Dingwall Owners Club

[NaH]

Guys...I really really like this bass. I spent the morning doing my regular unamplified exercises and just did a couple hours amplified. I'm really impressed with the tone, playability and quality of the build. This NG-2 is just as much a burner as any AB, Z or Voodoo. We go out again the first week of February, and I'll be taking this an no backups with confidence.

The neck is very comfortable and really replicates what I remember of my AB1, except the finish is really smooth and feels great, while the AB had the wax finished neck. The wood on the neck is really well matched and there's not any sign of seam-sprout. The maple is very nicely uniform without any standout funkiness visually. fretboard shoulder round is totally comfy

The finish is also uniform and without any imperfections that I've gotten on other import instruments. Neck pocket is tight tight, pickguard also doesn't have any 'play' in it's fit or cut. I don't have any problem with the new bridge. Seems to be solid, the saddles are chunky, but I also don't palm the bridge ever, so if you do, I can understand that the allen screw tops might not be as comfortable as the Z or AB bridges.

The bass came with a just a little relief in the neck (where I like it) and the action is Dingwall low. No buzzes or high spots. Fret ends are nicely treated and there's no sharp anything. It looks like someone's put some real attention to them. No sprout either but the bass is only a week out of the shop and I keep our relative humidity around 40% here in the house (plus or minus 5). The nut is clean and well cut, no sharp edges or weirdness. String tree has no loose screws. ; )

I wasn't sure I'd take to the Darkglass preamp, but it's actually a really interesting take on things and I think it probably will cover a lot of ground for people. I know some are worried about it really doing a 'modern rock or slappy/tappy thing and not much else...and I don't feel that way. Yes it does that (and well) but you can also get it to smooth out and round off really well. The 500hz mid (low/mid) is well implemented. If you want bring it up and you've got the high-mid flat or up a bit you get some aggressive snarly vibe from it (clean though). If you dial it back just a touch it smooths out your tone really nicely. Depending on where you have the high mid, it acts sort of as a 'clarity' control and you can ride it in small increments to control note definition. The low at 70 sounds really big. A little goes a long way. I'll have to play with this with my real rig on stage, but a bit of bump then working the low-mid control was most of what I was doing. It's got to be a fairly wide Q. The high-mid control at 2.8k is also nicely voiced. For most of what I do, I roll it off a lot, but in doing so it does preserve the stuff in the far upper treble range (Sheldon mentioned I may need to apply my amp's treble EQ in a slightly different way). But actually just a little bit up there is nice. Just a little bit of the percussive thing added in.

I found myself mostly in the neck/bridge parallel (which is not a surprise) but was surprised to find that the neck/middle series setting is totally useable as well...I ended up pulling out a little more of the 500hz and adding a little more low to fill it out and totally workable for standard finger style playing. I don't think anyone needs to be worried that this is only a bass for the heavier stuff.

Electronics are clean and clear, FD3's sound fantastic as usual... and I didn't experience any hums, buzzes or anything All up to snuff.

I like the charcoal-chrome hardware visually. It's got some shine and reflection but isn't silvery. I think it's a really good fit for the purple finish. I will say that the finish on the hipshot tuners has a little wave to it, I'd guess that's probably the closest you'll find to a negative to the instrument's aesthetics. But that's also I'm guessing the concession to pricepoint. They work just fine, and don't feel like they're any kind of downgrade though. I'm also probably going to drop on a set of the Dingwall shop-made rubber knobs. I just like them and am a creature of habit. I also put on a set of Dunlop straplocks. They make me feel more secure, and it means I can use my various straps interchangeably.

Some detail pictures for y'all. I apologize for the background...it was the best lighting in the house today. Note that this is an NG-2 (as labeled on the box) that's had a-post-factory aftermarket conversion by a qualified luthier. I can't speak to what the new 2018 model will do differently or any changes for that.

Thanks for the detailed review. I guess I envisioned the Darkglass to automatically add distortion, of which I don't want any. Sounds like there is plenty of clean in the dials?

 

[AB Nate]

Thanks for the detailed review. I guess I envisioned the Darkglass to automatically add distortion, of which I don't want any. Sounds like there is plenty of clean in the dials?

TONS of tonal options. I love the transparency of the glock but the time capsules has tons of clean beauty as well just more color(or maybe darkening!?!) I think.

 

[husky123]

Thanks for the detailed review. I guess I envisioned the Darkglass to automatically add distortion, of which I don't want any. Sounds like there is plenty of clean in the dials?

Yeah, the Tone Capsule is a clean machine. Now,
it does have a plethora of gain and will quickly drive your preamp (in your outboard amp) into clipping. This gives some the impression that the pre distorts but that’s not the case. If you’re going to run the TC boosted a bunch, you’ll most certainly have to adjust your gain staging down the line is you want you tone to stay pristine clean.

 

[xnewyorka]

Yeah, the Tone Capsule is a clean machine. Now,
it does have a plethora of gain and will quickly drive your preamp (in your outboard amp) into clipping. This gives some the impression that the pre distorts but that’s not the case. If you’re going to run the TC boosted a bunch, you’ll most certainly have to adjust your gain staging down the line is you want you tone to stay pristine clean.

One word of possibly counterintuitive advice: You definitely want to experiment with running your Bass tone control at settings between 0 and 5 (out of 10). For example, I have found that with heavy distortion, something between 0 and 2 sounds best. There is a ton of gain there if you want it, but you'll need to either back off the volume control or the amp input gain if you boost the bass, or you will distort and/or blow up speakers. If your equipment is up to the task, earth-shattering reggae tones are there for the asking.

Word to the wise: If you are unable to resist the temptation to let your right hand wander over to those tone knobs during a gig, you will have to do sound check with all knobs on 10, otherwise you will make an enemy of the sound guy pretty fast if you suddenly turn up the gain and radically overtake everything else in the mix.

 

[BurningSkies]

Thanks for the detailed review. I guess I envisioned the Darkglass to automatically add distortion, of which I don't want any. Sounds like there is plenty of clean in the dials?

It’s not a distortion. It’s a straight up EQ. It has more to do with how it emphasizes bandwidth and what those tonal zones suggest. The band choices are different what I’m used to but not in a bad way, just in a way that makes me adjust how I get what I want.

 

[BurningSkies]

For me, the first thing to lock in is the lows. From there it’s about making the stuff above that work effectively. So once I’m getting the 70hz range right I can jockey the stuff above that per song.

 

[BurningSkies]

One word of possibly counterintuitive advice: You definitely want to experiment with running your Bass tone control at settings between 0 and 5 (out of 10). For example, I have found that with heavy distortion, something between 0 and 2 sounds best. There is a ton of gain there if you want it, but you'll need to either back off the volume control or the amp input gain if you boost the bass, or you will distort and/or blow up speakers. If your equipment is up to the task, earth-shattering reggae tones are there for the asking.

Word to the wise: If you are unable to resist the temptation to let your right hand wander over to those tone knobs during a gig, you will have to do sound check with all knobs on 10, otherwise you will make an enemy of the sound guy pretty fast if you suddenly turn up the gain and radically overtake everything else in the mix.

It seems that the pre is at 0db when run flat. So it’s a matter of just being careful about how much boost or gain you apply to the different bands. For me, I boost the lows slightly but then rolling off the other bands to a lesser extent.

Basically once I have a low end profile I like, I can sculpt the stuff above that.

But my experience has been in recent times, plenty of people don’t know how to work a preamp on their bass which results in overdriving the input at the amp stage. I think the darkglass pre has plenty of clean adjustability within reason.

 

[AB Nate]

It seems that the pre is at 0db when run flat. So it’s a matter of just being careful about how much boost or gain you apply to the different bands. For me, I boost the lows slightly but then rolling off the other bands to a lesser extent.

Basically once I have a low end profile I like, I can sculpt the stuff above that.

But my experience has been in recent times, plenty of people don’t know how to work a preamp on their bass which results in overdriving the input at the amp stage. I think the darkglass pre has plenty of clean adjustability within reason.

Indeed.
I drive some pretty high powered rigs, not crazy massive mind you but my epifani 502 (500watts)is the little guy in the family and the svt 4 pro(mono bridged at 1600) is the largest. Throughout the 4 rigs used I've yet to overdrive the sound. I like clean sounds and don't used distortion of any kind currently and that said with the 2 NGs I've owned never pushed a rig beyond clarity.
The TC is a fantastic pre for many styles. I can't wait to get my fretless with it in it.

 

[Joeykun]

Being a Sadowsky JJ guy for the last 9 years, the tone of the NG2 is radically different. I ran thru all the settings but stayed with the Both Parallel setting. However, last night I soloed the Neck (or middle) pup with just a slight cut of the 500k knob and man did it sound great. Kind of like an aggressive P bass. Totally loved it. I am warming up nicely to the Dingwalls. Glad I ventured in!

Oh, and I got those Dunlop’s installed last night too. Thanks for everyone’s help. The soap trick worked perfectly!

 

[BurningSkies]

Being a Sadowsky JJ guy for the last 9 years, the tone of the NG2 is radically different. I ran thru all the settings but stayed with the Both Parallel setting. However, last night I soloed the Neck (or middle) pup with just a slight cut of the 500k knob and man did it sound great. Kind of like an aggressive P bass. Totally loved it. I am warming up nicely to the Dingwalls. Glad I ventured in!

Oh, and I got those Dunlop’s installed last night too. Thanks for everyone’s help. The soap trick worked perfectly!

If you have a Dingwall with both neck and bridge pickups, the parallel N/B is the closest to Jazz territory. Especially if the pickups are wired in parallel (if you have switches for your pickups). The FD3 running in series with another FD3 definitely has some beef, more of a super-split coil vibe...especially if the pickups are also internally in series.

The NG2 with both pickups in series setting is a cool thing, it's got body and thickness but there's some content in the mids that peeks out a bit more.

I'm really interested in hearing a P-Tone, since I prefer the FD's in series (internally) which I hear as being P-ish already.

 

[DiabolusInMusic]

Which tuners did you use as replacements? I put the USA Hipshots on mine but I can't get enough break angle to run it without the string tree.

I used the 3/8 USA Hipshots. Regular Dingwall nickle strings, standard BEADG tuning. Action set low, but not EXTREMELY low, because I dig in pretty hard at times. No buzzing on any open strings, as hard as I ever hit them.

I don't have a close up of the headstock, but will post one when I get home if you like. The strings are wound ALL the way down to the headstock, that gave me the break angle I needed.

I do not know how easily they could be retrofit but Hipshot will sell you Dingwall's custom, low-profile tuners that negate the need for a string tree. I used a set on my recent fretless Jazz build so I didn't have to use a string tree or angle the headstock to get the proper break angle.

 

[Charlzm]

Yea, I have to leave early due to a conflict on Sunday so won't be able to stay Saturday so will miss out on Saturday entertainment. Gonna try JT's Friday night; hope the beer is good.
I have an appointment at the Genzler Booth at 3 Thursday if you want to catch up. I already have the new slants and I would be glad to answer any question but there also is another cab being introduced that I want to check out there.

Last I heard, both Alva's shows are sold out. I got the last two for Sunday, I was told.

 

[bebass]

New combustion level d bird!

View attachment 2874047 View attachment 2874044

Those colors are enough of a turn off to make me pony up for the Canadian build, and get the Pelham blue.

The Canadians certainly have the advantage but I expect these will be extremely popular. Colors, unless they change, are White, Metallic Black, 2 Tone Vintageburst, Color Shift Purple. All the finishes are Matte I expect the aquamarine may come out as a special run, but I haven't heard yet.
Canadians have Wenge neck option which is how I will differentiate them. Of course hardware differences as well.

I "like" the shade shift purple one - but that metallic turquoise = FAIL. lol I know Sheldon was asking about colour feedback on Instagram. Those crazy colours (metallic turquoise) now pigeon-hole them into a smaller percentage of potential buyers that like those colours. Unique is different than gawdy....and that is how i describe those two colour combos IN that order. No offense - just my opinion.
Imagine...a guy walks into a music store...sees the shade shifter one and says "oh thats pretty cool!" Then his buddy walks up behind him and says "i hope you mean the purple one". Then, the poor turquoise one sits lonely on the rack for far too long until the music store has to discount it to unload it.....then that music store becomes more alert to crazy colours not selling and decides to keep the more traditional basses in stock that he can sell easier - it's unfortunately a biz that relys on first impression. I dont remember ever walking into a store and "wanting" to try an ugly bass to hear how it sounds. lol
Anyway - love that pic of the one @NaH posted - clean classy and would go home with any one of us.

I’ve never been interested in the D-bird because the headstock is too small and the colours were underwhelming for such a way out there shaped instrument.
I have to fully disagree with everyone on the gloss metal flake aquamarine. I think it’s amazing, that strip of matching paint on the headstock is great ( pretty sure that won’t make it to the final production run though).
At Combustion/NG2 prices I’d happily put my money where my mouth is an order one.

I like the color and I generally don't like this type of finishes. But I am thinking of a Purple Shift for me.

i think they're soon to be taking pre-orders....get on the turquoise list - 8 to 10month wait IIRC.... I either read that somewhere or dreamed it last night? lol ...

We already have. But I expect the wait to be a bit longer and would be pleasantly surprised if my existing order came in earlier.

They said price announcement on the 25th Jan so I’m gonna assume preorders start that day. They are also opening another workspace in the SK shop specifically for the Combustion line so that should hopefully speed things up.
I need one of these:
View attachment 2874382

Yes, Sheldon has needed that space for at least the last year and a half, so glad to see he now has it! It certainly should reduce the processing time dramatically.

 

[bebass]

My curiosity has just been peaked about Wayne Jones audio? The Aguilar ag700 also has been taunting me. If you have time to take a look at those to items/brands?!?

Will do!
edit: I see Aguilar will be there but don't see Wayne Jones on the list I have. I guess they are not coming unless they signed up after I printed this LONG list.

Man. Those red swirl NG2 basses on reverb are killing me. Though an NG3 might be worthy of waiting.

I think the RED Swirl 5-strings are gone from Reverb. At least, I know the one I put up there went last night.

 

[AB Nate]

Will do!
edit: I see Aguilar will be there but don't see Wayne Jones on the list I have. I guess they are not coming unless they signed up after I printed this LONG list.


I think the RED Swirl 5-strings are gone from Reverb. At least, I know the one I put up there went last night.

Thanks bebass.

Congrats on the presale. I wish I could do that in my business world.

 

[Flabzilla]

A thing showed up today:

 

[spiritbass]

That's a right nice thing that showed up at your door. Was it polite enough to knock? Congratulation, it's a beaut!

 

[IvanBassist]

A thing showed up today:

View attachment 2876204 View attachment 2876205 View attachment 2876206

Natural Ash/maple look =

Being on the SJ topic. Has anyone tried GHS Balanced Nickels on their Super series DW?
DW strings are pretty cool and plenty of highs and lows, but my fretting hand prefers light gauge strings.

 

[sratas]

Hi to all TBers, I’m thinking of a dingwall purchase. As many others, I have a few possibilities of hearing them in person before ordering. I have precise desires about model, woods etc, but unfortunately I cannot understand well the tone differencies of the 2 pu versus 3 pu contiguration. I’m a convinced J style man, I usually dig the two pu setting the most. But...I seem to notice that in a Dingwall with two pu, the position may be different from that of the 3 pu configuration. The bridge pu seems more angled, whereas the 3 pu model sports all the the pus equally twisted. Thinking about the typical jazz setting with the pus in parallel, what are the perceived differencies in tone? If someone could try to explain I will the glad...thanks
I did not mention the other pu settings on a dingwall but I think that having variety is not bad at all, especially the bridge and middle together, but only if the bridge and neck is comparable or clearly reminiscent of the tone of a D with two pus...thanks

 

[BurningSkies]

Hi to all TBers, I’m thinking of a dingwall purchase. As many others, I have a few possibilities of hearing them in person before ordering. I have precise desires about model, woods etc, but unfortunately I cannot understand well the tone differencies of the 2 pu versus 3 pu contiguration. I’m a convinced J style man, I usually dig the two pu setting the most. But...I seem to notice that in a Dingwall with two pu, the position may be different from that of the 3 pu configuration. The bridge pu seems more angled, whereas the 3 pu model sports all the the pus equally twisted. Thinking about the typical jazz setting with the pus in parallel, what are the perceived differencies in tone? If someone could try to explain I will the glad...thanks
I did not mention the other pu settings on a dingwall but I think that having variety is not bad at all, especially the bridge and middle together, but only if the bridge and neck is comparable or clearly reminiscent of the tone of a D with two pus...thanks

I've only had a 3X for a few days, but I've had a number of other 2 pickup models (what's considered the '1' in Dingwall land (a pick up off the neck and one by the bridge). The placement of the pickups are similar enough that I can't tell a difference when using the Bridge/Neck setting in 3X or using a bass that's 'Z1' pickup format. I can notice a difference with the Z2/NG2 format where the bridge and middle are right up against each other. My non-angled Dingwall pickups are a bit different tonally compared to fanned pickups, but that's a pretty big difference.