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Dingwall Owners Club

#42,241
mateoloco said:
I guess this is not necessarily a Dingwall specific question as it would apply to other multi-scale basses but as I'm asking it specifically about Dingwall basses I figured I'd ask it here. How is the nut width measured (don't say "with a ruler")? Is it measured along the nut itself (which is at an angle to the neck) or is it measured perpendicular to the neck (where the nut would be on a single-scale bass)? I'm trying to get a sense for how thick the neck is and I was originally just comparing the nut width on a Dingwall to other single-scale basses but then I realized that it may not be an apples-to-apples comparison.
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You got a great response with measurements already but as a person with small hands that is sensitive to neck sizes I'll say the nut width on the 5s feels as small/easy to play as anything I've tried. The other important part is thickness of the neck - whereas the combustion series are definitely thicker and not as fast as the Z series. My Z 5 string is ridiculously fast and easy to play. My combustion was still playable but much more work for small hands.
Anyway don't know if that's of any worth.
 
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#42,242
mateoloco said:
I guess this is not necessarily a Dingwall specific question as it would apply to other multi-scale basses but as I'm asking it specifically about Dingwall basses I figured I'd ask it here. How is the nut width measured (don't say "with a ruler")? Is it measured along the nut itself (which is at an angle to the neck) or is it measured perpendicular to the neck (where the nut would be on a single-scale bass)? I'm trying to get a sense for how thick the neck is and I was originally just comparing the nut width on a Dingwall to other single-scale basses but then I realized that it may not be an apples-to-apples comparison.
Click to expand...
The distance from string-center to string-center is the same, or maybe a bit narrower than other basses.
But because the nut is angled, it WILL be longer than on a comparable parallel-fretted bass (the hypotenuse is always the longest side of the triangle).
 
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#42,243
I’m at day 4 or 5 now and still in the getting accustomed to a new instrument phase. The fanned frets were zero issue for me. The only “weirdness” is when I play chords above the ~15th fret. At that point I have to alter the chord shapes that my fingers instinctively make, but that isn’t much of an issue for me since I never play chords or do many runs up in the guitar register. Using the reach extender button strap, the reach is similar to what I would have on a 34” scale instrument while on a strap.

I was expecting the rotary selector to give P/J/MM/bridge J, but my ears are saying P/modern soap/MM/J. And then I can get more of the burly J tone just by moving my finger to the bridge. The Darkglass preamp - love the bass voicing, not so sure I like the two mids that much. I think I’d rather have a well-voiced passive tone and bass/treble.

And I keep turning the rotary knob the wrong way. You roll forward for the neck, is the instinct. But nope. I’ll get used to that eventually.
 
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#42,246
MultiScaleMale said:
I’m at day 4 or 5 now and still in the getting accustomed to a new instrument phase. The fanned frets were zero issue for me. The only “weirdness” is when I play chords above the ~15th fret. At that point I have to alter the chord shapes that my fingers instinctively make, but that isn’t much of an issue for me since I never play chords or do many runs up in the guitar register. Using the reach extender button strap, the reach is similar to what I would have on a 34” scale instrument while on a strap.

I was expecting the rotary selector to give P/J/MM/bridge J, but my ears are saying P/modern soap/MM/J. And then I can get more of the burly J tone just by moving my finger to the bridge. The Darkglass preamp - love the bass voicing, not so sure I like the two mids that much. I think I’d rather have a well-voiced passive tone and bass/treble.

And I keep turning the rotary knob the wrong way. You roll forward for the neck, is the instinct. But nope. I’ll get used to that eventually.
Click to expand...
It took me a long time to get along with the DG tone capsule on my Z, but I finally did. I barely move the dials as a little goes a long way and as a general rule on the neck or middle the high mids go up a tick, and for MM and jazz settings the low mids go up a tick and I may back off the high mids.

Everyone's mileage will vary but it just took me a while to realize which pickup needed which adjustment, and to use small movements. That is, unless you want to rip a clanky high gain tone with a DG pedal - then boost the high mids and hold on! And live I use it active, but at home I play passive a lot - don't write that off. I foolishly ignored it paassively for quite a while.
 
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#42,248
It was only practice, but was able to play the AB-I with a little bit of real volume. We play classic rock, which means different things to different people, Billy Joel, Fleetwood, Clapton, Goo Goo Dolls, etc and a little bit of pop country. The bass sounded great throughout. Really rich and full low notes on the B and the E string was fuller too. Even Wonderful Tonight, a ballad, the complete opposite of a Dingwall through a Darkglass pedal stereotype, sounded great. The low C's and D's had a definition and fullness you don't get from 34". Ok, I'm a convert. The slap sound was pretty good too. You know, the noodling between songs slap tone. (Not at gigs.) Was playing through a Genzler 12T vertical combo. Can't wait to try a big rig.
 
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#42,250
MultiScaleMale said:
It was only practice, but was able to play the AB-I with a little bit of real volume. We play classic rock, which means different things to different people, Billy Joel, Fleetwood, Clapton, Goo Goo Dolls, etc and a little bit of pop country. The bass sounded great throughout. Really rich and full low notes on the B and the E string was fuller too. Even Wonderful Tonight, a ballad, the complete opposite of a Dingwall through a Darkglass pedal stereotype, sounded great. The low C's and D's had a definition and fullness you don't get from 34". Ok, I'm a convert. The slap sound was pretty good too. You know, the noodling between songs slap tone. (Not at gigs.) Was playing through a Genzler 12T vertical combo. Can't wait to try a big rig.
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Glad you're digging the bass!
I think an instrument passes the "real test" once you use it during rehearsals and/or a gig and it delivers the goods :bassist:
 
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#42,251
Ryno1330 said:
Totally digging how fat and round that bass is. Was that P pickup only? As an aside I use the UAD B15 also - do you prefer any typical settings with your Dingwall?
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Thanks! Yep. I recorded using the FDP only.
That's even with a pretty steep HPF in Logic at around 71hz :laugh: The Super P + B-15 combination is pretty chunky :roflmao:
The settings on the B-15 vary from project to project, but I believe I used channel two and raised the volume and bass a bit on the amp for this one.
 
#42,252
PRS-Man23 said:
Hey All,
Hoping for some help! I’m wondering if anyone has info on bridge upgrades for the Combustion 4. I’m looking for one of those Payson replacement bridges (not the mono-rail type) but have had no luck thus far...

Have they stopped making these?

If so, do you know if (#1) Dingwall sells their Bridges, and more importantly (#2) would they be a direct fit on the combustion’s?
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Payson have indeed stopped, and no (*2) to your following questions.
Unless you're willing to have something custom made (which a handful of companies would do, at a cost) you're currently stuck with monorails.
 
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#42,258
MultiScaleMale said:
It was only practice, but was able to play the AB-I with a little bit of real volume. We play classic rock, which means different things to different people, Billy Joel, Fleetwood, Clapton, Goo Goo Dolls, etc and a little bit of pop country. The bass sounded great throughout. Really rich and full low notes on the B and the E string was fuller too. Even Wonderful Tonight, a ballad, the complete opposite of a Dingwall through a Darkglass pedal stereotype, sounded great. The low C's and D's had a definition and fullness you don't get from 34". Ok, I'm a convert. The slap sound was pretty good too. You know, the noodling between songs slap tone. (Not at gigs.) Was playing through a Genzler 12T vertical combo. Can't wait to try a big rig.
Click to expand...

If Lee Sklar can use his for that kind of genre, no doubt that others can too. :)

I find that the parallel pickups work great for the more open balad stuff, and I lean into the series setting for stuff that needs something a bit more aggressive. If you're finding that you're missing something that's closer to a 'jazz' tone, you might check out the pickup wiring( I think you mentioned that you weren't finding anything too close). I would guess that they come with most of the coils in series (Black/Green connected) and it's pretty easy to change it to coils in parallel.

The really nice thing is how you can EQ as you please and the tone remains coherent in a band mix.
 
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#42,259
BurningSkies said:
If Lee Sklar can use his for that kind of genre, no doubt that others can too. :)

I find that the parallel pickups work great for the more open balad stuff, and I lean into the series setting for stuff that needs something a bit more aggressive. If you're finding that you're missing something that's closer to a 'jazz' tone, you might check out the pickup wiring( I think you mentioned that you weren't finding anything too close). I would guess that they come with most of the coils in series (Black/Green connected) and it's pretty easy to change it to coils in parallel.

The really nice thing is how you can EQ as you please and the tone remains coherent in a band mix.
Click to expand...

Positions 1,2, and 3 (if 1 is the neck) give me enough variety along with finger position and EQ, I doubt I'll play with the wiring. Sometimes I gotta stop at "good enough". My biggest surprise was that I had no clams due to the different scale length since I have been playing a 30" 5 string as my primary for a year or two. I think I'll be happy with this setup.
 
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