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Dingwall Owners Club

#6,341
Grand Wazoo said:
Please don't get me wrong, and appreciate my background on this, I grew up in Italy in the 60's, moved to London UK in the 80's most of my life has been lived here in UK.

Strangely enough... I hear you guys talking about worship and music in churches, I just can't get my head around music being played in a church, where I come from in Italy there never was such thing, actually the very thought could also be considered heresy by the Christian church, all that is allowed in our churches is those big pipe organs that go up to the ceiling.

As for London, actually almost similar scenario with the protestant Church of England, the only churches where music is played and worship takes place is in African community churches, they are very big on the subject.

That's it, here end my observation, it was only a thought based on the amount of time I hear you guys talking about worship. I respect you all wholeheartedly by the way, so in no way I condemn it, I just find it weird because it constrasts the way I was brought up. Thanks and keep on worshipping.
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The book of Psalms is a book of music, David employed thousands of musicians and singers to play music and sing in the temple 24/7. I find it odd that in to hear that you aren't send to having music in church.
 
#6,342
NaH said:
You could always buy another, do a neck swap, then sell the other one.
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It occurred to me! Though my headstock is the same black as the body on this bass. Not sure how it would do to have a luthier take off most of the finish...?

According to the guy I traded with (fantastic dude, btw), this bass has an Aggie 18v pre. I haven't owned an active bass in years, but the pre sounds kinda neat. I know Zoomie kept his Supers passive, but I am curious what others have done and what they think. I'm not sure what my tonal goals are best described as. I wouldn't think totally modern, but not a P bass with tape wounds and foam under the bridge kinda dude either. Some of my favorite players for tone are JJ Brunell, T-Bone Wolk (sp?)...two very different things, but I tend to run somewhere between the two depending on the gig
 
#6,344
I am so fortunate to be able to have both a Super P and a Super P/J. The P was amazing this morning. I love the versatility of the P/J.

I'm generally a 'stay in the background' kind of player. Biggest problem I have now is the WL is asking (expecting) me to play out more. Guess it's good they want more?! Woodshed.
 
#6,345
spiritbass said:
Interesting. The finish on mine is so thin it's not perceptible...
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That's how my Super P was, and most people say the same, but this bass is pretty thick, IMO
ImageUploadedByTalkBass1390789284.152368.jpg
If the graphic eq settings look kinda whacky, I'm not using it at the moment. The Michael Pope pre and 31 band are for my upright. The Reiner 6SL7 is for electric :)
 
#6,346
dukeorock said:
It occurred to me! Though my headstock is the same black as the body on this bass. Not sure how it would do to have a luthier take off most of the finish...?

According to the guy I traded with (fantastic dude, btw), this bass has an Aggie 18v pre. I haven't owned an active bass in years, but the pre sounds kinda neat. I know Zoomie kept his Supers passive, but I am curious what others have done and what they think. I'm not sure what my tonal goals are best described as. I wouldn't think totally modern, but not a P bass with tape wounds and foam under the bridge kinda dude either. Some of my favorite players for tone are JJ Brunell, T-Bone Wolk (sp?)...two very different things, but I tend to run somewhere between the two depending on the gig
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I'm guessing its the OBP-3 that you have. My V/Z has an OBP-1 with a passive treble roll off. Its got a really nice big warm low end to it that I really enjoy. It 'tames' the bass a bit, making a little more polite all around too.
 
#6,347
dukeorock said:
That's how my Super P was, and most people say the same, but this bass is pretty thick, IMO
View attachment 389643
If the graphic eq settings look kinda whacky, I'm not using it at the moment. The Michael Pope pre and 31 band are for my upright. The Reiner 6SL7 is for electric :)
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That bass looks great with your rig :) It was nice meeting you man. I'll have to check out those cabs you build sometime, seeing how I'm only a couple hours north.
 
#6,353
I've got one of the older Super P/J 4 models with the OBP-1 pre. Mini switch to turn it on and off, a pair of batteries under the pickguard. This was my first experience with a Dingwall. I bought it used here on TB with out a test drive.

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The day it arrived, I reused the packing material to ready my Fender Jazz for shipping, and put an add in the TB classifieds.
The Dingwall Super P/J refines or eliminates everything that doesn't work on a Jazz. Plus it can do a killer P sound. There was no looking back.

I love the super slim neck and the under 8 lb weight. Plays like a dream. Balance across the strings is superb, no more favoring the E and A strings.

I hadn't ever had a passive P bass, spent a good bit of time messing with the pre. There are tons of great tones in there, but once I turned is off and messed around with the passive mode hybrid tone, I was there. I keep the pre set to add a bit of bass boost if I should choose to, or accidentally engage the preamp.

The Super P/J 4 stays in passive mode either with the P pup solo or one click back for that killer Super P setting.

The Super P/J 4 give you the biggest range of string choices, pretty much any set that comes off a four inline bass, (like a P of Jazz) will fit. I ran DR Hellborgs for a long time, and then switched to TI Jazz Flats. The flats have been on there for a couple years and they sound great. Very slinky and smooth, so not everyone's cup of tea.

Great bass for a fEarful!
 
#6,354
dukeorock said:
That would've been my guess. I don't know much about active electronics, but so far the OPB-1 sounds pretty darn good to me. Nice warm low end and easier to tame that Jazz/maple 'clack' that can happen sometimes
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I definitely loved the punch that bass has. The P has a great feel and tone. However when we were at SamAsh earlier I neglected to pick me up some nickels to throw on it. Maybe tomorrow.

This one is a keeper for me as well. Might eventually make it active, not sure. As is, it still is a great bass.
 
#6,356
If anyone is interested in what a combustion sounds like straight through a system. A clip from our last song Friday night. Video will go keys, guitar, bass, then drums.

http://youtu.be/rO3RScBMqIE


Just be advised I was on the road for 8 hours that day. Got home, opened the bass (It just arrived from Bass NW), played it unplugged for a minute, went to the gig. Also haven't played a bass in about a week. All this to say the bass might not sound all that great, but gives an idea.
 
#6,357
I have been in contact with Barry Lamb about ordering a Dingwall Super P 5 string with an FD3. I would love help with ordering options and process. I live in the greater Providence RI area. AFAIK, there are no local dealers. So I need help with suggestions of online dealers or maybe dealers in the NYC area who can help. I really would love to find someone local, say within 50 miles of me, who has a Super P 5 or similar so I can try one out in person. I tried a Combustion once. I seemed to have no problem adjusting to the fanned fret system. However the strings were old and the action very high. So I don't think I got a good representation of a Dingwall.

Some options I am considering:
  1. alder body
  2. 5 piece maple neck
  3. pau ferro FB (loved this on my Rosoce Beck V)
  4. reverse P (not sure how this will work with FD3)
  5. FD3 pickup in "bridge" position

I don't know what controls/electronics are standard for the two pickup version. I have an email to Barry about that.

This is pretty exciting for me. It has been years since I bought a custom built bass. I bought a Lakland many years ago. I just didn't connect with it. So I am trying to be a little more cautious this time. I want this to be 'the bass' for the next 10 years.
 
#6,358
BFunk said:
I have been in contact with Barry Lamb about ordering a Dingwall Super P 5 string with an FD3. I would love help with ordering options and process. I live in the greater Providence RI area. AFAIK, there are no local dealers. So I need help with suggestions of online dealers or maybe dealers in the NYC area who can help. I really would love to find someone local, say within 50 miles of me, who has a Super P 5 or similar so I can try one out in person. I tried a Combustion once. I seemed to have no problem adjusting to the fanned fret system. However the strings were old and the action very high. So I don't think I got a good representation of a Dingwall.

Some options I am considering:
  1. alder body
  2. 5 piece maple neck
  3. pau ferro FB (loved this on my Rosoce Beck V)
  4. reverse P (not sure how this will work with FD3)
  5. FD3 pickup in "bridge" position

I don't know what controls/electronics are standard for the two pickup version. I have an email to Barry about that.

This is pretty exciting for me. It has been years since I bought a custom built bass. I bought a Lakland many years ago. I just didn't connect with it. So I am trying to be a little more cautious this time. I want this to be 'the bass' for the next 10 years.
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The controls are a 4 way switch, neck solo'd, neck and bridge in series, neck and bridge in parallel, and bridge solo. You also have a volume and a tone control like the regular Super P has. Roll down from middle for treble rolloff, roll up from middle for passive mid scoop.

I played the four string version at NAMM, the series tone was a killer addition to the already awesome solo'd neck pickup. The bridge tone was also nice and grindy. I wouldn't hesititate to add the bridge pickup to the order. i also don't think the reversed P is necessary.

If you're going with an Alder body, you might want to think about the wenge neck...Sheldon spoke quite effusively about that combo, but obvioulsy alder/Pau farro is a fine combination as well.
 
#6,359
Smallequestrian said:
The controls are a 4 way switch, neck solo'd, neck and bridge in series, neck and bridge in parallel, and bridge solo. You also have a volume and a tone control like the regular Super P has. Roll down from middle for treble rolloff, roll up from middle for passive mid scoop.

I played the four string version at NAMM, the series tone was a killer addition to the already awesome solo'd neck pickup. The bridge tone was also nice and grindy. I wouldn't hesititate to add the bridge pickup to the order. i also don't think the reversed P is necessary.

If you're going with an Alder body, you might want to think about the wenge neck...Sheldon spoke quite effusively about that combo, but obvioulsy alder/Pau farro is a fine combination as well.
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Great synopsis. I spoke with both Sheldon and Barry about a very similar super P/FD3 build for myself, albeit in a four string.

The general consensus was most definitely alder/wenge or ash/maple.
 

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