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Dingwall Owners Club

#46,602
TTA said:
I

It always makes me think of wine tasting. Pros vs non pros… they have studied this extensively… in blind testing… everyone is easily influenced by the price. Dont give prices… what is best is all over the map. Give prices and the most expensive is always ranked top. Even if it is in reality the cheapest.


strings are about sound… and a dead string out of the box is easy to spot… but it makes me wonder…

for me the best sounding strings were always the fresh ones (once the harshness has passed). Maybe one set was better… but it was rare i could do a true a/b comparison. Now i have two rics that are almost identical… so i suppose i can compare almost scientifically.

mind you… i dont go around testing strings a lot. And i kill strings fast.

Lately i have been experimenting more with gauge, tension and nickel vs stainless. I figure once i settle that i might ab compare brands.

from fingers all the way down the chain to the ear… there are so many ways to influence things.
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But those Ric's were cut out of different trees, so is it scientific enough? :rolleyes:
 
#46,603
TTA said:
Any thoughts on payson vs dingwall nickel strings? Also… who makes each?

for some reason i recall dingwall being ghs?
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It may be just me, but with the Dingwalls, I find the timbre to be slightly different on the D and G strings (more trebly unless I really move my plucking towards the neck). So it's Paysons for now which I find more balanced (and I'm really enjoying TI flats, although they are a very different proposition!).

I've ordered some SITs which are somewhere over the Atlantic (and were on sale recently at fretnation).
 
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#46,607
1983L2000 said:
It may be just me, but with the Dingwalls, I find the timbre to be slightly different on the D and G strings (more trebly unless I really move my plucking towards the neck). So it's Paysons for now which I find more balanced (and I'm really enjoying TI flats, although they are a very different proposition!).

I've ordered some SITs which are somewhere over the Atlantic (and were on sale recently at fretnation).
Click to expand...

That was my experience on my SPJ, even reversed the P PUPs, so not just you. For whatever reason, my SJ5XXX didn't have that issue, so I still have it.
 
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#46,609
TTA said:
It was a classic thread with everyone offering different perceptions with very conflicting effects to tone: things like low end… clarity… mids, etc. Faster/slower, brighter/darker, more lows/less lows, more mids/less mids, etc. It was all over the map.
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This sums up most of TB in a nutshell, really. Quite a few years ago I finally realized that a rather large percentage of what is posted on here is incorrect. It's not all bad - over time you learn who you can believe and such. I used to spend a wholllle lot of time here, but, have intentionally cut back from it, especially with a lot of the policies in place that are unequally applied -- the mods/"staff" have their favorites, and it's obvious.
 
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#46,610
#46,614
Thumper said:
That was my experience on my SPJ, even reversed the P PUPs, so not just you. For whatever reason, my SJ5XXX didn't have that issue, so I still have it.
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Part of that is that as we play towards the Treble side… you are getting closer and closer to the bridge. So i have worked on intentionally going towards the neck on the gda strings. I often do The opposite as i go towards the b; i try to move in the bridge direction if i am looking for maximum clarity.

for me, adjusting to the fretboard was a non issue. The compensation in my right hand is what i work on the most.
 
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#46,615
NaH said:
But those Ric's were cut out of different trees, so is it scientific enough? :rolleyes:
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Wood density will theoretically change things… so you make a good point. But all fooling aside… it is probably the closest ab comparison i will get in a live non recorded setting. But one also has a vintage style “toaster” neck pickup… the other a standard high gain. But i can play the bridge pickups solo.

back to my point… between fingers and ears they are so many ways to change your tone.
 
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#46,616
9582AF2F-0D2B-41B8-9CAF-71AC3D689EC0.jpeg
D59665EF-719A-4114-B538-50AF13339FEF.jpeg
Photos or they do not exist.
 
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#46,619
TTA said:
When he frets with his pinkie he consistently makes it go sharp by unintentionally bending the string. I notice because i am trying to un-do the same thing.
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Good ear, he's just barely pulling sharp! Pinky playing is certainly something that gets just that smidge extra attention on multiscale for a lot of folks. I don't recall how much effort I had to put in when I started on them, but, it also improved my parallel fret playing (which, now there is almost none of -- my only non-Dingwall is my fretless Pedulla).

TTA said:
Part of that is that as we play towards the Treble side… you are getting closer and closer to the bridge. So i have worked on intentionally going towards the neck on the gda strings. I often do The opposite as i go towards the b; i try to move in the bridge direction if i am looking for maximum clarity.

for me, adjusting to the fretboard was a non issue. The compensation in my right hand is what i work on the most.
Click to expand...
I actually just let it be for the most part, with my right hand. It brings about a bit of "humanizing", to me. I do move around where I play when I want something specific, but, I don't put much effort into matching the fanning - at least, not intentionally.
 

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