Dingwall Owners Club

[Charlzm]

Are there numbers in this club? It looks like we started out back in 2008 that way, but...?

 

[AB Nate]

Are there numbers in this club? It looks like we started out back in 2008 that way, but...?

We're all number 1.

 

[Hambone70]

Can you post a photo showing how you are wearing the bass? i.e., how high up, or how long is your strap. Even better would be a short video of yourself actually playing it. If you are hurting your wrist on the low notes, the angle might be wrong. If playing hurts, you need to stop immediately and figure out what needs to be adjusted to make it not hurt.
The Canadian basses have a flush mounted strap button in the back which puts the nut about 1.5" closer to your body, which does make a huge difference. I'm going to be putting one of those on my Combustion this weekend so that it will feel the same as the ABZ and Z3's: https://www.amazon.com/Dunlop-SLS1403BK-Straplok-Retainer-System/dp/B000EEHFJG/ref=sr_1_1?ie=UTF8&qid=1519759111&sr=8-1&keywords=dunlop+SLS1403BK&th=1

I haven't even put a strap on it yet. I'm playing seated so I can slide the bass around to find the most comfortable position.
I have tried sliding the bass to the right to give better access to the frets near the nut. The problem seems to be more the extreme angle of the frets at the nut end, not the distance to the frets.

Then again, one objective of the 5-string for me was to not have to play near the nut, apart from playing low B to D#. There are some songs I play that use open strings on the 4-string that would be difficult (but not impossible) to play a string down at the 5th fret of a 5er.

I probably just need more practice... and learning the 3rd (5th?) position notes!

 

[dtsamples]

OK... so...

After spending 20-30 hours with the Combustion over the last week, I'm feeling very frustrated trying to get rid of the clankiness, balancing the intonation and action, etc. It just doesn't feel comfortable, and playing the fanned frets near the nut is killing my wrist.

For a break, I picked up my 4-string PJ after not playing it for a week, and it felt fantastic! It has never felt easier to play after fighting with the Combustion. I'm wondering if a 'traditional' 5er is more for me.

Oh, well... I'll persevere for a while longer. The main reason I went Dingwall (among others) was for the B-string. Maybe that's not reason enough to convert.

The long-scale instruments definitely aren't for everyone. I had a gorgeous Z3 that ABNate now owns and I just never felt as at home on it as I have the Super Ps. That said, I've never felt as at home on any instrument as I have the Super Ps. And I NEED a B string. B sounds fantastic, but I can't get any other bass' D and G to sound so good. I think the 34.25 E is pretty key too.

 

[Waltsdog]

Couple of pics of my 3 together.

 

[xnewyorka]

The long-scale instruments definitely aren't for everyone. I had a gorgeous Z3 that ABNate now owns and I just never felt as at home on it as I have the Super Ps. That said, I've never felt as at home on any instrument as I have the Super Ps. And I NEED a B string. B sounds fantastic, but I can't get any other bass' D and G to sound so good. I think the 34.25 E is pretty key too.

I have a 35" 4-string MTD that sat on the wall unplayed for several years because I couldn't get used to the long scale.
But now after becoming a Dingwall convert, I spent several hours with the MTD last weekend, doing some soul searching as to whether I want to part with it (and all my other monoscale basses!) or not, and ended up concluding that it is an awesome bass and I am totally comfortable playing it now. It felt a LOT more comfortable than I remembered it being when I tried it a few years ago. Some people say that size doesn't matter, but that extra inch is very noticeable, and adding two more inches certainly does make an even more noticeable difference. The thing is, you usually don't need to spend a whole lot of time playing those four lowest fretted notes on the instrument, so you can train yourself to mostly live above the 5th fret. But of course, when you need them, they are there, and they are SOOOOO cool, especially if you have a good amp and cabinet(s).

 

[xnewyorka]

Couple of pics of my 3 together.

View attachment 2933238 View attachment 2933239

<Looking for a way to put three "Like"s on the same post!...>

 

[Hambone70]

I have a 35" 4-string MTD that sat on the wall unplayed for several years because I couldn't get used to the long scale.
But now after becoming a Dingwall convert, I spent several hours with the MTD last weekend, doing some soul searching as to whether I want to part with it (and all my other monoscale basses!) or not, and ended up concluding that it is an awesome bass and I am totally comfortable playing it now. It felt a LOT more comfortable than I remembered it being when I tried it a few years ago. Some people say that size doesn't matter, but that extra inch is very noticeable, and adding two more inches certainly does make an even more noticeable difference. The thing is, you usually don't need to spend a whole lot of time playing those four lowest fretted notes on the instrument, so you can train yourself to mostly live above the 5th fret. But of course, when you need them, they are there, and they are SOOOOO cool, especially if you have a good amp and cabinet(s).

I'm still researching the amp and cab. There's so much to choose from! I just need to pick one and go with it. Right now I'm thinking Mesa Subway and either the 1x12 or 1x15. The Berg stuff looks interesting, too.

So the fifth fret is the new place to hang out. That's what I'm trying now. One finger per fret is pretty comfortable at the fifth fret and higher, too. I'll venture down towards the nut when I need to!

 

[BurningSkies]

OK... so...

After spending 20-30 hours with the Combustion over the last week, I'm feeling very frustrated trying to get rid of the clankiness, balancing the intonation and action, etc. It just doesn't feel comfortable, and playing the fanned frets near the nut is killing my wrist.

For a break, I picked up my 4-string PJ after not playing it for a week, and it felt fantastic! It has never felt easier to play after fighting with the Combustion. I'm wondering if a 'traditional' 5er is more for me.

Oh, well... I'll persevere for a while longer. The main reason I went Dingwall (among others) was for the B-string. Maybe that's not reason enough to convert.

Hrrrm. I've been kind of paying attention from a distance on this one, and I'm not really sure what to make of it. Ergonomically the stretch can be a challenge for players with smaller wingspans, but it shouldn't be crippling you or giving you wrist pain. Also you should be able to tame string noise, fret noise and clank, even without raising action, etc. I play seated and standing and the bass falls roughly in the same place and angle on my body.

I don't play modern or 'bass bright' music by any standards, and have been pretty comfortable. Here's a well recorded example of what I get without modifying my technique:



At the very least, the tone controls on the Combustion should be giving you a wide range of 'tone editing' possibilities.

...of course there's a caveat that not all instruments work for all people, but I can't help but feel that something is going on with this setup that's not obvious to us?

Edit: for some reason it's not showing the whole EP, so if you want to hear it, it's here: Many Paths EP

 

[BurningSkies]

You guys, my setup has gotten a little more complex as of late.

 

[dtsamples]

Wow, I never thought about running my water at the beginning of the signal chain! Trying that out tonight!

 

[Waltsdog]

I don't play modern or 'bass bright' music by any standards, and have been pretty comfortable. Here's a well recorded example of what I get without modifying my technique:

This is such a good sound and great playing, I'm always amazed at the range of tones from Dingwalls.

Here is a little live recording (that's my excuse for poor timing and any bum notes) of my band covering a Hot Water Music tune last year, I don't have clank and string noise issues and that's playing with a pick and with pretty low action.

Jack Of All Trades (Hot Water Music), by Jon Creeden & The Flying Hellfish

 

[AB Nate]

Wow, I never thought about running my water at the beginning of the signal chain! Trying that out tonight!

If you go with a beer instead it's EVEN BETTER!
At least to me.
And probably only me!

 

[BurningSkies]

Wow, I never thought about running my water at the beginning of the signal chain! Trying that out tonight!

I find H2O staging to be wicked important in your signal chain. Don't put it after your reverb or things get too wet too quickly. Unfortunately the FOH sounded like they had some serious water in their mix too.

This is such a good sound and great playing, I'm always amazed at the range of tones from Dingwalls.

Here is a little live recording (that's my excuse for poor timing and any bum notes) of my band covering a Hot Water Music tune last year, I don't have clank and string noise issues and that's playing with a pick and with pretty low action.

Jack Of All Trades (Hot Water Music), by Jon Creeden & The Flying Hellfish

Thanks, Listening right now. I'm not hearing anything that doesn't sound right. I like

For the record (quite literally) 4 out of 5 tracks are Rastaburst -> Monique. Toggles in series, pickups in parallel. There's a bit of UA LA-2A compression at the board. The track Who You Follow has my my Iron Ether Divaricator + Xerograph Deluxe (with expression pedal) with a Fulltone Fulldrive2 for the 'effected' portion. The track Ripple is Rastaburst-> Kern IP-777 for a different flavor of good.

Live I've been using the same setup, except that some of the new songs have a few more passages where I'm using effects.

Anyway, Dingwalls while getting the attention for the harder stuff can be used effectively in numerous settings.

 

[Waltsdog]

I'm not hearing anything that does sound right. I like

Haha, not sure if typo or insult...

 

[BurningSkies]

Are there numbers in this club? It looks like we started out back in 2008 that way, but...?

I keeeled the numbers. When the initial starter of the 'club'/thread stepped away I took over, but decided that the numbers were a cluster. People were trying to hand them back in when they sold their Dingwalls, others wanted multiple for their multiple basses or special numbers to match their serial numbers. I made a decision that not only was it a pain to deal with, but it would be more inclusive to all if we stopped numbering. That way you can be a lover of Dingwalls and in the 'club' even if you don't currently own one or only aspire to own one.

 

[BurningSkies]

Haha, not sure if typo or insult...

Fixed. I wouldn't do that to you. Sounds great!

 

[BurningSkies]

If you go with a beer instead it's EVEN BETTER!
At least to me.
And probably only me!

If I get too much beer in me, I takes forever to figure out how to untangle and pack all those cables.

I usually have a glass of red wine before playing. After decades of stage time, I realize that it's just the right groove to play.

 

[AmazingMumford]

I find H2O staging to be wicked important in your signal chain. Don't put it after your reverb or things get too wet too quickly. Unfortunately the FOH sounded like they had some serious water in their mix too.

I'm guessing too much beer in the FOH. I recall a gig where our second set suddenly developed this obnoxious delay issue on all channels with reverb...and then the bass got turned completely off. Of course, that latter part was probably for the best.

 

[BurningSkies]

I'm guessing too much beer in the FOH. I recall a gig where our second set suddenly developed this obnoxious delay issue on all channels with reverb...and then the bass got turned completely off. Of course, that latter part was probably for the best.

Sounded great in check, then I think he forgot to load his preset after the opener, which is a rookie move. Good way to lose a gig...