Dingwall Owners Club

[Arjank]

Some Dingwalls stolen recently. Keep your eyes out:
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These belong to Or Lubianiker, and I believe were stolen out of Israel. The Z3 is a prototype.

https://www.facebook.com/photo.php?fbid=10203554007787307&set=a.3339948774038.2151684.1128229067&type=1

I would recommend anyone who has a facebook account to share this post to get Or Lubianiker his basses back! I did.
https://www.facebook.com/photo.php?fbid=10203554007787307&set=a.3339948774038.2151684.1128229067&type=1

 

[spiritbass]

One of the most amazing things that The Dings did for my playing was to allow my to hear all the (not so subtle) nuances of playing, attack, and right position. It opened up a whole new world for me and really forced me to mature as a musician.

So true! Still growing and maturing here...

 

[Smallmouth_Bass]

One of the most amazing things that The Dings did for my playing was to allow my to hear all the (not so subtle) nuances of playing, attack, and right position. It opened up a whole new world for me and really forced me to mature as a musician.

That is even more true with the 37" - 34" models over the Super Series ones!

 

[Zoomie]

Why

That is even more true with the 37" - 34" models over the Super Series ones!

Why is this?

 

[J Posega]

The clarity you get from the extended scale brings out every nuance of your playing technique IMHO. That said, I've never played a Super series.

 

[steve_rolfeca]

...Point being that it doesn't surprise me a bit that you were able to adjust your technique to adjust your tone and get something outside your personal tonal range.

Sounds like a pretty accomplished group of musicians. Kudos for stepping outside your comfort zone to learn and grow!

Actually, it's pretty much stepping back INTO my comfort zone.

I grew up playing a bit of everything, but being most comfortable and effective playing prog rock, folk, and theatre music.

I've been on an often frustrating journey since about 2007, learning how to become more proficient at straight-ahead rock, in order to fit in with modern worship and roots music.

This is my first time at music camp in years, and the transition has been quite the challenge. Thankfully, my chops seem to be coming back pretty quickly.

Note to self: got to find more gigs like this back home. It's sobering to realize that I'm gigging more at the moment than I have in years, yet a whole subset of my skills has been allowed to atrophy.

 

[Smallmouth_Bass]

Why


Why is this?

They are even more responsive than the Super series. Empty Cell is correct.

 

[Zoomie]

So When I move to 37, my playing gets to sound like hairy butt all over again. Well there's something to look forward to.

 

[Smallmouth_Bass]

It is all worth it once you hear that B-string! The other strings sound good too.

 

[CL400Peavey]

So When I move to 37, my playing gets to sound like hairy butt all over again. Well there's something to look forward to.

Wait... you stopped sounding like that?

 

[reddavid]

HB has a new EP this week.

 

[BurningSkies]

Took the strings off my AB1, and spent some time cleaning it up. Had to scrub a fair bit off the frets. Unfortunately there is a fair bit of fret wear.

I agree with what these guys say VVVV Because of the banjo wire and the diagonal frets it can look alarming when you first see it but it looks worse than it is. I was never really a heavy left hander with that bass, and while I did play it extensively for 3 years, I think those frets have plenty of life in them, unless you've been really digging in. My Z has gotten more play than that bass in the 6 years I've had it, and I'm not even contemplating a recrown.

Fret wear is extremely visible on fanned frets, but not greater or faster. Those frets are pretty durable.

When I removed the neck on my AB-1 sixer to install Luminlay side dots, it looked like there was a lot of wear on a few frets in the first position. I gave them a few gentle swipes with some fine sandpaper
and a polish with steel wool. Just like new. It looked much worse than it was. Very different from the narrow indents of worn frets on straight basses.

Actually, it's pretty much stepping back INTO my comfort zone.

I grew up playing a bit of everything, but being most comfortable and effective playing prog rock, folk, and theatre music.

I've been on an often frustrating journey since about 2007, learning how to become more proficient at straight-ahead rock, in order to fit in with modern worship and roots music.

This is my first time at music camp in years, and the transition has been quite the challenge. Thankfully, my chops seem to be coming back pretty quickly.

Note to self: got to find more gigs like this back home. It's sobering to realize that I'm gigging more at the moment than I have in years, yet a whole subset of my skills has been allowed to atrophy.

I actually bought my first Dingwall at a point when I needed to relearn my technique. It wasn't awful, but I had a skin condition that made the tips of my fingers literally fall apart. I was not a heavy player or a pounder or a 'digger'. For years I had to glue my fingers back together since I couldn't play with tape or any other such stuff. It effected both right and left hands and while not caused by playing bass, it made playing bass more similar to playing a cheese grater.

I moved to playing basses with extremely low action and worked hard to play as softly as I could. From there, I moved to Dingwall. I figured moving from 4 to 5 would MAKE me woodshed on a bunch of levels. I also knew the reputation for very low action. I also figured that having a string spacing that was a bit more narrow would make me work on my right hand precision, so I could play 'fast and tight'. Having the Dingwall did all this for me, and most players comment on how they're surprised at how lightly I play yet still get good tone and attack.

The big PS in all this is that after over a decade of dealing with shredded fingers, visits to dermatologists, doctors, testing and no results...it went away. I went on a diet to shed the extra pounds and cut out most of my carbs. It cleared up my hands entirely. Later I did some follow up research and found that others have had the same thing happen.

 

[steve_rolfeca]

Why


Why is this?

Put a half-dozen Dingwall guys in the same room, and you'll probably get six different answers.

I think the P-tone pickup voicing is probably a little more forgiving, with the fatter low end.

I also find the narrower spacing on the ABZ less tolerant of sloppy technique.

To use a footwear analogy, the Supers are like a comfortable pair of trainers, and the ABZ is more like a pair of racing shoes.

 

[CL400Peavey]

I agree with what these guys say VVVV Because of the banjo wire and the diagonal frets it can look alarming when you first see it but it looks worse than it is. I was never really a heavy left hander with that bass, and while I did play it extensively for 3 years, I think those frets have plenty of life in them, unless you've been really digging in. My Z has gotten more play than that bass in the 6 years I've had it, and I'm not even contemplating a recrown.

I am not worried about it. I dont own basses to not be played.

 

[BurningSkies]

I am not worried about it. I dont own basses to not be played.

At some point in time I've bothered Sheldon with similar questions. Including things like rusty neck bolts. The ones you have are 'upgrade' neck bolts. I found that my sweat ate through the finish on the standard issue bolts. Sheldon sent me 2 sets, one chrome set (same as SJ series) and one that were 'hand treated/finished'. For a year or so, I ran with 2 of each of those until I started rusting the chrome set. The hand treated ones are what you ended up with.

On my Z, I noticed that the frets were discoloring/greening way more than the AB and again Sheldon and I discussed. The formula on my Z have more copper content and therefore act differently...at some time between 2005-2008 they changed suppliers and/or sourcing.

 

[CL400Peavey]

At some point in time I've bothered Sheldon with similar questions. Including things like rusty neck bolts. The ones you have are 'upgrade' neck bolts. I found that my sweat ate through the finish on the standard issue bolts. Sheldon sent me 2 sets, one chrome set (same as SJ series) and one that were 'hand treated/finished'. For a year or so, I ran with 2 of each of those until I started rusting the chrome set. The hand treated ones are what you ended up with.

On my Z, I noticed that the frets were discoloring/greening way more than the AB and again Sheldon and I discussed. The formula on my Z have more copper content and therefore act differently...at some time between 2005-2008 they changed suppliers and/or sourcing.

I did have to scrub a lot of green off the frets with a soft cloth. Between that and cleaning the fingerboard up, it made the wear stand out on the frets. I would keep playing till the frets were gone, because I love the bass so much.

 

[singlemalt]

Another total revamp of right hand technique here. The clarity and range of expression was an instant revelation. Exploiting the goodness to full effect is a never ending, mostly pleasant, journey.

Like life, the more I lighten up, the better it gets.

 

[ustabawannab]

I don't know yet. Depends on if a Sklar were to show up.

I've got an Elrick Gold Evo 5 coming. Yet another Canada luthier with a letter on the headstock!

As soon as I figure out what tonal palette that adds to the SJ5, I'll decide if I can buy used/off the rack or call Barry and ask him to sharpen his pencil.

Did you see Stew Lyons' Sklar in the classifieds?

 

[Zoomie]

Wait... you stopped sounding like that?

Actually, yes. I am playing better than I ever have. Didn't say it sounded good. Just that I'm playing better than I ever have.

 

[Zoomie]

Did you see Stew Lyons' Sklar in the classifieds?

Yes. The issue is will my technique allow me to play directly over pick ups as the design stips. I hate when my fingertips drag pick ups. Signed, your friendly neanderthal.