IvanBassist
Commercial User
- Jun 8, 2008
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- Content Manager at Darkglass Electronics, Dingwall Guitars Artist
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Dingwall Owners Club
- Thread starter FroggyOne2
- Start date
Seems like perhaps a full reset on the setup of the bass is in order. Are you playing through an amp? What kind? How’s it set? How loud? I’ve often felt discouraged by fret noise when playing at home, only to have it disappear at band volumes.
Playing higher up the neck does not negate any of the benefits of a longer scale bass. One of the best aspects to me is how the timbre of notes doesn’t change when you play them on a different string (an F# @ 7th fret B sounds the same as 2nd fret E).
That said, it just might not be for you.
Hey Man,
i just wanted to add which I already touched on and so have a few other. The wood combo with the bright strings of the extended range, acoustically, can be very VERY bright and acoustically loud.
If you haven't played a lot of variety then you may have not experienced this before. The reason I bring this up is you've mentioned not having anything amazing for gear prior too. Your lacking in the amp department and your lack of noticeable response even from the pick up selector(this is highly unusual. I can let a note sustain and switch it from one end to the other meanwhile hearing 4 different sounds across the Selector spectrum).
It just makes me wonder what experience you've physically had with a variety of other basses. This bass may be just sooo much of a contrast from what your used too. And if your often at lower volumes you may be hearing more of its acoustic presence as it may have one.
There is just a lot of factors here and a vid could help us help you a lot.
Maybe the bass isn't for you?
Maybe it's NFG?
Maybe your just having a tough time accepting its got different properties then what your familiar to?
Tough to say but hopefully someone here(or elsewhere)can help you get it sorted.
If you normally wear sweatpants
But decide to buy a suit you can't expect it you fit the same!! Lol
Hi Hambone,
I think the idea of starting at ground zero with the set up makes a lot of sense, then tweaking from there. Whether you do it yourself or have a trusted tech in your area do it is your call.
While I've only had a great experience with Combustions (I own a NG-2 5 string), there always exists the possibility of one being a dog. I hope that isn't the case with yours.
Best of luck getting your bass set up to your needs and wants.
Bones
I think the idea of starting at ground zero with the set up makes a lot of sense, then tweaking from there. Whether you do it yourself or have a trusted tech in your area do it is your call.
While I've only had a great experience with Combustions (I own a NG-2 5 string), there always exists the possibility of one being a dog. I hope that isn't the case with yours.
Best of luck getting your bass set up to your needs and wants.
Bones
Lowendtech
Happily trending in my own peculiar direction.
The one thing in this concern that no one has really touched upon yet is technique. It may just be that a bit of an adjustment is required in order to compliment an entirely new instrument. I’ve had to do this many times over the years as my gear has changed/improved. Not just basses but even cabs as things that were previously unheard became much more noticeable.
Just a thought.
I just bought a Super P with a Birdseye maple board. It’s my first ever maple board. I put a set of used, super light, DR Pure Blues VW’s on, to replace the heavier roundwound strings it came with.
Even so, I noticed that the maple board is much brighter than I’m used to when I’m playing it unplugged on the couch. Not that different through my rig. I’m not going down the tone wood rabbit hole, just observing that I was getting more “honey, I can’t hear the tv, could you quiet down?” remarks if I was playing it unplugged on the couch.
I ended up putting TI jazz flats on, but that’s where I was headed anyway.
When I first got an AB 1, (about ten years ago) I found that my Dingwalls would set up super low, but that this really didn’t work with my heavy handed habits. To get the most out of the longscales my technique had to get much lighter. Light years lighter.
Once I did that I found a much wider range of sounds. And the action could go lower still. It took a good while. It was worth it. Now that I’ve got it figured out, everything sounds better. Easier too.
Let the amp do the heavy lifting.
The Dingwalls tend towards a very revealing modern sound. Super clarity. It’s all there and coming through. You can dial it back with technique, strings, and eq. But it’s all there if you want it, (and even if you don’t) and it takes some getting used to. And this is the first five string too?
I remember, going from a Fender J 4 with flats, to an AB-1 with rounds, thinking it was like going from driving a spongey 70’s Cadillac to a Ferrari. It wasn’t pretty. And it had extra gears (five string). I still sold the Fender.
Hang in there.
Even so, I noticed that the maple board is much brighter than I’m used to when I’m playing it unplugged on the couch. Not that different through my rig. I’m not going down the tone wood rabbit hole, just observing that I was getting more “honey, I can’t hear the tv, could you quiet down?” remarks if I was playing it unplugged on the couch.
I ended up putting TI jazz flats on, but that’s where I was headed anyway.
When I first got an AB 1, (about ten years ago) I found that my Dingwalls would set up super low, but that this really didn’t work with my heavy handed habits. To get the most out of the longscales my technique had to get much lighter. Light years lighter.
Once I did that I found a much wider range of sounds. And the action could go lower still. It took a good while. It was worth it. Now that I’ve got it figured out, everything sounds better. Easier too.
Let the amp do the heavy lifting.
The Dingwalls tend towards a very revealing modern sound. Super clarity. It’s all there and coming through. You can dial it back with technique, strings, and eq. But it’s all there if you want it, (and even if you don’t) and it takes some getting used to. And this is the first five string too?
I remember, going from a Fender J 4 with flats, to an AB-1 with rounds, thinking it was like going from driving a spongey 70’s Cadillac to a Ferrari. It wasn’t pretty. And it had extra gears (five string). I still sold the Fender.
Hang in there.
I'll be the first to demand pics!
I agree with what a lot is said here. I find my two Dingwalls to be extremely bright (what I guess is considered modern) sounding basses. That's what I like the most about them...it just sounds so true to my ears, like what a bass ought to sound like. If you've got a different sound in your head, I think you'll have to work with the rest of your signal chain to get there. With the active EQ on the preamp you can probably get closer to what you want, but I don't think that can hide the natural character of the bass.
For me the abundance of string and fret noise I get is a huge plus. I keep a low action, and I play pretty hard, so the fret sound is abundant in my tone. I like that, A LOT.
Maybe someday when I'm not playing in metal bands I'll learn to chill out a little bit, but for now I really like my aggressive finger style!
For me the abundance of string and fret noise I get is a huge plus. I keep a low action, and I play pretty hard, so the fret sound is abundant in my tone. I like that, A LOT.
Maybe someday when I'm not playing in metal bands I'll learn to chill out a little bit, but for now I really like my aggressive finger style!
This is an unpopular opinion around here and Dingwall is my favorite bass company by far, but I can not stand the Combustion/NG series. They feel/sound cheap and bulky to me. This has been the case with every Combustion/NG2 I have come across. Now, the Canadian Dingwalls are the best basses I have ever played. I have absolutely loved every Canadian Dingwall I have ever put my hands on. The Super series, the AB series, and most definitely the Z series. So maybe, the Combustion series isn't for you, but a Canadian series bass like the Super J, Super P, or the Afterburner will suit your needs much better. Although, it will be more expensive and much harder to obtain a Canadian Dingwall than it is a Combustion/NG2 (hence one of the reasons the Combustion/NG2 are so popular).
I dunno, I've got 3 Canadians and my NG2 is an equal among them.
My apologies, you are most certainly entitled to have it.
Was the Combustion in question purchased new or used?
Every one I have played have been brand new. Even when I was trying them out at the Dingwall booth at Namm. I am overjoyed that Dingwall is having such incredible success with these basses! But they're just not for me and Hambone70 may feel the same.
A few years back I tested a Combustion (1st series) in a nearby shop. I must say it didn't feel or sound as good as the AB1 I had back then, or the AB2 they had in stock. The Combustion was a very good instrument in it's own right, but just not on the same level as the Canadians.
I don't know about the current Combustions and NG2s, maybe they're better.
I don't know about the current Combustions and NG2s, maybe they're better.
I play in three bands... a NOLA style funk/rock band, a psychedelic German space band and a folky reggae band. And my pau ferro Super P is perfection for all three styles.
I spent an hour or so tweaking and fiddling with the Combustion this morning. Some progress, but still not sure this is for me.
As mentioned, it sounds a lot different through the amp at volume than it does acoustically on the couch. I was able to call up a variety of tones, some of them usable to me through the amp. The action still seems rather high to stop the rattling, which makes it difficult to play. Curiously, some tones sound different at different parts of the fingerboard. For example, the 8th fret on the E-string sounds dull and lifeless, while the rest of the string is bright.
My technique was partially at fault for some of the issues. Again, someone mentioned to 'let the amp do the heavy work'. I tried this, playing with a lighter touch. It definitely helped.
As I don't really have a requirement for bright, modern tones, it seems that I'm attempting to cure the effect rather than the cause by even using such an animal as the Combustion. I recently passed on a used Super P... mistake!
As mentioned, it sounds a lot different through the amp at volume than it does acoustically on the couch. I was able to call up a variety of tones, some of them usable to me through the amp. The action still seems rather high to stop the rattling, which makes it difficult to play. Curiously, some tones sound different at different parts of the fingerboard. For example, the 8th fret on the E-string sounds dull and lifeless, while the rest of the string is bright.
My technique was partially at fault for some of the issues. Again, someone mentioned to 'let the amp do the heavy work'. I tried this, playing with a lighter touch. It definitely helped.
As I don't really have a requirement for bright, modern tones, it seems that I'm attempting to cure the effect rather than the cause by even using such an animal as the Combustion. I recently passed on a used Super P... mistake!
Pictures you say? I guess...a tale of two boards! And further rumination on my Dingwall experience.
Birdseye and black are hard to photograph. Luminlay side dots and abalone markers on the board.
Morado, AKA. Pau Ferro with blocks.
FWIW, I have no experience with Combustions. And I ran all my Dingwalls in passive mode, if I they had a preamp, 95% of the time. I don’t even know if that is an option with the combustions. I have no doubts about the Dingwall brand. If there is a defect, they will deal with it.
My first Dingwall experience was a Super PJ 4. Right off the bat, it was perfect. Based on that experience, I was confident that I could deal with a five string AB-1. There was a longer period of adjustment on that one, and I was on the fence until I added a P tone. It became a favorite. But my playing really changed at the same time.
I think we’re all trying to help out here. I’ve had that “just don’t get along with this one.” experience and it can be disheartening. My first five string, a Jackson, played great, but I could not get a sound I liked, unless I was playing with a pick with loud metal guys. And then it was awesome. (Sold it to said metal guys).
Looked forward to a Zon Vinnie, and never bonded with it. A year later, it went back in the pool. The Rick, Fender P’s, Music Mans, even many of the exotics just didn’t feel right, no matter what the price point.
I buy used, so I’m not in a hurry to hit a return period. I’ll spend as long as it takes to dial a bass in, but if it doesn’t work out...it goes back in the TB classifieds. All part of the exploration of bass. And periodically, I clean house and go back to one bass. I’ve learned a lot along the way, and it looks like I’ll be sticking with the Super series.
One thing, every used Dingwall I’ve owned easily recouped my initial investment. I don’t feel like I’m going out on a limb to try a Dingwall that catches my fancy.
Birdseye and black are hard to photograph. Luminlay side dots and abalone markers on the board.
Morado, AKA. Pau Ferro with blocks.
FWIW, I have no experience with Combustions. And I ran all my Dingwalls in passive mode, if I they had a preamp, 95% of the time. I don’t even know if that is an option with the combustions. I have no doubts about the Dingwall brand. If there is a defect, they will deal with it.
My first Dingwall experience was a Super PJ 4. Right off the bat, it was perfect. Based on that experience, I was confident that I could deal with a five string AB-1. There was a longer period of adjustment on that one, and I was on the fence until I added a P tone. It became a favorite. But my playing really changed at the same time.
I think we’re all trying to help out here. I’ve had that “just don’t get along with this one.” experience and it can be disheartening. My first five string, a Jackson, played great, but I could not get a sound I liked, unless I was playing with a pick with loud metal guys. And then it was awesome. (Sold it to said metal guys).
Looked forward to a Zon Vinnie, and never bonded with it. A year later, it went back in the pool. The Rick, Fender P’s, Music Mans, even many of the exotics just didn’t feel right, no matter what the price point.
I buy used, so I’m not in a hurry to hit a return period. I’ll spend as long as it takes to dial a bass in, but if it doesn’t work out...it goes back in the TB classifieds. All part of the exploration of bass. And periodically, I clean house and go back to one bass. I’ve learned a lot along the way, and it looks like I’ll be sticking with the Super series.
One thing, every used Dingwall I’ve owned easily recouped my initial investment. I don’t feel like I’m going out on a limb to try a Dingwall that catches my fancy.
This could, definitely, be a case where the gear just doesn't work for you and your playing style. I absolutely LOVE Darkglass, and I recently tried their M900 amp. I used it for, approximately, half a set. I couldn't get anything I wanted out of it. Fortunately, I always have a spare, so I quickly switched to my BB800. Guys are raving about the Darkglass M900, I didn't like it. I didn't care for the B3K, but I have a B7KU on my board, and it rocks! I had a couple of USA MTD 535-24s. Beautiful basses that were WAY too "polite" for the music I play.
Point is, just because it's a great piece of gear, it may not be a great piece of gear for you. There's a ton o' great gear out there and life's too short to fight something that's not working for you...
