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Dingwall Owners Club

#5,981
Smallequestrian said:
So I'm just not digging the Super J very much. I'm not sure if it's the alder or the j setup, but when I play my ash PZ directly after it I don't want to go back to the J. The P sounds more raw and aggressive to my ears.

So, I'd like another Dingwall and I'm going to list this one for sale or for trade for another ash bodied Dinger. Bass plays great, but the sound is just not motivating me to pick it up.
Click to expand...

Sorry to hear the SuperJ is not working out for you. While I like all kinds of different sounds soloed, I find that I can just hear the P sound better in a mix. I could hear my SJ5 better when converted to a PJ (both with the P soloed and both pickups on).

Same with the Big Al. While all the settings are cool, I know that I have that centre pickup option and that's what I tend to gravitate towards and can hear the best.

Most of my basses are alder but I am not sure ash is more aggressive in a P setup. My (semi-educated) guess is that it has more to do with the pickup configuration than it does with the body/fingerboard wood. Plus, the general consensus is that the ash/maple combo has more of a mid scoop sound, which in my opinion, doesn't stand out in a mix as well. It's great for slap though.
 
#5,982
Smallequestrian said:
So I'm just not digging the Super J very much. I'm not sure if it's the alder or the j setup, but when I play my ash PZ directly after it I don't want to go back to the J. The P sounds more raw and aggressive to my ears.

So, I'd like another Dingwall and I'm going to list this one for sale or for trade for another ash bodied Dinger. Bass plays great, but the sound is just not motivating me to pick it up.
Click to expand...

Nothing wrong with having favorites. I am one of those people that find Modulus (sp?) boring as heck, with the exception of the carbon fiber necks.

Play those basses you love, and send the others packing ! Life is too short.
 
#5,983
spiritbass said:
I love the combination of ash body, maple/morado neck on my SJ5. My ash/maple/maple SJ/P5 is a whole 'nuther animal, tone-wise. The more refined J/J can get its snarl on, but the P/J is a sonic attack dog. :eek:

On the four stringed Super P front, I must say that I have been thoroughly enjoying the perfect P-punch and presence every where I have ventured on the fretboard of the Sonic P for the last three days. While lying abed last night awaiting slumber, the spirit of McGyver told me how to listen to the reverse configuration before deciding the fate of my purty sheet of abalone for the new 'guard. A lousy pic of "McGyver meets Dingwall":

McGyvermeetsDingwall_zps55894315.jpg


It definitely shifts the mid focus lower, as Grand Wazzoo observed on the five string. A bit less highs and they are even sweeter. The E and A are still plenty strong and full with a bit more focus on the fundamental (there is less fatness and girth than the classic configuration delivers). I'm going with Leo's layout for this one, anyway. :cool:
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Ken, I say that you roll with her however she speaks most sweetly to you.

We were down on the floor yesterday versus the stage and I got to hear the Super P5 through Mackie powered mains yesterday. I am not touching mine. It was huge.

Dynamic response was incredible. If I was smooth, bass lines were butter. Very difficult to tell where bass started and ended, which was perfect as we were doing the laid back acoustic thing. But when I dug in, she barked hard.

While I clearly can't comment on reverse vs standard, I can say that the P is such a different animal that the J, in the very best sense. I love the differences as between the two, I can cover just about any genre.

I'll get 5 or 6 performances out of her, then jump back on the J to see how I feel. For now, the Super P gets the nod as my number one. I'll also try the new stainless on her to see how they sound on the P.
 
#5,984
Zoomie said:
Ken, I say that you roll with her however she speaks most sweetly to you.

We were down on the floor yesterday versus the stage and I got to hear the Super P5 through Mackie powered mains yesterday. I am not touching mine. It was huge.

Dynamic response was incredible. If I was smooth, bass lines were butter. Very difficult to tell where bass started and ended, which was perfect as we were doing the laid back acoustic thing. But when I dug in, she barked hard.

While I clearly can't comment on reverse vs standard, I can say that the P is such a different animal that the J, in the very best sense. I love the differences as between the two, I can cover just about any genre.

I'll get 5 or 6 performances out of her, then jump back on the J to see how I feel. For now, the Super P gets the nod as my number one. I'll also try the new stainless on her to see how they sound on the P.
Click to expand...

I knew that your Super Sweet P would bring the thunder and bark. :) It seems to me that the split precision pickup is more punchy and dynamic than a pair of jazz pickups. I would also agree with Smallmouth that precisions are usually easier to hear. I still answer 'both' when anyone asks if they should have a P or J. I will join you in celebrating their differences and digging both designs. :D One aspect where the split P is clearly superior is adjustability. I spent some time tweaking the P pickup and string heights on the Stormy SJ/P5 yesterday. I'm thinking that I will bring it tomorrow evening (our WL's cast comes off today!) when we usher in the new year with praise!

I was admittedly reluctant to spend more money with FedEx shipping the Sonic P to and from JohnK but was willing to. My checkbook sighed with relief when my ears decided that all I had to do was give the USPS a few hundred pennies to mail the PG and blank. ;)
 
#5,985
I'm sitting on this fence, and I'll keep sitting here without expressing any opinion, biased or not I will keep those to myself BUT I will say this: why do you think I went for a Super P/J combo in the first place? I'm not just a pretty face! That's why, lol! But then again if one can afford it then one ought to have one of each because there ARE places that only a full on jazz bass can dominate, just ask Marcus Miller why does he not play a P bass and he will tell you with just a few notes out of his signature model! Ask the same question to Geddy Lee, expect a similar answer. The moral of it is: horses for courses.

I have two Fender a J and a P, they are unreplacable for the use I make of them, when need be and the closest I can get to by a sacrificed compromise is my Super J/P

The end :D
 
#5,986
Grand Wazoo said:
I'm sitting on this fence, and I'll keep sitting here without expressing any opinion, biased or not I will keep those to myself BUT I will say this: why do you think I went for a Super P/J combo in the first place? I'm not just a pretty face! That's why, lol! But then again if one can afford it then one ought to have one of each because there ARE places that only a full on jazz bass can dominate, just ask Marcus Miller why does he not play a P bass and he will tell you with just a few notes out of his signature model! Ask the same question to Geddy Lee, expect a similar answer. The moral of it is: horses for courses.

I have two Fender a J and a P, they are unreplacable for the use I make of them, when need be and the closest I can get to by a sacrificed compromise is my Super J/P

The end :D
Click to expand...

I spent a LOT of time on the fence before investing in my SJ/P5. The Super P5 was available at the time, but not with a bridge pickup. Factors that swayed my decision: as beautiful as Dingwalls sound passively, I like having the sweet Glock pre ready to kick in when desired. I like the no pick guard look and Sheldon wasn't tempting me with a naked P. ;) Pondering the slight difference in midrange content due to the pickup being !/4" closer to the neck on the J compared to the P did cause some (unnecessary!) loss of sleep. "Stormy" turned out to be a masterpiece in all respects for me. :cool:

Being halfway through my fifth decade, it feels funny to refer to an instrument from 1985 as vintage, but I like getting my old school vibrations happening with the misty P:

MistywithChristmastree-lightedtort_zpsbc75e3bd.jpg
 
#5,987
I fairly recently picked up a nice well respected passive Jazz-styled bass in a trade. When you play it, you say to yourself, "this is a really good Jazz Bass". When played with a band, it just didn't have the gusto that the SuperJ (PJ) had. While not having a bad sound, I felt like I would have to turn up the volume considerably to be heard as well (as the PJ) in the mix and potentially become overbearing by doing so.

That being said, I have heard a lot of great Jazz sounds in a band mix, so it might just be my limited experience. I still love the sound of a Jazz, but my overall preference gravitates towards the P.
 
#5,988
Smallmouth_Bass said:
I fairly recently picked up a nice well respected passive Jazz-styled bass in a trade. When you play it, you say to yourself, "this is a really good Jazz Bass". When played with a band, it just didn't have the gusto that the SuperJ (PJ) had. While not having a bad sound, I felt like I would have to turn up the volume considerably to be heard as well (as the PJ) in the mix and potentially become overbearing by doing so.

That being said, I have heard a lot of great Jazz sounds in a band mix, so it might just be my limited experience. I still love the sound of a Jazz, but my overall preference gravitates towards the P.
Click to expand...
The only jazz basses that I have really liked were Modulus Genesis VJs with Villex pups. The Villex electronics have that passive mid-range boost, which allowed me to add enough mid-range to satisfy my P bass ear.

I'm sure I would also like Sheldon's Super J (if I could afford to add one), but I am and shall always be a precision guy. So a Super P it is!
 
#5,989
BuffaloBob4343 said:
The only jazz basses that I have really liked were Modulus Genesis VJs with Villex pups. The Villex electronics have that passive mid-range boost, which allowed me to add enough mid-range to satisfy my P bass ear.
Click to expand...

I ordered a set of custom (same width) Villex pickups for my old Tribute JB-2. Unfortunately, my need for a pot with a long bushing to go through the wood top did not get through to Mr. V and the ears on the pickups did not fit the existing routes. I wasn't inclined try and make everything fit, so I returned them. :rollno:

And now, back to the "All Dingwall" channel... :)
 
#5,990
spiritbass said:
I ordered a set of custom (same width) Villex pickups for my old Tribute JB-2. Unfortunately, my need for a pot with a long bushing to go through the wood top did not get through to Mr. V and the ears on the pickups did not fit the existing routes. I wasn't inclined try and make everything fit, so I returned them. :rollno:

And now, back to the "All Dingwall" channel... :)
Click to expand...

So Ken, what's the turnaround time for your Pick guard?

Sheldon has added an antique gold, but still waiting to hear back on whether that is anodized or gold vinyl.

I'm curious because I may want to hold out for anodized and have it custom made if necessary.
 
#5,991
Smallmouth_Bass said:
I fairly recently picked up a nice well respected passive Jazz-styled bass in a trade. When you play it, you say to yourself, "this is a really good Jazz Bass". When played with a band, it just didn't have the gusto that the SuperJ (PJ) had. While not having a bad sound, I felt like I would have to turn up the volume considerably to be heard as well (as the PJ) in the mix and potentially become overbearing by doing so.

That being said, I have heard a lot of great Jazz sounds in a band mix, so it might just be my limited experience. I still love the sound of a Jazz, but my overall preference gravitates towards the P.
Click to expand...

This was my exact problem with Fender J's.

Play the Super J, and it demands to be heard.
 
#5,992
BuffaloBob4343 said:
So Ken, what's the turnaround time for your Pick guard?

Sheldon has added an antique gold, but still waiting to hear back on whether that is anodized or gold vinyl.

I'm curious because I may want to hold out for anodized and have it custom made if necessary.
Click to expand...

I tried to mail the pick guard and blank to John today but forgot that the service window closes @ noon these days. :rollno: He knows that I'm eager to get 'er done but I didn't specifically ask for an estimated turnaround time. Like Sheldon and crew, John's work is as near-perfect as it gets. :cool:

I too noticed and was intrigued by the antique gold offering. If 'the dynamic duo' provide a sample image, please share it if you'd be so kind? :)
 
#5,994
Still burning vacation time here and rather than twiddling phalanges all day, I had some fun performing phase one of the Spirit P conversion process this afternoon. My friendly UPS delivery dude brought me a Redeemer Circuit, one of my favorite unity-gain buffers. I've used them on four previous instruments, and they are the purest pre that you'll never hear. :cool: I have nothing against Sheldon's new passive shaping control, I just never use the tone control on a P. I executed a careful transplant and the patient is now 'redeemed' and patiently awaiting its new pick guard (sans tone control hole). ;)

Undressed and recuperating under the tree...

Redeemedandawaitingthenewguard_zpsba73c73a.jpg
 
#5,999
spiritbass said:
Still burning vacation time here and rather than twiddling phalanges all day, I had some fun performing phase one of the Spirit P conversion process this afternoon. My friendly UPS delivery dude brought me a Redeemer Circuit, one of my favorite unity-gain buffers. I've used them on four previous instruments, and they are the purest pre that you'll never hear. :cool: I have nothing against Sheldon's new passive shaping control, I just never use the tone control on a P. I executed a careful transplant and the patient is now 'redeemed' and patiently awaiting its new pick guard (sans tone control hole). ;)

Undressed and recuperating under the tree...

Redeemedandawaitingthenewguard_zpsba73c73a.jpg
Click to expand...

Ken, regarding the Redeemer Circuit, you enjoy it because it [DEL]enhances[/DEL] preserves the highs?

I’m using an ABZ5 and a Zoom B3 and on certain patch/effect types, the high end’s clarity/volume just vanishes. It would be helpful to boost the highs a bit more than they are. Not sure the Redeemer is the answer but it could be a step in the right direction. Granted, I could fiddle with the B3’s settings to achieve this to some degree, but I’m curious as if the Redeemer would impact the overall effect. (BTW, I also tweak the tone control sparingly--set it and forget it type)

Is the operation of installing a Redeemer Circuit for the faint-of-heart? Or can any non-rocket scientist perform the surgery?

For anyone interested, I found a helpful older link on the Redeemer Circuit subject: http://www.talkbass.com/forum/f38/creativeaudiolabs-redeemer-circuit-wow-479586/

Thanks for your thoughts!

Chris
 

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