Anyone else think if my daughter had a little soul patch she'd bear a striking resemblance to the architect himself?
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Dingwall Owners Club
- Thread starter FroggyOne2
- Start date
Which pickup setting are you using for the Dingwall? For a growlier tonne, I recommend the parallel setting with a goose of the bass knob and perhaps a slight roll off on the treble. Of course', that is for a different dingwall with different electronics. But play with tthe parallel setting. It has sort of a jazz growl on my ABZ with Glockenlang Preamp.
Like wise, when I put the Tone Capsule in my AB1, I wired the pups in parallel. It can get just as "growly" as my Spector basses!
Not sure that's how this older Combustion works. There is a separate tone and volume for each pickup and a toggle. I believe the toggle is for active/passive, though I could be wrong.
Looking forward to tonight; first band rehearsal with the newly-transformed Z3.
Prior to routing, I messed with different combinations of the original Bartolini pickups, and the series option was undeniably best: bigger, bolder, and rounded off some of the trebly edges.
Then there was the question of how that combination would mix with the P-Tone.
The P-Tone has a DCR of 11.6 kOhms, and each individual Bartolini was more in the 5-6k range, so having them wired permanently in series was the only way that the Bartolinis would hold a candle to the P-Tone, in terms of output.
The P-Tone is also quite a bit brighter than that series Bartolini combination.
So between output and tonality, preserving a individual mixing between A/B/C just wasn't going to add anything useful. Therefore, my pickup options are A, ABC, or BC.
Those options come via a single blend pot.
I've had good luck with Bourns 'MN' taper blends, and this was no exception!
With the twist of a knob; it goes from a P-Bass to a StingRay -- my two favorite rock bass tones, on a fanned-fret, lightweight, ultra-playable bass.
And the blended options are really cool and avoid any significant volume loss at center.
Tonight will be the REAL test, but I'm confident that the mod was worth the effort.
[Edited for clarity]
Prior to routing, I messed with different combinations of the original Bartolini pickups, and the series option was undeniably best: bigger, bolder, and rounded off some of the trebly edges.
Then there was the question of how that combination would mix with the P-Tone.
The P-Tone has a DCR of 11.6 kOhms, and each individual Bartolini was more in the 5-6k range, so having them wired permanently in series was the only way that the Bartolinis would hold a candle to the P-Tone, in terms of output.
The P-Tone is also quite a bit brighter than that series Bartolini combination.
So between output and tonality, preserving a individual mixing between A/B/C just wasn't going to add anything useful. Therefore, my pickup options are A, ABC, or BC.
Those options come via a single blend pot.
I've had good luck with Bourns 'MN' taper blends, and this was no exception!
With the twist of a knob; it goes from a P-Bass to a StingRay -- my two favorite rock bass tones, on a fanned-fret, lightweight, ultra-playable bass.
And the blended options are really cool and avoid any significant volume loss at center.
Tonight will be the REAL test, but I'm confident that the mod was worth the effort.
[Edited for clarity]
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Wow, one blend pot? So you go from bridge, middle, to neck as the pot rotates with mixes of bridge-middle and middle-neck right? That seems like it would be quite versatile, but I'd look for the option of neck-bridge (mainly for slap parts).
Not quite; I'm treating the two original Bartolini pickups as one.
So, fully clockwise is P-Tone. Fully counterclockwise is series-wired Bartolini composite.
Put another way, I can isolate my P-Tone, but the Bartolinis are only available together.
Speaking of 3X, Sheldon was gracious enough to allow me to slightly change my SJ5XXX specs, and better yet, they will soon start production! We decided to add Macasser Ebony blocks to my transparent white, maple neck/board, black hardware, 3 parallel switch build.
Sheldon has asked if I want to retain the Luminlay side dots, I thought I'd let the brain trust here weigh in. My thoughts are that they are not really needed with the blocks. I've been playing long enough I don't spend much time looking at the neck, and don't see myself playing dark stages anymore. Still, they have a coolness factor and the cost is minimal, so what do you all think?
I put them on my order. I'll use them in dark theatres and other shows. For me, they were a cheap add on, so it became mroe of "why not?" then "why?".
IME side dots are more useful than face inlays, and the Luminlays would be even MORE useful.
Seems like a great "bang for the buck" addition.
Seems like a great "bang for the buck" addition.
I don't care for luminlay at all, but to each their own. Had them side and face on an MTD, and they didn't stay lit long enough to provide useful in a theatre pit and on top of that I thought they cheapened the look of the instrument. Side dots are more function than form, but if I was in your spot and thought I could go without, I'd go for the more traditional side dot material.
- Sep 3, 2006
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- Authorized dealer for Dingwall, Genzler, Phil Jones Bass, Cort, Traynor, Yorkville Sound
I ordered the ABII and the ABZ with the Luminlay side dots. But the SuperJ I did not add them and am still thinking of calling and have them added.
