Maybe if you weren't one of them little wimpy, 35" scale playing guys with the little baby fingers I could take those off your itty bitty hands!
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Dingwall Owners Club
- Thread starter FroggyOne2
- Start date
Maybe if you weren't one of them little wimpy, 35" scale playing guys with the little baby fingers I could take those off your itty bitty hands!
I'm just jealous of all your Super P owners. I'm dreaming of one, maybe fretless, probably 5 strings, definitely with the FD3, obviously in custom orange paint job. Someday.
Right now I am down to being just an SJ5 owner. I cant put the stupid thing down. And believe me I have tried !
I am going to break down and finally listen to the all SJP5 owners and just make the conversion happen.
Theres not enough SJXXX out there yet to make me jealous of the Super J owners, but I'm betting that time is coming soon.
EDIT: There's a candy red ABiXXX on the Dingwall Facebook that I definitely fell for. Too bad I have no moneys.
EDIT: There's a candy red ABiXXX on the Dingwall Facebook that I definitely fell for. Too bad I have no moneys.
You just need to take the plunge. The extended scale isnt hard to deal with. And man that B string.....
That's the one thing that's made me keep my ABZ and not sell it so I can pick up one of the few Super P's that's out there, on the shelf somewhere. The low B is just amazing, there is not another bass out there with that kind of clarity between B and E. I very rarely drop the B to A just for kicks.
I've got a new Dingwall logo strap I would swap for nickel super j strings. Great strap, but turns out I like my 4" Italia better. Pm me if any one wants to do a swap or buy it outright.
I did take an inch or so off the end, and cut a new hole.
I did take an inch or so off the end, and cut a new hole.
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I think what's happened here is the mechanical components of the volume control and mid switch have corroded due to the salty sea air in Singapore and sitting unused. The bass in question is a 2010. If it's new then it hasn't seen much use. We're in contact with the dealer to figure out the best plan of action. Fortunately pots and switches are replaceable.
MDBass
Supporting Member
- Nov 7, 2012
- 8,590
- 14,892
- Disclosures
- Endorsing Artist: Dingwall-Fender-Bergantino-Dunlop-Tech 21-Darkglass-Nordstrand
That 'tech' is a hack. The volume pot is totally unrelated to the preamp and can easily be changed out if faulty or corroded, and a mid selector pot/switch can also be easily changed out without 'changing the entire preamp'.
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I'm not familiar with any other onboard 3-band pre's that are Bass/Mid/Mid, only Bass/Mid/Treble. All I can say is that the frequencies were chosen by Nolly to work with his tone. When you boost the high mids you get cut without the trebles getting too buzzy. The Q width is such that when you cut the high mids it sounds a lot like a passive tone control.
When I first tried the prototype pre-amp I really liked the bass control. It reminds be of an OBP-1. The mids took me a while to get used to. They seemed a little harsh through our Eden cab (it has a horn and is already bright enough). It wasn't until I tried them through our EA 112 cab that I realized how cool they are. They interact so well together it's amazing how useful the system is.
I guess I missed the part where it's a bass and 2 mid bands without treble. I thought there was a treble band on there. Sounds interesting, so now I can definitely see the appeal!
Was the preamp a prototype developed by Nolly with Darkglass separately, or did you guys at DW HQ have a hand in it too?
MDBass
Supporting Member
- Nov 7, 2012
- 8,590
- 14,892
- Disclosures
- Endorsing Artist: Dingwall-Fender-Bergantino-Dunlop-Tech 21-Darkglass-Nordstrand
Doug from Darkglass designed it...it's essentially the three bands from the EQ section of the B7K with additional tweaks to their parameters based on Nolly's requests
Per Doug from a similar question on the Darkglass thread:
"Just the high mids (same as B7K high mids). The mids are the same circuit as the low mids on the B7K just with different values to get the exact frequency Nolly wanted and the Low has some tweaks compared to the B7K as well
."
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Doug did the design work. Spencer was involved in the manufacturing logistics. Nolly had input on the frequencies. I had input on mechanical things like module size, pots etc. I lobbied for the bass/mid/mid concept although the idea came from an off hand comment from Mark Stickley at supper one night. It was a really fun project to be involved with.
MDBass
Supporting Member
- Nov 7, 2012
- 8,590
- 14,892
- Disclosures
- Endorsing Artist: Dingwall-Fender-Bergantino-Dunlop-Tech 21-Darkglass-Nordstrand
Many emails with Barry later, and the V4 combustion is a go. Is it March yet?
I believe the Super P5 is not very common, and even less so with a bridge pickup, so I thought I would make a brief note of my impressions for anyone that is curious. I got a Super P a few months ago, and recently had a bridge FD3 installed. I ordered both the standard and reverse P pickguards so I could try both configurations.
The P sound is really amazing on these basses, very even over the whole range, with a nice midrange thickness. It sounds like a nice "P", but it's quite different from a Fender. The high end is very smooth and seems to lack the Fender upper-mid bump, so it doesn't have the characteristic "clank" of a Fender P. The low end is very defined, so it doesn't get wooly even with the tone rolled off. These are both good things, but it's a bit unexpected at first, and requires a bit of a different touch than most Fender P's. My impression so far is that overall it's not quite as aggressive as some Fenders can be, due to the smoothness in the high end. The low end is strong, but because of the note definition, it actually sounds less bassy than most Fenders. All round, basically it has a wide frequency range, but because of the warm quasi-vintage sound, it doesn't sound like it.
For my taste, I much prefer the standard P configuration over the reverse-P. This may be because the low end is already tight, and the reverse configuration emphasizes that. The standard configuration just sounds more muscular, and doesn't lose any definition on the low notes. Also, the reverse-P route moves the entire pickup a bit (a bit more than 1/4" maybe) closer to the neck, and I like the sound of the sweet spot. This is also why I'm glad I have the J/P rather than the P/J, which I believe has the P closer to the neck.
That's all just with the P pickup soloed. With the bridge pickup, you get 3 more positions to play with (serial, parallel, and bridge soloed). They all sound great, I so far generally use the P or parallel (I think, it's positions 1 and 3) positions. For a passive bass, the range of tones is amazing, and the tone control is very effective at going from bright to midrangey to thick and dark.
One more note - I just put on my first set of Dingwall strings (the nickels) and they really brought the bass to life. They have enough bite that I can get that Fender "gank" when needed, and the parallel slap and finger tones are great. The parallel slap tone is a bit more "synthy" sounding with the regular P, where the reverse P made it a bit more "open", but they both wound great.
It's currently my #1 player. I might even consider putting in a preamp sometime, but for now it's just about perfect as it is.
The P sound is really amazing on these basses, very even over the whole range, with a nice midrange thickness. It sounds like a nice "P", but it's quite different from a Fender. The high end is very smooth and seems to lack the Fender upper-mid bump, so it doesn't have the characteristic "clank" of a Fender P. The low end is very defined, so it doesn't get wooly even with the tone rolled off. These are both good things, but it's a bit unexpected at first, and requires a bit of a different touch than most Fender P's. My impression so far is that overall it's not quite as aggressive as some Fenders can be, due to the smoothness in the high end. The low end is strong, but because of the note definition, it actually sounds less bassy than most Fenders. All round, basically it has a wide frequency range, but because of the warm quasi-vintage sound, it doesn't sound like it.
For my taste, I much prefer the standard P configuration over the reverse-P. This may be because the low end is already tight, and the reverse configuration emphasizes that. The standard configuration just sounds more muscular, and doesn't lose any definition on the low notes. Also, the reverse-P route moves the entire pickup a bit (a bit more than 1/4" maybe) closer to the neck, and I like the sound of the sweet spot. This is also why I'm glad I have the J/P rather than the P/J, which I believe has the P closer to the neck.
That's all just with the P pickup soloed. With the bridge pickup, you get 3 more positions to play with (serial, parallel, and bridge soloed). They all sound great, I so far generally use the P or parallel (I think, it's positions 1 and 3) positions. For a passive bass, the range of tones is amazing, and the tone control is very effective at going from bright to midrangey to thick and dark.
One more note - I just put on my first set of Dingwall strings (the nickels) and they really brought the bass to life. They have enough bite that I can get that Fender "gank" when needed, and the parallel slap and finger tones are great. The parallel slap tone is a bit more "synthy" sounding with the regular P, where the reverse P made it a bit more "open", but they both wound great.
It's currently my #1 player. I might even consider putting in a preamp sometime, but for now it's just about perfect as it is.
