Sigh. Only about two and a half months until my ABZ 5 is finished. Pretty weird when you're just starting to have a really great summer, yet it feels like it's dragging on forever.
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Dingwall Owners Club
- Thread starter FroggyOne2
- Start date
You'll make it, brother Steve. Try not to think about it and enjoy playing what you have. Whatever you do, don't wish your life away.
My Super P won't be ready until just before Christmas. Ho Ho Hot Sonic Blueness!
- Mar 8, 2011
- 12,232
- 51,187
- Disclosures
- Authorized greenboy designs builder/Owner of BNA Audio
Thinking seriously about pulling the trigger on a Super P. Fiesta Red, reverse pickup, pao ferro fingerboard...tough to justify the expense, since 90% of my gigs are on upright, but man, Zoomies Super J sounds like a million bucks! This is slightly goofy, but I'm just not a 5 string dude...I've owned US Lakland 5 strings and others, but I just don't want one for me, but the Dingwall's B string is just so strong I'm considering a Super P tuned BEAD
Thinking seriously about pulling the trigger on a Super P. Fiesta Red, reverse pickup, pao ferro fingerboard...tough to justify the expense, since 90% of my gigs are on upright, but man, Zoomies Super J sounds like a million bucks! This is slightly goofy, but I'm just not a 5 string dude...I've owned US Lakland 5 strings and others, but I just don't want one for me, but the Dingwall's B string is just so strong I'm considering a Super P tuned BEAD
We all handle the low stuff differently. I personally am not a fan of the drop D thing. I never was able to adjust scales easily so I went with 5 ers. And even then, I had no intention of playing it/them full time. The problem is that the Super J sounds so good, that I prefer to play it all of the time.
The are lots of songs where it's nice to just pick a 4 and rip without being forced to constantly pay attention to muting.
I have had to resist the overwhelming desire to change my order. I have finally decided to ride out the build on the Super P5. If It arrives and I still feel the need to scratch that 4 string itch, I'll just have to get back in line and do the Saskatoon shuffle one more time !
Really curious to know if Sheldon has ever built a 4 tuned BEAD. I mean let's face it, the G IS the pinky toe of bass strings.
Mark, you need to have this built, if for no other reason than that I can come over and fondle it !
Hang in there Steve. Look at it this way. Things could be far worse as you could have my approximate delivery date......or even Ken's.
Thinking seriously about pulling the trigger on a Super P. Fiesta Red, reverse pickup, pao ferro fingerboard...tough to justify the expense, since 90% of my gigs are on upright, but man, Zoomies Super J sounds like a million bucks! This is slightly goofy, but I'm just not a 5 string dude...I've owned US Lakland 5 strings and others, but I just don't want one for me, but the Dingwall's B string is just so strong I'm considering a Super P tuned BEAD
I'm sure it would be cool, but remember, the 4 string Super P isn't going to have a 35" B, you'll be "stuck" with a 34.25" B string.
Now getting a 4 string Afterburner of some type with a P tone pickup in the neck position and stringing that BEAD would really be something.
...The are lots of songs where it's nice to just pick a 4 and rip without being forced to constantly pay attention to muting.
...Really curious to know if Sheldon has ever built a 4 tuned BEAD. I mean let's face it, the G IS the pinky toe of bass strings.
Never really understood either POV. Not saying that Zoomie is wrong. Gazillions of people feel that way, so there's obviously a basis to their objections.
Still, I don't get it. I invested countless hours working on left and right hand muting, back when I was playing 4-bangers. If you've mastered the art of muting the inner strings on a 4-string, why would the addition of one more string in the middle present a problem?
And if the G-string is a waste of space, then why all the fuss over 4-string basses? Shouldn't the norm be a 3-stringer, tuned E A D?
I totally get why some people adapt by learning to avoid the dead spots and other unwanted guests that sometimes take up residence on the G-string. After all, I've found tons of basses with crap G-strings, amps with badly-chosen mid-scoop frequencies, and cabs with lousy crossovers.
All of these can make the G string sound thin and skanky, but they didn't make me hate that string. They just sent me in search of better products, like basses from Dingwall, and cabs from AudioKinesis.
All of this is just IME and IMO, but: I suspect that if more people checked out the good stuff; if they didn't limit themselves to what hangs on the wall at Guitar Center; then there'd be a lot more 5-bangers out there. And maybe 6's or even 7's, too!
Steve, let me at least explain the commentary.
I have played 5 ers off and on for years. That said, be it lack of talent, lack of execution, or poor technique, I always feel as if I have to pay very close attention when on a fiver.......any fiver. With a four, I always feel like I can just grip and rip.
That said, the benefits that I receive from a fiver (run convenience, tonal differences in grabbing notes off of the E vs B) far excede any discomfort on my end. Hence adding to the P5 to the J5.
And you are correct that this is shame on me, not on the design. I have put my money where my mouth is and am taking lessons to correct my shoddy technique, in addition to cleaning up some other messes.
As far as the G string, that was me being a wise a$$ and nothing more. While I wouldn't give up my G, I can't fault Mark or others for making different choices.
I have played 5 ers off and on for years. That said, be it lack of talent, lack of execution, or poor technique, I always feel as if I have to pay very close attention when on a fiver.......any fiver. With a four, I always feel like I can just grip and rip.
That said, the benefits that I receive from a fiver (run convenience, tonal differences in grabbing notes off of the E vs B) far excede any discomfort on my end. Hence adding to the P5 to the J5.
And you are correct that this is shame on me, not on the design. I have put my money where my mouth is and am taking lessons to correct my shoddy technique, in addition to cleaning up some other messes.
As far as the G string, that was me being a wise a$$ and nothing more. While I wouldn't give up my G, I can't fault Mark or others for making different choices.
We all handle the low stuff differently. I personally am not a fan of the drop D thing. I never was able to adjust scales easily so I went with 5 ers. And even then, I had no intention of playing it/them full time. The problem is that the Super J sounds so good, that I prefer to play it all of the time.
The are lots of songs where it's nice to just pick a 4 and rip without being forced to constantly pay attention to muting.
I have had to resist the overwhelming desire to change my order. I have finally decided to ride out the build on the Super P5. If It arrives and I still feel the need to scratch that 4 string itch, I'll just have to get back in line and do the Saskatoon shuffle one more time !
Really curious to know if Sheldon has ever built a 4 tuned BEAD. I mean let's face it, the G IS the pinky toe of bass strings.
Mark, you need to have this built, if for no other reason than that I can come over and fondle it !
We've done at least one BEAD with a custom 37" scale. I'm way too backed up on CAD work to even consider doing another. However a standard AB or Z-series 4-string works very well with our existing strings or if you want higher tension Circle K custom spec strings can get you any tension you could possible want.
Another aspect that I would consider a 'selling point' to this approach is string spacing - it is 19mm on four-string AB's.
- Mar 8, 2011
- 12,232
- 51,187
- Disclosures
- Authorized greenboy designs builder/Owner of BNA Audio
Thanks for the advice, fellas. As I said, 90% of my gigs are on upright these days anyway. I get by just fine on 4 strings tuned to E or D...thought a 4 banger tuned BEAD could be kinda fun...I've been a full time pro since the early 90's and it's not like I don't enjoy playing up on the G string, but that string has never gotten me the gig 
We all handle the low stuff differently. I personally am not a fan of the drop D thing. I never was able to adjust scales easily so I went with 5 ers. And even then, I had no intention of playing it/them full time. The problem is that the Super J sounds so good, that I prefer to play it all of the time.
The are lots of songs where it's nice to just pick a 4 and rip without being forced to constantly pay attention to muting.
I have had to resist the overwhelming desire to change my order. I have finally decided to ride out the build on the Super P5. If It arrives and I still feel the need to scratch that 4 string itch, I'll just have to get back in line and do the Saskatoon shuffle one more time !
Really curious to know if Sheldon has ever built a 4 tuned BEAD. I mean let's face it, the G IS the pinky toe of bass strings.
Mark, you need to have this built, if for no other reason than that I can come over and fondle it !
I enjoy playing 4 bangers as much as 5's. I play with the true floating thumb right hand technique (my thumb mutes all strings physically above the one I'm playing automatically) and I mute the strings (physically) below the one I'm playing with the left hand, so no issues there.
But as you say, a 4 string can be just so damned easy and fast to play and I enjoy them for that.
Also, I find certain songs that are written specifically for drop D to be SO MUCH easier to play in an open drop D tuning, especially while singing. Take "Slither" by Velvet Revolver. Killer groove, but try playing that riff in a closed tuning on a fiver while singing lead!
Thanks for the advice, fellas. As I said, 90% of my gigs are on upright these days anyway. I get by just fine on 4 strings tuned to E or D...thought a 4 banger tuned BEAD could be kinda fun...I've been a full time pro since the early 90's and it's not like I don't enjoy playing up on the G string, but that string has never gotten me the gig
My guess is that if you get the 5 string and spend some time with it, leaving the 4 string bass guitars alone for a while you'll be "ripping and gripping" in no time.
When I bought my first 5 string I had difficulty adjusting to the different string spacing between my 4 & 5. That and having to overcome the fact the low string is no longer an E note I switched permanently to 5 string.
I find some bass lines in songs are just easier to play by shifting my position to the B string. Plus some songs I was working on when I bought my 5'er either had drop D tuned bass or actually had lines played all the way down to open B.
My 5'er is totally 2nd nature now, I really don't miss & don't want a 4 string anymore.
I enjoy playing 4 bangers as much as 5's. I play with the true floating thumb right hand technique (my thumb mutes all strings physically above the one I'm playing automatically) and I mute the strings (physically) below the one I'm playing with the left hand, so no issues there.
But as you say, a 4 string can be just so damned easy and fast to play and I enjoy them for that.
Also, I find certain songs that are written specifically for drop D to be SO MUCH easier to play in an open drop D tuning, especially while singing. Take "Slither" by Velvet Revolver. Killer groove, but try playing that riff in a closed tuning on a fiver while singing lead!
Oh, and another reason is I love Sheldon's 4s a much as I love his 5s!
- Apr 3, 2003
- 35,515
- 19,945
- Disclosures
- Editor-in-Chief, Bass Gear Magazine
I enjoy playing 4 bangers as much as 5's. I play with the true floating thumb right hand technique (my thumb mutes all strings physically above the one I'm playing automatically) and I mute the strings (physically) below the one I'm playing with the left hand, so no issues there.
But as you say, a 4 string can be just so damned easy and fast to play and I enjoy them for that.
Also, I find certain songs that are written specifically for drop D to be SO MUCH easier to play in an open drop D tuning, especially while singing. Take "Slither" by Velvet Revolver. Killer groove, but try playing that riff in a closed tuning on a fiver while singing lead!
A big +1 to that (love playing Slither, too!), although being a double bass convert, I'm pretty stuck on my thumb anchor approach, but manage to mute strings well enough.
And yes, I do find it much easier to sing lead on a 4-string, even though I am pretty comfortable on a 5-string. One "issue" which I deal with, though, is that I am constantly reviewing - and therefore playing out with - basses of varying scale lengths, neck widths, string spacings, etc. So I can't just burn in the muscle memory and rely upon that to get me where I need to be on the fingerboard.
- Mar 8, 2011
- 12,232
- 51,187
- Disclosures
- Authorized greenboy designs builder/Owner of BNA Audio
A big +1 to that (love playing Slither, too!), although being a double bass convert, I'm pretty stuck on my thumb anchor approach, but manage to mute strings well enough.
And yes, I do find it much easier to sing lead on a 4-string, even though I am pretty comfortable on a 5-string. One "issue" which I deal with, though, is that I am constantly reviewing - and therefore playing out with - basses of varying scale lengths, neck widths, string spacings, etc. So I can't just burn in the muscle memory and rely upon that to get me where I need to be on the fingerboard.
I Have nothing against any sort of bass, but I've owned enough 5's to know it's not my preference, and I sing lead for the band I want this bass for...guess I'll have to make some decisions...I really wouldn't know how low you can drop on a 'normal' Ding Super P before it loses it's magic...on the 5'ers the B string is just glorious
MDBass
Supporting Member
- Nov 7, 2012
- 8,590
- 14,892
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- Endorsing Artist: Dingwall-Fender-Bergantino-Dunlop-Tech 21-Darkglass-Nordstrand
Two questions...
1. How do I acquire a member number? I just became a Dingwall artist this year and own a Combustion with a series/parallel mod that I absolutely love.
2. My love of the Combustion led me to aquire a Super J; I prefer the neck profile and string spacing of the Combustion, so I'm selling it to fund another Anyone interested?
http://www.talkbass.com/forum/f126/...g-pre-matching-headstock-992981/#post14478484
1. How do I acquire a member number? I just became a Dingwall artist this year and own a Combustion with a series/parallel mod that I absolutely love.
2. My love of the Combustion led me to aquire a Super J; I prefer the neck profile and string spacing of the Combustion, so I'm selling it to fund another
Anyone interested?http://www.talkbass.com/forum/f126/...g-pre-matching-headstock-992981/#post14478484
- Apr 3, 2003
- 35,515
- 19,945
- Disclosures
- Editor-in-Chief, Bass Gear Magazine
I Have nothing against any sort of bass, but I've owned enough 5's to know it's not my preference, and I sing lead for the band I want this bass for...guess I'll have to make some decisions...I really wouldn't know how low you can drop on a 'normal' Ding Super P before it loses it's magic...on the 5'ers the B string is just glorious
Both of my 4-string Dingwalls have D-tuners, and I can tell you, in drop-D (tuned 440), they are awesome!
