've recently taken over duties on our live multitrack mixdowns after the fact (we do record nearly everything) . I've come to realize that part of the problem is that our guitarist's lead tones (has a Strymon Sunset with a bunch of presets) are just too loud. I have to mix to the loudest tone, then he complains that his rhythm tone is too low in the mix and lost. I keep saying 'lower your lead tone and you'll get more clean tone on the recordings' and also, mention that he's making it tough for the sound engineer out front...who also has to mix to his loudest tone not the quietest one.

I don't think I've ever played in a band where the guitar play wasn't too loud. I've got tinnitus because of it.

 

[singlemalt]

What? Sorry, I didn’t hear what you said.

 

[BurningSkies]

I don't think I've ever played in a band where the guitar play wasn't too loud. I've got tinnitus because of it.

I had hearing loss before I started playing in bands, but its never been the guitars. It's always been loud drummers with loud cymbals for me. The Twin we're now using on stage is actually mine, so I can't get too up in arms about it.