Dingwall Owners Club

[BurningSkies]

You sir have the patience of a saint.

When I ordered in 2005, the Super-J was readying release at that year's NAMM. The original quote was 6-8 months. That evaporated quickly, and the best answer was "we have no idea, we'll let you know when its close".

 

[groovaholic]

@BurningSkies: you should re-post a pic of the bass in question for those who are wondering why you didn't just buy an in-stock or used Dingwall.

It's one of the more striking, original, and badass basses EVER.

 

[BurningSkies]

@BurningSkies: you should re-post a pic of the bass in question for those who are wondering why you didn't just buy an in-stock or used Dingwall.

It's one of the more striking, original, and badass basses EVER.

Oh yeah, it's this one:
Link Removed

In all seriousness. I sometimes was frustrated, but I got the feeling that the shop just had more going on than they could handle, and eventually did some 'restructuring' of the process to make sure that that kind of thing didn't happen again. In the end, I didn't mind the wait because a number of things that are crucial identifiers for my bass and how it sounds were developed and even at the time I got the feeling that the wait would more than pay off. FD-3-M2-4L were not developed when I ordered but I depend upon them. The hybrid treble control (center detent, passive 'vintage' roll off on the back, active boost on the front of the notch), was developed. I started talking to Sheldon about block inlays before they were done on any of the SJ basses. Along the way, Sheldon would come up and pitch ideas. The linear finish was one of the first pitches. I did ask for the blocks, but it might have been him suggesting that we finish them. I requested the body shape, but he ran with it and actually updated the 'cello-cut' which is contoured and has different sculpting than the original Voodoos.

Some ideas ended up on the cutting-room floor, like a multicolor LED lit substrata between the fretboard and the neck to create a pinstripe of light from the top for the fret markers to lay against. Great and cool idea but in application I think that maybe a few neck blanks were sacrificed before realizing it wouldn't work.

Without the wait, I wouldn't have the bass I now have. Also, to preserve a shorter wait time, the list of options was trimmed and tightened up...so you get your bass sooner, but maybe not with all the bells and whistles that showed up on mine.

 

[ustabawannab]

Oh yeah, it's this one:

I'm speechless. I've always had a thing for spalted tops. The pickup covers perfectly matching the top's figuring is so classy. I also really like the cello cut.

I have to ask, how did you handle the first ding or scratch? Was it traumatic?

 

[BurningSkies]

I'm speechless. I've always had a thing for spalted tops. The pickup covers perfectly matching the top's figuring is so classy. I also really like the cello cut.

I have to ask, how did you handle the first ding or scratch? Was it traumatic?

It only has one ding after gigging it and playing it as my 'one and only' since 2008. Its at the tip of the headstock and I did it at home (ironically) instead of at a show or at a rehearsal. I took a chip out of the color coat that's about 1/3 the size of my little fingernail. I superglued it back in place. It's not perfect but you wouldn't notice from anywhere beyond about 3 feet out. If it really ate me up, I'd send it back to Sheldon for a finish repair.

https://www.dropbox.com/sh/a37t7h66xzyfkfl/AAB6SI0SmvxunCPTGtxtxKyHa/MVI_2697.MOV

 

[ModuMan]

You're all lightweights. Sheldon's turn around time is pretty nice these days. I ordered my V/Z in 2005 and it was about 2 weeks away from the 3-year mark when I got it in 2008.

Wonderful, wonderful bass! I'm no lightweight though... I am also waiting for a Zon. That is a process measured in years as well.

 

[smeet]

I'm the proud new owner of a (used) Super P 5. It's a wonderful instrument, very easy to play, and has a wide range of tones with the weird tone control (roll back from center for normal roll off, front from center to scoop mids). I have Chromes on it now, and it sounds great. I'm playing a rehearsal with it tonight, which will be its first outing.

I have a couple of questions for y'all:

The lows and low/mid mids are wonderful. But compared to other P's, there is a notable lack of "clank". Ordinarily I would like this, but I feel that the clank is part of the charm and power of the Precision sound. I would rather have too much, and then roll off the tone. The Super P sounds great with tone wide open, but then there's nowhere to go if I want to cut through more in a mix. Any advice for me? Does this sound normal for these instruments?

I've seen examples of Super P/J basses, but they are all built on the J chassis. Has anybody added a bridge pickup to the Super P? I much prefer that route (no pun intended).


Also, in addition to the SP5, I have a Nordy VP5, a 2014 MIA Fender P5, and a Nordy VJ5 Modern with a reverse P. They all sound shockingly different so I might do some comparative recordings.

 

[MDBass]

I'm the proud new owner of a (used) Super P 5. It's a wonderful instrument, very easy to play, and has a wide range of tones with the weird tone control (roll back from center for normal roll off, front from center to scoop mids). I have Chromes on it now, and it sounds great. I'm playing a rehearsal with it tonight, which will be its first outing.

I have a couple of questions for y'all:

The lows and low/mid mids are wonderful. But compared to other P's, there is a notable lack of "clank". Ordinarily I would like this, but I feel that the clank is part of the charm and power of the Precision sound. I would rather have too much, and then roll off the tone. The Super P sounds great with tone wide open, but then there's nowhere to go if I want to cut through more in a mix. Any advice for me? Does this sound normal for these instruments?

I've seen examples of Super P/J basses, but they are all built on the J chassis. Has anybody added a bridge pickup to the Super P? I much prefer that route (no pun intended).


Also, in addition to the SP5, I have a Nordy VP5, a 2014 MIA Fender P5, and a Nordy VJ5 Modern with a reverse P. They all sound shockingly different so I might do some comparative recordings.

Just had an FD3 route and installation done on my Super P, there's a photo of it towards the top of this page, and honestly I haven't played any of my other basses much (if at all) since.

To my ears, compared to the traditional vintage P sound, the Super P has more clarity, punch, and an added bite to the top end when you dig in; the tone control is more useful as well, as even rolled all the way off the notes never get muddy, and there are far more shades as opposed to the usual on/off settings I find most passive tone controls to have.

If you're looking for more bite though, ditch the chromes and pick up a set of steel DR's (FatBeams or Lo-Riders) or Dingwall's; still plenty of punch and bottom end, and with the tone control at center it's aggressive enough to saw someone's head off

 

[smeet]

Just had an FD3 route and installation done on my Super P, there's a photo of it towards the top of this page, and honestly I haven't played any of my other basses much (if at all) since.

Thanks, I'll look into installing the FD3. I'll probably have Mo from the Nordstrand shop do it. What did you do for electronics/controls? And I assume you put the FD3 in the equivalent spot to 60's jazz positioning? Is there any possibility (or point) of considering non-Dingwall pickups?

Just had an FD3 route and installation done on my Super P, there's a photo of it towards the top of this page, and honestly I haven't played any of my other basses much (if at all) since.

To my ears, compared to the traditional vintage P sound, the Super P has more clarity, punch, and an added bite to the top end when you dig in; the tone control is more useful as well, as even rolled all the way off the notes never get muddy, and there are far more shades as opposed to the usual on/off settings I find most passive tone controls to have.

The Super P absolutely has more clarity/punch, even without the added high mid clank. It also does have more highs. I don't have any fear that the note pitch will get lost. But that "hi mid clank plus fatness" sound can be very nice when called for.

If you're looking for more bite though, ditch the chromes and pick up a set of steel DR's (FatBeams or Lo-Riders) or Dingwall's; still plenty of punch and bottom end, and with the tone control at center it's aggressive enough to saw someone's head off

It's not generic "bite" I want. I played active J-type instruments for years, and generally used FatBeams or sometimes Roto 66. There is lots of low end there, but it's "soft" sounding for lack of a better term. The "hard" way a flatwound punches the fundamental is totally different from a roundwound, and that's what I'm addicted to currently. Also, have you tried Chromes? They are actually more clanky than rounds even if they're not as bright.

In case I wasn't clear, I'm comparing this bass to the P pickup on the VP5 and the Fender, which are also wearing Chromes. Those basses are (depending on genre and amp) overly clanky when the tone is all the way up. And yet sometimes I'll crank up that clankiness and play with a pick.

 

[reddavid]

The Super P absolutely has more clarity/punch, even without the added high mid clank. It also does have more highs. I don't have any fear that the note pitch will get lost. But that "hi mid clank plus fatness" sound can be very nice when called for.

There's more output when the tone knob is in the center/detent position (usually). You could also talk to Sheldon or Jeff at the shop. They've come up with several versions of the Tone control. I had an 'original' one, tried a 'new' one...and liked the 'original' one better. (nicer 'thump' with the highs rolled off. The 'new' one sounded much better with the mids cut - rang like a bell, very sweet.) If you do decide you want to try a different Tone combo - let me know...you can have the 'new' one I got (couple of months ago) for pretty dang cheap.

 

[MDBass]

Thanks, I'll look into installing the FD3. I'll probably have Mo from the Nordstrand shop do it. What did you do for electronics/controls? And I assume you put the FD3 in the equivalent spot to 60's jazz positioning? Is there any possibility (or point) of considering non-Dingwall pickups?


The Super P absolutely has more clarity/punch, even without the added high mid clank. It also does have more highs. I don't have any fear that the note pitch will get lost. But that "hi mid clank plus fatness" sound can be very nice when called for.


It's not generic "bite" I want. I played active J-type instruments for years, and generally used FatBeams or sometimes Roto 66. There is lots of low end there, but it's "soft" sounding for lack of a better term. The "hard" way a flatwound punches the fundamental is totally different from a roundwound, and that's what I'm addicted to currently. Also, have you tried Chromes? They are actually more clanky than rounds even if they're not as bright.

In case I wasn't clear, I'm comparing this bass to the P pickup on the VP5 and the Fender, which are also wearing Chromes. Those basses are (depending on genre and amp) overly clanky when the tone is all the way up. And yet sometimes I'll crank up that clankiness and play with a pick.

Small world, Mo is actually the guy who did the routing and installation on mine; he's an old friend from MI, love that guy.

I called Barry to let him know that I wanted to have Mo install an FD3 at the bridge and Sheldon cranked out a CNC route template for my; I still have it and would be happy to give it to you, the pickup housing is obviously wider on the 5 but I'd assume the bridge spacing to be identical.

I also reversed the P pickup on mine; to my ears it makes the tone even more balanced, slightly tighter and more aggressive on the E and A strings and fatter/thicker D and G strings.

It's always interesting to me how different people's ears hear things and the adjectives they choose to describe those differences; I've used chromes on both P and J basses, and while I definitely got the 'hard' fundamental punch you describe, nothing about my experiences with them made me think 'clanky'.

The reason I actually suggested Lo-Riders or the Dingwall strings is those are the only two sets Sheldon specifically recommends; some sets that sound great on other basses sound really uninspiring on a Dingwall, but with the right strings they're magic. Maybe ask Jeff, Barry or Sheldon if they have a specific set of flats they'd recommend?

Feel free to shoot me a PM if you'd like that routing template; I'm constantly driving around LA for rehearsals and sessions, it'd be easy enough to meet you somewhere

 

[Smallmouth_Bass]

It only has one ding after gigging it and playing it as my 'one and only' since 2008. Its at the tip of the headstock and I did it at home (ironically) instead of at a show or at a rehearsal. I took a chip out of the color coat that's about 1/3 the size of my little fingernail. I superglued it back in place. It's not perfect but you wouldn't notice from anywhere beyond about 3 feet out. If it really ate me up, I'd send it back to Sheldon for a finish repair.

https://www.dropbox.com/sh/a37t7h66xzyfkfl/AAB6SI0SmvxunCPTGtxtxKyHa/MVI_2697.MOV

I love that bass! Cool groove!

 

[IvanBassist]

I love that bass! Cool groove!

Cool groove, indeed!!

 

[CL400Peavey]

https://www.dropbox.com/sh/a37t7h66xzyfkfl/AAB6SI0SmvxunCPTGtxtxKyHa/MVI_2697.MOV

So you do use that mid driver....

 

[BurningSkies]

I love that bass! Cool groove!

Cool groove, indeed!!

Thanks. Its a bit different from 'straight reggae'. Do you know how hard it was to sell the band on that groove? It took weeks of convincing, especially our drummer. Usually our singer brings 'skeletons' of songs, partial lyrics with maybe the suggestion of a few chords then we flesh them out as a band and arrange and write them as a unit. She had 3 chords and 2 verses for this one...and the first thing I laid down was that line. The intro and chorus for the song came together while we played, and our guitarist (Phil, the white guy towards the back of the video) ended up LOVING my part and doubling it and together he and I worked out the rest of the parts.

 

[BurningSkies]

So you do use that mid driver....

I do. It actually is noticeable in my sound. But you're hearing me blow out the mic on the camera, plus a very large FOH. I use surprisingly heavy mids. On my Monique, the mids are cranked up to about 4 o'clock. I just roll the treble way down to balance it out.

 

[CL400Peavey]

I do. It actually is noticeable in my sound. But you're hearing me blow out the mic on the camera, plus a very large FOH. I use surprisingly heavy mids. On my Monique, the mids are cranked up to about 4 o'clock. I just roll the treble way down to balance it out.

I was just thinking way back to when you were told that "for dub, you dont need a mid driver..." and had a laugh.

 

[BurningSkies]

I was just thinking way back to when you were told that "for dub, you dont need a mid driver..." and had a laugh.

I can understand people thinking that. Because if what you've heard is a bunch of recordings from the 70's that are at the very least poorly mastered and probably not terribly well recorded... But I've had the luck in seeing and sometimes playing with some of the best bands in the world and those players are using mids in their sound on stage. Some of the funny advice people give for getting 'reggae sound' makes me laugh...palm mute, use an envelope filter with it set really low so it doesn't trigger upwards, etc. 99% of the guys I see play with no effects, no gimmicks and fingers on the strings.

 

[Sheldon D.]

+1 on the round wounds Smeet. I also recommend playing with your pickup heights. I suspect you need to raise them a bit.

 

[MDBass]

+1 on the round wounds Smeet. I also recommend playing with your pickup heights. I suspect you need to raise them a bit.

Just curious Sheldon...what's your recommended pickup height relative to the strings?

My Super PFD sounds really balanced, plenty of output and definition, so I'm sure I'm the ballpark but I'd be interested to see just how close to shop recommended settings I truly am.

By the way, I just heard the master of one of the tunes I tracked at Capitol a few weeks ago; it came out killer, it's actually going to be the lead single on the record, and the bass tone is just phenomenal. Looking forward to sharing it with you guys!