Thanks, I appreciate the advice! We definitely have been quad tracking, but will try using less distortion and cutting the lows. I'll also hit youtube and see what info I can find there.
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Dingwall Owners Club
- Thread starter FroggyOne2
- Start date
Thanks, I appreciate the advice! We definitely have been quad tracking, but will try using less distortion and cutting the lows. I'll also hit youtube and see what info I can find there.
For those of you that use the strap lock on the back of the ABZ, how do you route your cable? I currently use a straight connector and have it dangling but will not be a good option if someone steps on my cord while gigging. I have the braided mesh cables from rattlesnake cable company and if I route the cable through my strap it will certainly mar the finish on the back of the bass which I'm trying to avoid.
I was thinking of adding some shrink tubing to 1-2 ft of the cable to reduce finish wear.
Thoughts?
I was thinking of adding some shrink tubing to 1-2 ft of the cable to reduce finish wear.
Thoughts?
I think your solution using existing cabling is the cheapest and easiest, and a single layer of heat shrink shouldn't reduce cable flexibility all that much. A smooth cable or wireless
are other options, but you're happy where you are, and there shouldn't be any need to pay for more than a little heat shrink. It's possible that the abrasion if left as is wouldn't be really noticeable--you'd have peace of mind, however.
Does your strap have a spot you could install a Velcro cable tie to? If you could make a small loop with something attached to the “outside” of your strap you could just run your cable through that loop
This Super J was listed on my local Facebook Marketplace - seems like a good price:
I’m a full scale fan and don’t really like Jazz basses.
Also, I don’t know the seller, but I can check it out if someone is interested.
I’m a full scale fan and don’t really like Jazz basses.
Also, I don’t know the seller, but I can check it out if someone is interested.
I was following the guy in this video on IG for a while, and his stuff aways sounded good to my ears. How To Mix Low Tuned Metal Guitars
I'm might get disagreed hard on this, but I fail to see the reason to use super thick strings at those extremely low tunings. You're not really going to do anything fast down there (or at least you shouldn't) so what's the use of going super thick and getting a muddier tone. I use a 45-130 set and I get a whole 16 pounds of tension on the lowest string
Those strings are super loose, but they sound amazing, punchy and clear and I'm not alone on this, even Nolly stated in an FAQ hosted by Dingwall (I think?) during the pandemic that he doesn't go heavier than a .130 when recording, regardless of the tuning. I'll need to do a video about this soon 
Regarding guitar recording, I really don't believe that quad tracking is the secret sauce people are claiming it to be. When you quad track you need to be super precise and even then your tracks are going to be less punchy than a dual tracked project. They'll gain more mass, yes, but it's a trade-off. From what I've been talking with Joona, our producer, composer and guitarist, on that album he didn't do quad tracking. Instead there is a heavy amount of pre-eq on the guitar tracks before hitting the amp sim so that he can closely control the signal getting distorted. He boosts pick attack on the EQ and cuts out some low-mids at least. The tracks on that album were fairly low-gain using the Neural DSP Cali Suite, but there's also a second parallel processing chain that uses a Sansamp PSA modelling that's only adding in some pick attack for more definition. Together they sound hi-gain but aren't.
Here's a video by Buster Odeholm detailing a similar technique:
I have a Custom DRoc 5 and my choice was Ovangkol neck and a figured Macassar ebony board, the feel of the Ovangkol is the closest you can imagine of a satin rosewood neck but unlike the rosewood necks which tend to be overly warm this is both snappy bright like maple and deep, almost like a marimba. This neck configuration, was suggested to me by the genius Sheldon himself, saying you will be very amazed by this combination and, wow, was he right? The man knows his woods
Invalid Link Removed[/url]
What kind of Pickups are in these early Jazzes? Looks like a Super Fatties, but skinnier. BTW, interested and still looking...
I've definitely seen this bass before, but I'm not sure I've seen this headstock… Man, that continuation of the figured fretboard on the headstock overlay is [expletive] sweeeeeeeeeet.
I'll check that out, thank you!
I'm might get disagreed hard on this, but I fail to see the reason to use super thick strings at those extremely low tunings. You're not really going to do anything fast down there (or at least you shouldn't) so what's the use of going super thick and getting a muddier tone. I use a 45-130 set and I get a whole 16 pounds of tension on the lowest string
Regarding guitar recording, I really don't believe that quad tracking is the secret sauce people are claiming it to be. When you quad track you need to be super precise and even then your tracks are going to be less punchy than a dual tracked project. They'll gain more mass, yes, but it's a trade-off. From what I've been talking with Joona, our producer, composer and guitarist, on that album he didn't do quad tracking. Instead there is a heavy amount of pre-eq on the guitar tracks before hitting the amp sim so that he can closely control the signal getting distorted. He boosts pick attack on the EQ and cuts out some low-mids at least. The tracks on that album were fairly low-gain using the Neural DSP Cali Suite, but there's also a second parallel processing chain that uses a Sansamp PSA modelling that's only adding in some pick attack for more definition. Together they sound hi-gain but aren't.
Here's a video by Buster Odeholm detailing a similar technique:
Wow, that's a ton of great information, thank you!!! Sounds like my experiments with string gauge are not done yet! I would be very interested in a video on your approach for low bass tuning, that would be really helpful!
That is a clever trick for the guitar tone; using highs levels of distortion with those low tunings tends to introduce a lot of excess noise and unpleasant resonance, so using lower gain would definitely be an advantage.
Cheers guys!
I have a Super-J with an Ovangkol neck and a Wenge fretboard. Now ... I don't know wether it is the woods or the Drakglass Pre or whatever combination of factors ... but this bass is one of best sounding basses I got. Woody, warm, but transparent und just pleasant. It is special.
Maybe I just got lucky.
Maybe I just got lucky.
But, but, but...all the internet experts agree that tone woods don't make a difference!
Joking aside, we are all beneficiaries of a guy who has 35 years' experience testing all the variables side by side and refining his craft every step of the way...
I have a Super-J with an Ovangkol neck and a Wenge fretboard. Now ... I don't know wether it is the woods or the Drakglass Pre or whatever combination of factors ... but this bass is one of best sounding basses I got. Woody, warm, but transparent und just pleasant. It is special.
Maybe I just got lucky.
View attachment 5064483 View attachment 5064484 View attachment 5064491
that is a beautiful J!! Love it
I'm might get disagreed hard on this, but I fail to see the reason to use super thick strings at those extremely low tunings. You're not really going to do anything fast down there (or at least you shouldn't) so what's the use of going super thick and getting a muddier tone. I use a 45-130 set and I get a whole 16 pounds of tension on the lowest string
Regarding guitar recording, I really don't believe that quad tracking is the secret sauce people are claiming it to be. When you quad track you need to be super precise and even then your tracks are going to be less punchy than a dual tracked project. They'll gain more mass, yes, but it's a trade-off. From what I've been talking with Joona, our producer, composer and guitarist, on that album he didn't do quad tracking. Instead there is a heavy amount of pre-eq on the guitar tracks before hitting the amp sim so that he can closely control the signal getting distorted. He boosts pick attack on the EQ and cuts out some low-mids at least. The tracks on that album were fairly low-gain using the Neural DSP Cali Suite, but there's also a second parallel processing chain that uses a Sansamp PSA modelling that's only adding in some pick attack for more definition. Together they sound hi-gain but aren't.
Here's a video by Buster Odeholm detailing a similar technique:
I was running a 145 as a F#0 without any issues.
The 170 sounded very full and farty. It may have just been a bad string though.
I also prefer lighter gauge strings/less tension in general.
Thanks @Grand Wazoo and @Mr_BK for your feedback. Both of your basses look wonderful (@Grand Wazoo, that headstock is to-die-for; and @Mr_BK, I really like the darkness of the fretboard).
The Warwicks I mentioned earlier both have ovangkol necks and wenge fretboards and @Mr_BK your assessment as to the resultant sound is spot on. Subsequent to me asking my question here, Ryan at Dingwall responded to an earlier query of mine and suggested a maple neck with an ebony board due to the way the two woods usually behave. Clearly I should do more research and try to test as many combinations as I can. I think at this rate I may end up having to stick with my gut and go full wenge on this bass as it's not a combination I have covered elsewhere, with ebony patiently waiting for a fretless (that may never come).
I appreciate the feedback and input!
The Warwicks I mentioned earlier both have ovangkol necks and wenge fretboards and @Mr_BK your assessment as to the resultant sound is spot on. Subsequent to me asking my question here, Ryan at Dingwall responded to an earlier query of mine and suggested a maple neck with an ebony board due to the way the two woods usually behave. Clearly I should do more research and try to test as many combinations as I can. I think at this rate I may end up having to stick with my gut and go full wenge on this bass as it's not a combination I have covered elsewhere, with ebony patiently waiting for a fretless (that may never come).
I appreciate the feedback and input!
Purely anecdotally, I have three ebony boards--all with maple necks--in a variety of constructions (hollow body, semi-hollow, and solid; 2 fretted, 1 fretless; 3 manufacturers, none a Dingwall), and I like the combination for what the powers of suggestion tell me is "crisp and clear" but not quite as bright as maple/maple. At the very least, it's a popular combination.
Of course, I love my maple/maple, wenge/wenge, and wenge/roasted ash (all Dingwalls) as well.
Good luck!
