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Dingwall Owners Club

#10,223
spiritbass said:
This is the original voodoo (cello) body shape. With those Barts, it may be pre-fire. I don't see anything iffy with the auction other than the seller didn't bother to measure the B string. I think it'll end up selling for much more than $2k. If the seller will inform you of its S/N, Sheldon could tell you more about it.

I jumped into Dingwall-land in 2007 with a wonderful 8lb alder/maple/wenge ABI. I played it for about a year before starting an order for a Z3. Long story short, the Z3 order got changed to a chambered alder/maple/morado SJ/P4 which happens to be the most perfect bass guitar that I have been blessed to play. After playing both for another year, the ABI was auctioned off to fund a SJ/P5. I prefer the 19mm spacing, the tones, and the comfort of my medium scale Dingwalls. :)
Click to expand...
Maybe a minor point, but any thoughts on alder/maple/morado for the SJ/P4 versus ash/maple/morado for the SJ/P5 and if chambering seems to add resonance as well as weight reduction?
 
#10,224
5StringPocket said:
Maybe a minor point, but any thoughts on alder/maple/morado for the SJ/P4 versus ash/maple/morado for the SJ/P5 and if chambering seems to add resonance as well as weight reduction?
Click to expand...

Hmm, Golden Delicious versus Jonathan? Both can be very tasty. I can't testify to any sonic effect of chambering. I know wood makes tonal differences, but each piece is different. Playing both in active mode, the alder/morado SJP4 had (this SJ/P5 now lives in Florida) a brighter, more pleasing presence (counter-intuitive?) than the ash/maple SJ/P5 and warmer in the low end. This SJ/P five was a tonal beast. The B and E strings were exceptionally clear. There is no mix that it could not dominate. It would have been interesting to hear what it would have sounded like with a morado board. Between the two, I prefer the less aggressive and warmer tones of my ash/maple/morado SJ5. This and my desire for another nice tube amp (Shaw B-150) led me to find it another home. Both of my favorite jazz basses have maple/morado necks, I like alder and ash, and Sheldon makes killer basses. These are three facts that I can attest are true. :cool:

Said beast:

6Wq2y3x.jpg
 
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#10,229
Another fine Dingwall fEarful combination!

I'm finishing up a second fEarful 12/6 cube, mirror image to the first. Genz Benz Streamliner 600 runs the pair.

I turned most of my pedals into cash this summer. The survivors of the great pedal purge were the Zoom B3, the Ovnilab Smoothie compressor, and the MXR M-80 I use for a di.

The B3 is like a Swiss Army knife. It sits on my desk, powered by the USB port on the Mac. Drum machine, looper, fx, tuner, free editor software makes it a breeze. Best $150 piece of gear ever.
 
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#10,230
Does anyone else frequently find themselves placing their fretting hand behind the nut when playing on the first few frets of the B and E strings? For the most part I don't need to but I have a song where I slide up to 7th fret A string and then come back down quickly for a few notes on the E string before sliding back up. I noticed I was having some consistency issues until I started forcing my fretting behind the nut into the curve of the headstock. This was strange at first but I'm warming to it now. Just curious if others have noticed this or not.
 
#10,231
pravus said:
Does anyone else frequently find themselves placing their fretting hand behind the nut when playing on the first few frets of the B and E strings? For the most part I don't need to but I have a song where I slide up to 7th fret A string and then come back down quickly for a few notes on the E string before sliding back up. I noticed I was having some consistency issues until I started forcing my fretting behind the nut into the curve of the headstock. This was strange at first but I'm warming to it now. Just curious if others have noticed this or not.
Click to expand...
Try pulling your elbow into your side when you reach down there
 
#10,232
singlemalt said:
Another fine Dingwall fEarful combination!

I'm finishing up a second fEarful 12/6 cube, mirror image to the first. Genz Benz Streamliner 600 runs the pair.

I turned most of my pedals into cash this summer. The survivors of the great pedal purge were the Zoom B3, the Ovnilab Smoothie compressor, and the MXR M-80 I use for a di.

The B3 is like a Swiss Army knife. It sits on my desk, powered by the USB port on the Mac. Drum machine, looper, fx, tuner, free editor software makes it a breeze. Best $150 piece of gear ever.
Click to expand...

Thanks! Right now I'm looking at keeping tunner > cali76tx > subt > oxide>xerographe Deluxe. That's it!.. probable with a blender... I can't seem to part with my comp. Not sure why!
Eric
 
#10,234
Just been watching a demo of the Combustion NG2 and, aside from the quality of the playing, I don't really hear a huge difference between that and my Combustion V4. To be expected, I suppose, as they come from the same family but I was surprised that the tone was so similar. I went for the standard model as I did not want a glaring paint job and thought I needed the wider spacing of the pickups for tonal variety, although I have since found that I prefer the series option and just stick with that. Still astounds me that a basic bottom of the line production model and manufactured overseas can sound so good, other manufacturers could learn a lot from this.
 
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#10,235
Tim1 said:
Just been watching a demo of the Combustion NG2 and, aside from the quality of the playing, I don't really hear a huge difference between that and my Combustion V4. To be expected, I suppose, as they come from the same family but I was surprised that the tone was so similar. I went for the standard model as I did not want a glaring paint job and thought I needed the wider spacing of the pickups for tonal variety, although I have since found that I prefer the series option and just stick with that. Still astounds me that a basic bottom of the line production model and manufactured overseas can sound so good, other manufacturers could learn a lot from this.
Click to expand...


I took the pick guard off my combustion and moved the pickup between both configurations. There is a noticeable difference in tone.

You also have to consider that when you listen to a recording, you are hearing a lot of the recording technique.
 
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#10,236
CL400Peavey said:
So I am considering another build... I already have a AB1, and a Combustion. I had been considering a ABZxxx or a SJ5xxx, but I think the ABZ is getting nudged out by the idea of a Z3....

Thoughts from the brain trust?
Click to expand...
IIRC, you like a somewhat "meaty" neck profile.
If that recollection is correct, the Z-series neck might be too streamlined for your taste.

How do you like the feel of your Combustion vs. your AB?

Personally, my Z2 was the fastest and most comfortable bass I'd ever played on, and my AB was a bit more beefy, without feeling thick.
The Combusion felt "thick" to me, but I haven't touched one in 3-4 years, so that recollection might not match current production.

But the Z2 had a hotrod feel to it; definitely suitable for the Sklar paint jobs...
 
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#10,237
Tim1 said:
Just been watching a demo of the Combustion NG2 and, aside from the quality of the playing, I don't really hear a huge difference between that and my Combustion V4. To be expected, I suppose, as they come from the same family but I was surprised that the tone was so similar. I went for the standard model as I did not want a glaring paint job and thought I needed the wider spacing of the pickups for tonal variety, although I have since found that I prefer the series option and just stick with that. Still astounds me that a basic bottom of the line production model and manufactured overseas can sound so good, other manufacturers could learn a lot from this.
Click to expand...

CL400Peavey said:
I took the pick guard off my combustion and moved the pickup between both configurations. There is a noticeable difference in tone.

You also have to consider that when you listen to a recording, you are hearing a lot of the recording technique.
Click to expand...

Having owned both, there is a huge tonal difference between the two...one of the many reasons why the XXX basses are so incredible :thumbsup:
 
#10,239
Tim1 said:
That is interesting to know, thanks. Must be the limitations of listening on computer speakers then :)
Click to expand...

Either that or a combination of recording process and post production, likely all three, and you can always pop your pickguard off and move to pickups to hear the difference yourself
 

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