Dingwall Owners Club

[BurningSkies]

Stupid question: what brand is the amp?

Jule (Jule Amps) made it for me. It's the first (as far as I know only) M2500 rackmount. A 2500w rms mono power amp.

 

[BurningSkies]

It's a Jule Monique and a Jule M2500

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I play a Monique as well. I love it!

Yas. I love her. I had one of the original 'preorder' rack Moniques, Jule upgraded that twice, then rebuilt it before building me a new one (there were ghosts in the machine from the start but he always chased it down until it became safer to build from scratch), then once again gave her a face-transplant. Then when a 2500 came up for sale used I asked Jule if it was worth buying and having it put in a rack...he decided I'd be better served with a new one from scratch. So the first rack M2500.

...player through the Tardis into two Genzler BA12-3 Bass Array Cabs. He was obviously too loud in the mix, and I asked my sound guy if he could turn him down in the FOH. To which he replied: "He is already OUT of the FOH!

I had the 700 set up with the Line Level pushed IN (not out), and turned only a bout half way up! The Equalizer was set flat. I had to get him to turn his bass down twice, and finally snuck up and lowered the Line Level! This was against two guitars with stage amps, a loud drummer and three singers, all of whom were in the FOH as well.

Yep. I'm running an original set of Dave Green's cabs, a 15sub + 15/6 that was built with an extra hefty version of the crossover (basically all the components were maxed out for power handling). I can vouch that many modern setups can carry rooms and keep up. It gives us the option live to request the bass get pulled out of FOH in rooms that have really poorly spec'ed subs or woofers. Mine has an attenuator on the power amp and also the line out on the Monique, so I run the power amp at 25-30% up and run my mo's line pushed in and nearly full out.

The M2500 has a really stout power module, designed to be able to run 3 power amps, so it never lacks in powersupply. It also has 2 variable high flow fans, which I run full up all the time due to the heat the amp generates.

*** I'm always surprised at how many Dingwall guys are also Monique guys and also fEarful/fEarless guys. But then they're pretty uncompromising in terms of tone.

 

[Smallmouth_Bass]

*** I'm always surprised at how many Dingwall guys are also Monique guys and also fEarful/fEarless guys. But then they're pretty uncompromising in terms of tone.

I have a Fearless (F112). I have never been in a position to push it even near its limits.

 

[bebass]

That sucks! It was probably the drummer's fault!

Darn drummers!

I can't even imagine the power of the 2500!

The last time I gigged my Tardis 700, I got to hear another player through the Tardis into two Genzler BA12-3 Bass Array Cabs. He was obviously too loud in the mix, and I asked my sound guy if he could turn him down in the FOH. To which he replied: "He is already OUT of the FOH!

I had the 700 set up with the Line Level pushed IN (not out), and turned only a bout half way up! The Equalizer was set flat. I had to get him to turn his bass down twice, and finally snuck up and lowered the Line Level! This was against two guitars with stage amps, a loud drummer and three singers, all of whom were in the FOH as well.

I can't imagine ever needing more power than that.

I used my pair of the BA12-3’s in a fairly large theatre-style venue. Sound man made me unplug one of them. Due to the array of mid/tweeter they have a wider dispersion angle than typical woofer/tweeter setups and “project’ very well. He said it was loud and clear and that was with 2 loud guitarists. And have used the pair without FOH. I also can’t imagine needing any more volume than the 800 watt amp. I have never turned up anywhere near max and I play petty darn loud. Of course speaker efficiency always figures into the equation when discussing a rig’s power needed to get a certain SPL.

 

[BurningSkies]

I have a Fearless (F112). I have never been in a position to push it even near its limits.

I find this to be a shame.

 

[Matt Dean]

I haven't posted sine my DB

Well, I took this Super P home last night and spent the night bonding with it. I took to the fanned frets like I was born to play Dingwall... no problem there. It will take some repetitions to adjust to the string spacing of a 5-string (lifelong 4-banger here), but again, that is coming along too. The tone on the Super P was a little darker than I expected. The Fusion tone control is interesting... regular passive filter on one side of the detent and mid-cut on the other. I'm taking this to band practice tonight, so I'll see how the bass fits in the mix. But, I do see what the big deal is with Dingwall... I've owned Sadaowskys and Nordys - Dingwalls are definitely in the same league. I can also see how these can become addictive. Better start saving my monies.

I haven't posted about my new Dingwall since my initial post. I've done a couple rehearsals and a gig, and I must say my experience has been nearly transformational. My playing has changed for the better in spite of having to adapt to 5 strings. While I am having to work through 40 years of muscle memory, this has been easier that I thought, and I'm adapting ok. Tonally, the Super P is quite amazing. Everyone who has an ear tells me that in a live performance, the bass sits beautifully in the mix and is crystal clear, with the authority of a P. What more can I ask for... except maybe another Dingwall.

 

[BurningSkies]

I haven't posted sine my DB


I haven't posted about my new Dingwall since my initial post. I've done a couple rehearsals and a gig, and I must say my experience has been nearly transformational. My playing has changed for the better in spite of having to adapt to 5 strings. While I am having to work through 40 years of muscle memory, this has been easier that I thought, and I'm adapting ok. Tonally, the Super P is quite amazing. Everyone who has an ear tells me that in a live performance, the bass sits beautifully in the mix and is crystal clear, with the authority of a P. What more can I ask for... except maybe another Dingwall.

This echoes my original experience. I found it harder to adjust to the 5th string rather than the fanning. I also found that I was playing like I always did...then I'd remember that I could 'step on the gas' and play things that had been a struggle previously...like getting a new sports car and finding you have handling and speed and horsepower at your fingertips.

 

[Matt Dean]

This echoes my original experience. I found it harder to adjust to the 5th string rather than the fanning. I also found that I was playing like I always did...then I'd remember that I could 'step on the gas' and play things that had been a struggle previously...like getting a new sports car and finding you have handling and speed and horsepower at your fingertips.

Definitely like getting a new sports car... the fanned frets have been no problem and I've been changing up fingering patterns cause I can. Yes, this guitar is transformational.

 

[BuffaloBob4343]

This echoes my original experience. I found it harder to adjust to the 5th string rather than the fanning. I also found that I was playing like I always did...then I'd remember that I could 'step on the gas' and play things that had been a struggle previously...like getting a new sports car and finding you have handling and speed and horsepower at your fingertips.

My biggest adjustment, one which I resisted for too long, was to relax the "one-finger-per-fret approach," at least at or below the 5-6 fret. Since I have done that, I have increased my enjoyment of the long scale basses and now feel completely comfortable transitioning from three frets per four fingers at first position to one-to-one as I move up the board above about the 6th fret and vice versa.

 

[bebass]

This echoes my original experience. I found it harder to adjust to the 5th string rather than the fanning. I also found that I was playing like I always did...then I'd remember that I could 'step on the gas' and play things that had been a struggle previously...like getting a new sports car and finding you have handling and speed and horsepower at your fingertips.

I have played 4-strings forever but owned a couple of 5-string basses years ago that I just never took to. One of my problems is, unlike all you awesome technical players, I play a lot by ear and feel and the 5’s I had the low B just didn’t EVER sound or feel right to me. But the first time I played the Dingwall long scale Low B I could actually hear and feel it so I am transitioning to a 5-string much better now.

 

[BurningSkies]

My biggest adjustment, one which I resisted for too long, was to relax the "one-finger-per-fret approach," at least at or below the 5-6 fret. Since I have done that, I have increased my enjoyment of the long scale basses and now feel completely comfortable transitioning from three frets per four fingers at first position to one-to-one as I move up the board above about the 6th fret and vice versa.

I can do one finger per fret even down into the 1st position, but that doesn't mean that I do it. I play whatever is the most efficient for me for whatever the line or piece is. I freely bar across a couple strings, etc. I also construct where I'm playing things based on the timbre I'm looking to hear in the song rather than 'wouldn't it be better to play across here' if needed. But then I'm my own beast as a player. And what I do is as much about personal instinct as anything technical...this sometimes drives our in house producer a bit mad because he's into precision, having come out of the faster metal realms.

Although for home practice and finger exercises I do play 'by the rules'.

 

[Jeff Genzler]

Here is what happened...and the way the faceplace is designed (one piece), the whole thing has to be replaced now.View attachment 2877791

Hello Arrowsun, Just to clarify the aluminum front panel is a separate piece from the the preamp PCB behind it. We do use the highest quality pots which are still delicate and need some level of protection during transit. We're awaiting your amp and will repair it ASAP. If you have a scratch or ding on the front panel and are OK with it, then it does not need to be replaced. Probably just the Master Vol pot is all that is needing replacement after taking the hit.

And as stated above by Bebass, all amp designs in this class of amplifier use PCB mount pots. It is just the most reliable and best performing option. Using "flying leads" in a class D amplifier is a big no-no.
I hope this info is helpful.

 

[IvanBassist]

I also construct where I'm playing things based on the timbre I'm looking to hear in the song rather than 'wouldn't it be better to play across here' if needed.

I do the same. Playing a bass line say, across 3 strings instead of 2 or playing it starting on the A string compared to the E has a totally different tonal character

 

[The_Owl]

I haven't posted sine my DB


I haven't posted about my new Dingwall since my initial post. I've done a couple rehearsals and a gig, and I must say my experience has been nearly transformational. My playing has changed for the better in spite of having to adapt to 5 strings. While I am having to work through 40 years of muscle memory, this has been easier that I thought, and I'm adapting ok. Tonally, the Super P is quite amazing. Everyone who has an ear tells me that in a live performance, the bass sits beautifully in the mix and is crystal clear, with the authority of a P. What more can I ask for... except maybe another Dingwall.

Exactly my own experience, minus the fifth string. I've played them for 15 years at this point.

 

[The_Owl]

My biggest adjustment, one which I resisted for too long, was to relax the "one-finger-per-fret approach," at least at or below the 5-6 fret. Since I have done that, I have increased my enjoyment of the long scale basses and now feel completely comfortable transitioning from three frets per four fingers at first position to one-to-one as I move up the board above about the 6th fret and vice versa.

Indeed. That's one point where electric bass players can learn something from upright players.

 

[The_Owl]

Jule (Jule Amps) made it for me. It's the first (as far as I know only) M2500. A 2500w rms mono power amp.

View attachment 2878068

View attachment 2878070

I really need to try a Monique preamp. They seem to be the ultimate in bass tone.

BTW; is it safe to run the Monique without a load if only using the DI? I know tube poweramps need a load, but since the Monique is technically a preamp, will it work?

 

[Matt Dean]

Indeed. That's one point where electric bass players can learn something from upright players.

Yes, my upright/jazz school days has totally informed my technique. I still play positions on the EB.

 

[husky123]

I really need to try a Monique preamp. They seem to be the ultimate in bass tone.

BTW; is it safe to run the Monique without a load if only using the DI? I know tube poweramps need a load, but since the Monique is technically a preamp, will it work?

Yes, you can run it all day long with no load.

 

[BurningSkies]

I really need to try a Monique preamp. They seem to be the ultimate in bass tone.

BTW; is it safe to run the Monique without a load if only using the DI? I know tube poweramps need a load, but since the Monique is technically a preamp, will it work?

Yep. It doesn't need a power amp. In fact, my Monique is preamp only (even though it says '700' on the face) so totally intended to work as a stand alone. I've done days and days in the studio with it just running solo.

 

[The_Owl]

Yep. It doesn't need a power amp. In fact, my Monique is preamp only (even though it says '700' on the face) so totally intended to work as a stand alone. I've done days and days in the studio with it just running solo.

That's great news. I need to get my hands on one. Though I just bought a Super P5, so funds are limited.