Yup. The nut is lowered due to the strings needing to be closer to the fretboard resulting in also requiring the removal of wood in most cases I thinkNope, I'm not ready for that
Is this only a fretless issue ? Then I'm sorry I didn't pay attention.
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Dingwall Owners Club
- Thread starter FroggyOne2
- Start date
Is there anyone here that had a Combustion 2x pickup and added the third pickup themselves? If so, was it worth the cost and effort?
The three pickup selector options are:
1. Bridge
2. Bridge + Middle (series) (replaces Bridge + Neck in series on the 2x pickup version)
3. Bridge + Neck (parallel)
4. Neck
So it's gaining option #2 while losing the Bridge + Neck series option. What does that add in tone? I generally use option #3 at the moment.
I bought a 2 pickup version about 3 months ago and had the intention of fitting the third pickup myself once I had the cash. Having tried the 3x version in the shop I couldn't tell much tone difference (this was only about 10mins playing though) but I found the third pickup got in the way a bit from what I'm used to with planting my thumb under the B and E strings - I'd probably get used to it though.
My ideal tone is a 70s Passive Bass (Jazz Bass most often in the things I listen to) warm fat thump type sound- Reggae, Soul, Funk, Blues sort of stuff- nothing too bright of hi-fi.
The three pickup selector options are:
1. Bridge
2. Bridge + Middle (series) (replaces Bridge + Neck in series on the 2x pickup version)
3. Bridge + Neck (parallel)
4. Neck
So it's gaining option #2 while losing the Bridge + Neck series option. What does that add in tone? I generally use option #3 at the moment.
I bought a 2 pickup version about 3 months ago and had the intention of fitting the third pickup myself once I had the cash. Having tried the 3x version in the shop I couldn't tell much tone difference (this was only about 10mins playing though) but I found the third pickup got in the way a bit from what I'm used to with planting my thumb under the B and E strings - I'd probably get used to it though.
My ideal tone is a 70s Passive Bass (Jazz Bass most often in the things I listen to) warm fat thump type sound- Reggae, Soul, Funk, Blues sort of stuff- nothing too bright of hi-fi.
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Not much to look at mind you, but i was able to get my SNC Haz clone mini into my ABZ. Turned out to be actually pretty simple and is completely reversible. I kept the original wiring and switching all the same, and just removed the tone pot to replace with a dual concentric stacked pot attached to the pre.
Desoldering the pots from the PCB was very easy. I just had to heat up the solder and pull out the pins with tweezers and then the pots just fell off. Put wires into the holes on the PCB, resoldered and attached to the stacked pot.
Anyways, thought i'd share.
Desoldering the pots from the PCB was very easy. I just had to heat up the solder and pull out the pins with tweezers and then the pots just fell off. Put wires into the holes on the PCB, resoldered and attached to the stacked pot.
Anyways, thought i'd share.
BurningSkies
CRAZY BALDHEAD
- Feb 20, 2005
- 27,956
- 20,348
- Disclosures
- Endorsing artist: Dingwall Guitars
Yep. I'll talk to a couple of these posts with this single reply.
-Often (including non-Dingwall instruments) if the fretboard extends past the nut and you have a low clearance/action at the nut slots are filed. My fretless conversion by Maurilio Mina very well could have that, but instead, the strings just rest on the wood until they can taper down to the tuning heads. It works but would have understood if it needed that clearance for proper seating at the nut. My old Fender Jazz fretless (not a conversion) came this way from the 'factory'.
-It's not an issue or a flaw or an error. Its akin to cutting the nut to proper clearance.
-My NG 3 also is notched in this way a little though it's fretted. Again, if you can sustain a very low nutslot without the open strings buzzing, there's nothing wrong with doing this. I'd rather have the reinforcement of a decent bit of wood to the backside of the nut than not anyway.
I have basses with the Bridge/Neck series and basses the Bridge/Middle series option. I didn't think it would 'break' this way...but I prefer the B/M-Series. Its just got a little bit more clarity and 'tightness' to the tone that just seems more useable both live and in the studio. What (very little) you lose in the deep end of the pond is easily made up for with a tiny adjustment to EQ...but you still retain the clarity & tightness. Yet I find that the Neck/Bridge parallel setting (you get to have too!) is awesome just like it is...wider and more hi-fi to me and doesn't need any extra clarity.
As far as I can tell D'Addario Chromes won't fit the scale length of the five-string NG/Combustion. Can anyone recommend flats that will fit and sound as similar as possible to Chromes?
Jason at FretNation.com knows the ins and outs of Dingwalls and the strings that work. He’s super helpful with custom orders. He’s set me up with TI flats for longscale Dingwalls.
Payson has flats that are made to fit and drop right in. I think they sound great, but I can’t compare to Chromes. The chromes were way too stiff for me. The Paysons are softer but I haven’t been able to side by side them with TI jazz flats, so I’ll just say in between chromes (too stiff) and TI (on the slinky side).
Payson has flats that are made to fit and drop right in. I think they sound great, but I can’t compare to Chromes. The chromes were way too stiff for me. The Paysons are softer but I haven’t been able to side by side them with TI jazz flats, so I’ll just say in between chromes (too stiff) and TI (on the slinky side).
BurningSkies
CRAZY BALDHEAD
- Feb 20, 2005
- 27,956
- 20,348
- Disclosures
- Endorsing artist: Dingwall Guitars
I've been going back and forth with Jason on the flats thing. He has both La Bella & Thomastik Infeld 'custom' sets appropriate for Dingwall use. In going back and forth with me about what I'm trying to hear/feel he's also suggested some tape-wound strings; specifically 'white tape' as being smoother than rounds, lower tension that standard flats, and closer to roundwound tone. I'll be ordering not only those but probably one of the other sets of flats to try as well.
The option for the harder tension flats would be the Payson but IIRC Chromes are bright? And the Paysons are definitely more of a traditional flat.
I won't call myself an expert but I do believe Chromes are on the bright side of the spectrum as far as flats go. I don't need high tension, I'm mostly interested in that brighter sound quality so if anyone has suggestions for flats that fit the NG and fit that description, I'd appreciate it.
Anyone have tips or advice for lining up the string heights relative to each other when setting up a dingwall? I dropped the string gauge from a 55-75-95-115 to 50-70-90-110 on the dingwall abz 4 I got from the classifieds here, as it was originally C standard and I wanted it in D standard. Using the dingwall setup video, I was able to get the truss rod to the .38mm pick thickness at the 7th fret with only a 1/4 turn of the truss, and the action at the nut is correct. The F (normally G string) actually has the perfect string height with no adjustment on my part with the new strings, as again using the dingwall video as a guide, a 2mm pick fits perfectly under the 12th fret. However, every other string is higher than they need to be. They also are all at basically the same height, so there’s no arc between them. Not sure if there’s a specific way I should approach adjusting them or if I just have to play around with it and guess.
On your bridge there will be adjustment saddle screws like the ones circled in the crappy photo below. This is where you’ll adjust the string height.
usually I throw a gauge at the 24th fret and measure each string this way but often these days I don’t bother with that step.
I often just eyeball the “arch”. Holding the bass up by my nose I’ll look across the fretboard and roll the bass to see how the consecutive strings roll into sight from behind the string in front of it.
That and then feel.... I’ll bring my action down until I have more string buzz then I want and then adjust back up to suit. For me, it all hinges on the B string height.
I have one bass with Payson flats, one with TI. I do like the TI, but I LOVE the Paysons.
Did the ol' take them out of the case and play a couple scales and put them back test. TI sizes are a bit beefier size string (.136 on the B if I recall). I can see the windings, but they are still smooth. A touch more "grit" to the sound. Paysons are lighter and are super silky smooth. I have the TIs on a fretless and the Paysons on fretted and the fretted might as well be fretless. It is that smooth. Payson sound at first listen seemed a little brighter. Not zingy, just brighter. I have the action what feels a bit lower on the fretless, so that may help with the playing, but still, definitely prefer the feel of the Paysons and don't feel like I need heavier strings.
I'm gunna say it's safe to say Dingwall isn't going to be debuting anything new this year? I was half expecting something new.
Just in case anybody is looking but hasn't seen, I've got two of my beloved Dingwalls up for sale. My Voodoo and NG2:
For Sale - Dingwall Z1 Voodoo
For Sale - Dingwall NG-2 in Ferrari Green
For Sale - Dingwall Z1 Voodoo
For Sale - Dingwall NG-2 in Ferrari Green
January might be a bit early to make that call, we know they have a few things in the pipeline from Sheldon’s various live sessions over the past few months.
IvanBassist
Commercial User
- Jun 8, 2008
- 3,744
- 11,128
- Disclosures
- Content Manager at Darkglass Electronics, Dingwall Guitars Artist
During the Dingwall livestream on January 16 Sheldon mentioned they have the headless design ready and want to make prototypes this year
