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Dingwall Owners Club

#42,821
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#42,823
TheEmptyCell said:
Honestly, I disliked the tone fusion with my PJ. I find the two pickups in parallel is plenty scooped. Any more scoop and it just gets way too quiet.
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Maybe if the pups were in series? Just spit balling here. I had a Super P5 for a while and thought the tone fusion was a good idea. Although I would never use it (not my tone), I could see it's use for slap. Honestly, I never had a use for a "tone" control on all passive basses. Too much of a "blunt instrument", no finesse'. I would rather do my tone shaping at the amp then. YMMV

That's me though. I still find the absence of a 3X Super P to be very disappointing. I've heard the reasoning, still disappointed. :eyebrow:
Same with Spector. Very disappointed when they refused to build (USA Shop) a Coda P5 XL. At least the Super P5 has a 35" B string. :rolleyes:

Good thing I love my AB1.:thumbsup:
 
#42,824
johnsonabq said:
Maybe if the pups were in series? Just spit balling here. I had a Super P5 for a while and thought the tone fusion was a good idea. Although I would never use it (not my tone), I could see it's use for slap. Honestly, I never had a use for a "tone" control on all passive basses. Too much of a "blunt instrument", no finesse'. I would rather do my tone shaping at the amp then. YMMV

That's me though. I still find the absence of a 3X Super P to be very disappointing. I've heard the reasoning, still disappointed. :eyebrow:
Same with Spector. Very disappointed when they refused to build (USA Shop) a Coda P5 XL. At least the Super P5 has a 35" B string. :rolleyes:

Good thing I love my AB1.:thumbsup:
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You could put some P tones in the Ab!
 
#42,826
IvanBassist said:
Yep. Tone fusions For the Regular Super P. PJs come with the rotary switch and a normal tone control.
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Correct. I have a SP being built and expected to be delivered in August. I originally spec'd it with a PJ set up but couldn't get the Tone Fusion with that option. After some thinking, I decided to forego the J pup and make it a straight SP. I went for a more traditional look on that one Lake Placid Blue with matching headstock, and thought the PJ setup looked a little too busy. I already have a SJ, Z3, NG3, as well as my old '77 P-bass with an Aguilar PJ setup. I think my tonal options will be covered. :)

And although I usually run passive Ps and Js with the tone fully open, the Tone Fusion I tried on a SP provided another layer of tones.... some more vintage P sounds. Is it August yet?
 
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#42,827
Even with passive basses (and not just in a reggae setting) I've never used an instrument with the tone all the way up. I always have a particular 'spot' on a passive roll-off that just is the exact right place. It may be in a slightly different location on different basses, but it's there.

The way the passive control reaches further down the frequency spectrum as you roll it is pretty different from what happens at most amps and/or with active preamps, so to me it's a very different animal than adjusting my amp. The closest thing on an amp is when Markbass had the 'Vintage Loudspeaker Emulator' filter.
 
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#42,828
BurningSkies said:
Even with passive basses (and not just in a reggae setting) I've never used an instrument with the tone all the way up. I always have a particular 'spot' on a passive roll-off that just is the exact right place. It may be in a slightly different location on different basses, but it's there.

The way the passive control reaches further down the frequency spectrum as you roll it is pretty different from what happens at most amps and/or with active preamps, so to me it's a very different animal than adjusting my amp. The closest thing on an amp is when Markbass had the 'Vintage Loudspeaker Emulator' filter.
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Funny that you mention that. I just recorded a video about using the tone control :laugh:
 
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#42,829
BurningSkies said:
The way the passive control reaches further down the frequency spectrum as you roll it is pretty different from what happens at most amps and/or with active preamps, so to me it's a very different animal than adjusting my amp.
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There's also some magic that occurs at the resonant peak that occurs at the "knee" frequency where you've set the passive roll-off. A lot of old Neve consoles worked like this where you would cut off all the stuff up top that you don't want and at the same time you get a little boost right at the top of the usable frequency range. It's incredibly useful for highlighting what you want and simultaneously getting rid of all the stuff you don't with a single control.
 
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#42,830
IvanBassist said:
Funny that you mention that. I just recorded a video about using the tone control :laugh:
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silky smoove said:
There's also some magic that occurs at the resonant peak that occurs at the "knee" frequency where you've set the passive roll-off. A lot of old Neve consoles worked like this where you would cut off all the stuff up top that you don't want and at the same time you get a little boost right at the top of the usable frequency range. It's incredibly useful for highlighting what you want and simultaneously getting rid of all the stuff you don't with a single control.
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See, those who know, know.

Though I think lots of people don't use it as a scalpel, rather a chainsaw...then it becomes less useful.
 
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#42,832
Snowglo said:
Why can’t they all be as simple as EVH’s Strat…..one knob fits all!?!?!?
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I have no interest in a bass with absolutely chance to adjust the tone on the fly.

But I've also never understood people's obsession with 'running a bass flat' or 'running an amp flat'. There's no such thing as flat But people act like it's a point of pride not to touch any knobs or even have any to touch. There are still tone and design choices in every piece of gear that basically 'touches the knobs' before you get it and pretty much every playing situation is different. Play in 10 different rooms and you'll still have to adjust your tone to get 'your tone' as close to the same every time.
 
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#42,834
silky smoove said:
There's also some magic that occurs at the resonant peak that occurs at the "knee" frequency where you've set the passive roll-off. A lot of old Neve consoles worked like this where you would cut off all the stuff up top that you don't want and at the same time you get a little boost right at the top of the usable frequency range. It's incredibly useful for highlighting what you want and simultaneously getting rid of all the stuff you don't with a single control.
Click to expand...

Something akin to the blend knob on my old jazz fretless. There's a point in the sweep--about a third of the way back toward the bridge pickup--where the phase interaction does something special.
 
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#42,839
Apologies in advance: I'm positive this has already been discussed to death, almost certainly in this very thread...but my Search-Fu is weak, I cannot find it. Mea culpa.

Can anyone point me to a comprehensive comparison of the Darkglass versus Glockenklang preamps in a Dingwall? Curious which one folks prefer and why, the pros & cons of each, whether one is optimized for a particular sound or style moreso than the other, blah-blah-blah... Thanks.
 
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#42,840
Bob_Ross said:
Apologies in advance: I'm positive this has already been discussed to death, almost certainly in this very thread...but my Search-Fu is weak, I cannot find it. Mea culpa.

Can anyone point me to a comprehensive comparison of the Darkglass versus Aguilar preamps in a Dingwall? Curious which one folks prefer and why, the pros & cons of each, whether one is optimized for a particular sound or style moreso than the other, blah-blah-blah... Thanks.
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Do you mean Darkglass vs Glockenklang? I'm not certain that DG and Aggie have been offered side-by-side.
 
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