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Dingwall Owners Club

#8,581
BuffaloBob4343 said:
So of course, the only real question is, when will number 5 begin gestation!!:D:smug::woot::bassist::laugh:
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Actually, my Super Perfect sonic blue precision is my fifth Dingwall bass, I just don't own my first one any longer. :) Still no funds for number six. I can't win the lottery because I don't play. :D I'm quite happy playing a different Dingwall each Sunday of the month. It would be awesome if I had one of the new FD-3 equipped SJ's for the occasional month with five Sundays, but I'll survive somehow...:roflmao:

Hey - what did you think about the reverse pickup orientation on your SP?
 
#8,582
spiritbass said:
Hey - what did you think about the reverse pickup orientation on your SP?
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You weren't asking me, but I'll answer anyway. :)

I much prefer the standard orientation of the P when it's soloed (fatter, more in-your-face). But when the pickups are combined, I like the sound better with the reverse P (more open, less "synthy" sounding). Since I mostly like the P sound, I went with standard. But I have both pickguards, so I'll switch back at some point to see how I feel then.
 
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#8,583
spiritbass said:
Actually, my Super Perfect sonic blue precision is my fifth Dingwall bass, I just don't own my first one any longer. :) Still no funds for number six. I can't win the lottery because I don't play. :D I'm quite happy playing a different Dingwall each Sunday of the month. It would be awesome if I had one of the new FD-3 equipped SJ's for the occasional month with five Sundays, but I'll survive somehow...:roflmao:

Hey - what did you think about the reverse pickup orientation on your SP?
Click to expand...
Hey, you can't count the one that's no longer in the harem!!

The jury is still out for me on the reverse P versus standard. I know what smeet means when he says synthy for the standard orientation (I think). I call it a touch of the grind. However, the reverse surprised me a bit in the way the upper register sort of retreats to the background (maybe a bit more than I like), although I do like the low end a lot, as I agree with smeet that it becomes less grindy or synthy if you prefer.

I am about to order a Baer ML115, and I have a feeling that the flavor of Roger's cab with it's somewhat mid forward response will add just enough of the upper mid back on the reverse that I'm going to really like it. But we shall see. I also haven't had much chance to play with my amp settings, but I do find myself rolling the tone toward the more treble side to reveal a bit more upper end. Also, it may be only my own ear as I'm on stage. I would like to hear it in the mix because it may be that it sounds really good out front.
 
#8,585
Early on, I wasn't really into the combustions. But Sheldon, as usual continues to refine and innovate everything he does, and now these Nollys really have my attention. That is one beautiful Black & Maple wet dream right there!

If that was anywhere near me, I would without a doubt have to check it out!!

silky smoove said:
Just left Bass Northwest here in Seattle, where I played this Nolly: http://bassnw.com/New Exotic Basses/dingwall_combustion_ng2_black.htm

I always see metal-guy demos of these Nolly models, which is understandable given its namesake, but I was really impressed despite not being a metal guy. Certainly an aggressive character to the bass, but well balanced and the Darkglass EQ could take it to a lot of different tonal places.

This has probably been discussed ad nauseum, but in really torn between a Combustion, now a Nolly, and just going for it with an ABZ with 3-band EQ. Tough decision.
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#8,590
BuffaloBob4343 said:
Hey, you can't count the one that's no longer in the harem!!

The jury is still out for me on the reverse P versus standard. I know what smeet means when he says synthy for the standard orientation (I think). I call it a touch of the grind. However, the reverse surprised me a bit in the way the upper register sort of retreats to the background (maybe a bit more than I like), although I do like the low end a lot, as I agree with smeet that it becomes less grindy or synthy if you prefer.

I am about to order a Baer ML115, and I have a feeling that the flavor of Roger's cab with it's somewhat mid forward response will add just enough of the upper mid back on the reverse that I'm going to really like it. But we shall see. I also haven't had much chance to play with my amp settings, but I do find myself rolling the tone toward the more treble side to reveal a bit more upper end. Also, it may be only my own ear as I'm on stage. I would like to hear it in the mix because it may be that it sounds really good out front.
Click to expand...

Roger makes my favorite cab (ML-112) of conventional design. Mike Arnopol makes my favorite cab (MAS 110 Flex).
 
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#8,592
I enjoyed playing through the combination of a Walkabout and an ML-112 for about a year. Earlier this year, I snagged one of the first 110 Flex cabs that Mike produced after the prototype. The Flex utilizes two of the same mid-drivers that Roger uses in his cabs. The 'flexible' part is the crossover, which allows for three different levels for the mids, tweeter on/off, and a switch which places the woofer in or out of phase with the mid/high section. These features in combination with the cab's amazing dispersion and the fact that it is much less affected by room nodes (peaks or valleys in response) made the choice easy (the ML-112 moved along to a new home) when I played them side-by side. I've been playing with the tweeter off for weeks. This lets the mid drivers sing all the way up to 8k. Beautiful, articulate, punchy, and more 'revealing' than any other cabinet that I have experienced. :cool: My GAS-ending rig:

P1140011_zps98b8e01a.jpg
 
#8,594
Just so you know that the new Socionic record is not all crushingly heavy, here's a taste of one of the more ambient tracks...recorded with my Super PJ straight through my pedal board into the interface, can't wait to give both it and the 3X SJ a spin through my new REDDI when recording the REAL tracks ;)



Also, a big thank you to everyone who has contributed to the campaign so far, we're off to a great start!

Invalid Link Removed
 
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#8,595
MDBass said:
Just so you know that the new Socionic record is not all crushingly heavy, here's a taste of one of the more ambient tracks...recorded with my Super PJ straight through my pedal board into the interface, can't wait to give both it and the 3X SJ a spin through my new REDDI when recording the REAL tracks ;)
Click to expand...

That recording already sounds really good!
 
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#8,597
Well, I used to move a Peavey Classic 400 -- your Reeves is a bantamweight in comparison.

As much as I love the tone of those Reeves amps, my Fender Studio was MUCH more affordable.

And I'm not playing enough to justify gear of that caliber--granted, my Dingwall is an indulgence, but I foresee playing Dingwalls for as long as I'm a bassist.
 
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#8,598
Interesting for sure. So, do actually play this rig in a band? Have you had a chance to hear it from out front while being played in a mix? Do you have any sound clips?

Is that Reeves an all tube head?

How much does a 110 flex cab cost? How do you know whether to put the bottom out of phase with the top (Can you hear the difference from where you stand when playing it?).

I'll see if I can come up with any other questions later!:woot:

spiritbass said:
I enjoyed playing through the combination of a Walkabout and an ML-112 for about a year. Earlier this year, I snagged one of the first 110 Flex cabs that Mike produced after the prototype. The Flex utilizes two of the same mid-drivers that Roger uses in his cabs. The 'flexible' part is the crossover, which allows for three different levels for the mids, tweeter on/off, and a switch which places the woofer in or out of phase with the mid/high section. These features in combination with the cab's amazing dispersion and the fact that it is much less affected by room nodes (peaks or valleys in response) made the choice easy (the ML-112 moved along to a new home) when I played them side-by side. I've been playing with the tweeter off for weeks. This lets the mid drivers sing all the way up to 8k. Beautiful, articulate, punchy, and more 'revealing' than any other cabinet that I have experienced. :cool: My GAS-ending rig:

P1140011_zps98b8e01a.jpg
Click to expand...
 
#8,599
I play with a praise team (almost) every Sunday. I'm the only bass player, so I don't get a chance to 'go out front'. No sound clips at present. I should bring my Zoom and record us sometime. The Reeves is all-tube and very similar to the old HiWatt amps as they were designed by the same guy (Jim Reeves). The phase settings are noticeable standing next to it. The in-phase setting is fat and full on the bottom. When you put is out of phase, the bottom thins a little and shifts the bass emphasis a little higher. Because of the unique dispersion, I can stand to the side of the cabinet and still hear everything. Another aspect of the MVW cabs is that the bass projects much further out (before dropping off) compared to a conventional sealed or ported cabinet. They have the low end extension of a ported cab and the punch of a sealed cab. Way cool. It was a revelation to my ears when I heard how good my B-strings sound when I started playing through mine. :cool: I'm not trying to turn this into a BigE thread - it's all Bob's fault! :) :) :)
 
#8,600
You can blame me Ken, I can handle it!

Thanks for the info. BTW, I don't think it's a punishable offense to stray here and there if it's at least related to making Dingwalls sound awesomer!!

And definitely do the recording!

spiritbass said:
I play with a praise team (almost) every Sunday. I'm the only bass player, so I don't get a chance to 'go out front'. No sound clips at present. I should bring my Zoom and record us sometime. The Reeves is all-tube and very similar to the old HiWatt amps as they were designed by the same guy (Jim Reeves). The phase settings are noticeable standing next to it. The in-phase setting is fat and full on the bottom. When you put is out of phase, the bottom thins a little and shifts the bass emphasis a little higher. Because of the unique dispersion, I can stand to the side of the cabinet and still hear everything. Another aspect of the MVW cabs is that the bass projects much further out (before dropping off) compared to a conventional sealed or ported cabinet. They have the low end extension of a ported cab and the punch of a sealed cab. Way cool. It was a revelation to my ears when I heard how good my B-strings sound when I started playing through mine. :cool: I'm not trying to turn this into a BigE thread - it's all Bob's fault! :) :) :)
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