OK, if you insist! My vintage ABII w/ Mahogany body, FD1s and push pull knobs for the Active/Passive and BluEqube.
That is very nice Bob! I love it, what is the wood used for the neck and the top?
Randy
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Dingwall Owners Club
- Thread starter FroggyOne2
- Start date
That is very nice Bob! I love it, what is the wood used for the neck and the top?
Randy
I was thinking that it was, but by not being totally sure, I didn't want to just jump out there and make a guess. I just got a Spector 4 banger with a bubinga top on it. It needs some work, but will be much nicer when I am done with it.
Yeah, that light was kind of subdued, but it shows off the detail of the grain better than bright sunlight, which looks very different:
Nice grab on the Spector BTW. I don't think I've ever seen one with bubinga (hint, hint
)
Yeah, that light was kind of subdued, but it shows off the detail of the grain better than bright sunlight, which looks very different:
Nice grab on the Spector BTW. I don't think I've ever seen one with bubinga (hint, hint
Those are great photos too.. bubinga has such an aura to it, soft but yet it still gives a bass an aggressive look to it!
As for the Spector, it is a Legend Custom model, it is a Korean built bass, but the neck pocket is nice and tight, and the neck is nice and streight, the frets need a little tune up on the ends and it needs better pups and electronics in it. I got it in a trade at the music store that I deal with all the time, Chris the owner wanted my HT-310, and since he offered the bass plus the balance of my store tab (which was not cheap) for the cab, I had to say..yeah! I really came to not liking that cab very much at all. So I don't feel bad about it. When I am done working it over, I will then post some pics of it.
For those of you that have not found the other Dingwall thread. Here it is.
http://www.talkbass.com/forum/showthread.php?t=393286
http://www.talkbass.com/forum/showthread.php?t=393286
Here is a pic of the Dingwall family when it only had 11 members
More pics when be seen here
http://www.talkbass.com/forum/showthread.php?t=345957
More pics when be seen here
http://www.talkbass.com/forum/showthread.php?t=345957
Attachments
You know.. there are some folks that will claim that you can only play one at a time! So, let me ask, how do you choose? And, which one is your fave?
Randy
There are few favorites. I will just point out the individual nuances that I like from my very very favorite ones
"Uber Alles": huge tone, very complex mids with great upper mid attack
"Transparent": very airy sounding, cuts through every mix without dominating (unless I choose so)
OMT Z1: most growly Dingwall, yet it can be very smooth and crystaline
Villex-loaded Voodoo: (Villex "Classic" loaded) most huge lows, different timbres accross the strings
"Brazil": Very full and compex mids (more spread than the "Uber Alles"
Emerald Green: (Villex NVT loaded) "wider" sounding than the Villex-loaded Vodoo, yet very versatile and totally different
First ever Prima Artist: it's the most comfortable 6 I've ever tried and the sound is on par with the rest of the herd.
Z2: just had FD3s retrofitted last week and it's the dream MM style bass (growl wise) and then some
Prima Artist 5: a joy to hold, play and listen
Choosing 9 out of 19 proves that it's very hard not be spoiled from the quality of Sheldon's masterpieces of functional high end art
The rest of the Dingwalls (or Done-well as a friend calls them) offer different sounds that I am still applying in different settings and bands. All Dingwalls get their workout in rotation (very few of the conventional basses get as much workout as my Dingwalls)
"Uber Alles": huge tone, very complex mids with great upper mid attack
"Transparent": very airy sounding, cuts through every mix without dominating (unless I choose so)
OMT Z1: most growly Dingwall, yet it can be very smooth and crystaline
Villex-loaded Voodoo: (Villex "Classic" loaded) most huge lows, different timbres accross the strings
"Brazil": Very full and compex mids (more spread than the "Uber Alles"
Emerald Green: (Villex NVT loaded) "wider" sounding than the Villex-loaded Vodoo, yet very versatile and totally different
First ever Prima Artist: it's the most comfortable 6 I've ever tried and the sound is on par with the rest of the herd.
Z2: just had FD3s retrofitted last week and it's the dream MM style bass (growl wise) and then some
Prima Artist 5: a joy to hold, play and listen
Choosing 9 out of 19 proves that it's very hard not be spoiled from the quality of Sheldon's masterpieces of functional high end art
The rest of the Dingwalls (or Done-well as a friend calls them) offer different sounds that I am still applying in different settings and bands. All Dingwalls get their workout in rotation (very few of the conventional basses get as much workout as my Dingwalls)
Villex-loaded Voodoo: (Villex "Classic" loaded) most huge lows, different timbres accross the strings
That one out that list, prob would be the one I would like!
The lows on the Villex-loaded Voodoo are huge but more old school and quite different compared with the FD3 and PA equipped Dingwalls. When I was playing at the Mama Africa Art Festival (Dub Incorporation and Max Romeo were the headliners) I chose this one for the tone needed for the gig. And the across the strings tonal balance is very different compared to the other Dingwalls
I need to add that Dingwalls have the best and most harmonically balanced tone ever. The Voodoo is even bigger sounding in the lows
I do like my AB I, but it is a little bright for my tastes, till I changed the pre in it. I feel it gave it some more heft in the low end department.
Please excuse another dumb question that dingwall owners are probably tired of answering. Because of the differing in scale lengths it looks like your right hand ends up much closer to the bridge on the G vs the B if you don't deliberately move towards the neck as you reach for the thin strings. Is it noticeable in practice or do you find you just make automatic adjustments? Ta.
If you start out real close to the bridge when playing the bigger strings, then yes, I have noticed that on a occasion. What I do is play where I want to play with respect to the bridge on the smaller strings, and may end up a bit further away from the bridge on the bigger strings. This works fine and I don't feel the need to consciously move up and down the strings longitudinally as I move up and down the strings vertically.
However, I will say that because I play using the floating thumb technique, the natural motion of my hand as it moves up and down the strings vertically actually follows with the angle of the bridge, so I suspect that I may naturally maintain a fairly constant distance from the bridge without thinking about it.
Thanks BB. The B is supposed to be so clear/tight on those things that it's probably not so bad that you end up a little further from the bridge on the low notes. That new stripped down GL afterburner caught my eye so I started wondering.
Who's got the oldest?
Mine is from '96 maybe earlier IIRC? From the original shop that burnt down(RIP).
I've had it since new from '97.
TONS of low-end & a breeze to play(9pc neck).
It was also an expo bass at NAMM(I have pics somewhere).
Here's 2 bad pics.
Kudos to Sheldon,
~S~
Mine is from '96 maybe earlier IIRC? From the original shop that burnt down(RIP).
I've had it since new from '97.
TONS of low-end & a breeze to play(9pc neck).
It was also an expo bass at NAMM(I have pics somewhere).
Here's 2 bad pics.
Kudos to Sheldon,
~S~
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