Dingwall Owners Club

[rockinbilly]

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!

Before I purchased my new rig, I played my new NG2 thru a Fender Rumble 500 head and a 410 Rumble cab, the old set up on the amp sounded "Clanky" like you're describing, once I backed the hi's off it was gone. I think the Combustion's are very bright, and dialed in right, they sound amazing. After receiving my Bergantino B amp and pair of Reference 112's I was blown away by the incredible tone, and versatility of this bass !!!! I get distinctly different tones depending on picking position, of course. They'll have to pry this bass from my cold dead hands, I love it !!!!!

 

[spiritbass]

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

+1 Very well stated. Dingwall basses truly are set apart by design from all the rest. One of the design goals is not losing high end response by using a four-way pickup selector switch. Then there are the unique pickups. They are definitely different beasts and like any other design, not for all.

 

[AB Nate]

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!

it really sounds like you don't want a Ferrari. At least not a 2018 Ferrari. Perhaps a 60s model would be better suited to your needs.

 

[xnewyorka]

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!

Where do you have each of the three tone controls set? (Bass, low mid, and high mid respectively, from 1 to 10, with five being center)
And which pickup rotary selector position are you using, with 1 being bridge and 4 being neck?

 

[Hambone70]

Where do you have each of the three tone controls set? (Bass, low mid, and high mid respectively, from 1 to 10, with five being center)
And which pickup rotary selector position are you using, with 1 being bridge and 4 being neck?

I tried all permutations and combinations of controls. I was able to get everything from an active, bright, metallic tone right down to a fair facsimile of a passive Motownesque rumble, although that seems difficult given the bright roundwound strings. Also, using a cheap Fender Rumble combo amp doesn't help, either.

Time for a new amp, I tell my wife... and maybe a Ferrari...

 

[xnewyorka]

I tried all permutations and combinations of controls. I was able to get everything from an active, bright, metallic tone right down to a fair facsimile of a passive Motownesque rumble, although that seems difficult given the bright roundwound strings. Also, using a cheap Fender Rumble combo amp doesn't help, either.

Time for a new amp, I tell my wife... and maybe a Ferrari...

Yeah, one of each would be good! (Amp plus Ferrari.)
There are lots of permutations, so I guess you have been pretty busy. Try the bass at 5 or 6, the low mid-range at three or four, and the high mid-range at one or two, and the pickup selector on 3 and on 4 and tell us how those sound to your ear.

And remind us please what are your amp and cabinet and amp settings?

 

[xnewyorka]

By the way, I just calculated that if there are three tone control knobs with settings let's say from 1 to 10, and a 4 position pickup selector, that makes 4,000 distinct permutations. So I guess you have been pretty busy! Bravo! ;-)

 

[Hambone70]

Yeah, one of each would be good! (Amp plus Ferrari.)
There are lots of permutations, so I guess you have been pretty busy. Try the bass at 5 or 6, the low mid-range at three or four, and the high mid-range at one or two, and the pickup selector on 3 and on 4 and tell us how those sound to your ear.

And remind us please what are your amp and cabinet and amp settings?

Fender Rumble 100, all controls flat for reference.

Yes, I know I need a better amp/cab. I'm trying some of our songs that I can now drop an octave lower than I could with a four-string, and it is reasonable at low D and above. I'd like the option of maximizing the potential of using low B-C# without it sounding like mud. I prefer bass guitars to play bass notes, but not if they're muddy and indistinct. (I could probably live with four-strings strung BEAD!)

Recommendations for reasonably priced light/midweight amps/cabs solicited. Budget ~$1000. Mainly for practice and as a stage monitor, as everything goes through the PA with subs.

 

[singlemalt]

If you are a DIY guy, capable of building a plywood box, and have a few basic tools, check out Greenboy’s fEarful cabs. Free, detailed plans.

A 12/6 with the inexpensive alpha 6 mid and CBG crossover would do ya tons of good.

One stop shopping at Speaker Hardware.com.

You’ll find a number of fEarful owners here in Dingwall land. These cabs open up new horizons with ant amp.

 

[AB Nate]

I tried all permutations and combinations of controls. I was able to get everything from an active, bright, metallic tone right down to a fair facsimile of a passive Motownesque rumble, although that seems difficult given the bright roundwound strings. Also, using a cheap Fender Rumble combo amp doesn't help, either.

Time for a new amp, I tell my wife...

Fwiw. We.... or some of us may sound like gear snobs and it's not intentionally snobbish it's just that generally speaking a Dingwall customer kind of is in a way. Most of us have chosen dingwalls for a reason. Their capability. This transcends into our pedals and amps and even strings and cables. A lot of us have done a TON of gear exploration over the years and know what works and what doesn't for our needs. We've all landed on Dingwall at the top of the food chain.... at least in our eyes.

I've parted with a lot of amazing bass guitars and amps to wind up a member of this club.

Fender Rumble 100, all controls flat for reference.

Yes, I know I need a better amp/cab. I'm trying some of our songs that I can now drop an octave lower than I could with a four-string, and it is reasonable at low D and above. I'd like the option of maximizing the potential of using low B-C# without it sounding like mud. I prefer bass guitars to play bass notes, but not if they're muddy and indistinct. (I could probably live with four-strings strung BEAD!)

Recommendations for reasonably priced light/midweight amps/cabs solicited. Budget ~$1000. Mainly for practice and as a stage monitor, as everything goes through the PA with subs.

What does that have for a speaker?
The classifieds here have tons of reasonably priced apps and cabs.

Perhaps an AG tone hammer 500 + a nice 212 as an example. Tons of options that once again come down to your needs.

Did I miss? What kind of tunes are you playing?

 

[Waltsdog]

Recommendations for reasonably priced light/midweight amps/cabs solicited. Budget ~$1000. Mainly for practice and as a stage monitor, as everything goes through the PA with subs.

I would suggest any 12 or 15 neo cab (Fender, Mesa, Berg etc.) with a head that has a more old school focused tone (I think that is more your style going by your previous posts) so maybe a PF500, D800, Aguilar TH500 or one of the Fender rumble heads.
You'd probably need to go used for most of these to get in under the $1000 though.

 

[EMoneySC2]

I tried all permutations and combinations of controls. I was able to get everything from an active, bright, metallic tone right down to a fair facsimile of a passive Motownesque rumble, although that seems difficult given the bright roundwound strings. Also, using a cheap Fender Rumble combo amp doesn't help, either.

Time for a new amp, I tell my wife... and maybe a Ferrari...

Huh. I've got a Rumble 100, and I happen to think my two combustions sound pretty good through it. It's not much compared to my big Greenboy rig, but I like it for smaller practices and bedroom playing. I'd gig it if I were ever in a "coffee shop" kind of band.

 

[Hambone70]

Huh. I've got a Rumble 100, and I happen to think my two combustions sound pretty good through it. It's not much compared to my big Greenboy rig, but I like it for smaller practices and bedroom playing. I'd gig it if I were ever in a "coffee shop" kind of band.

That's good to know. I'm learning a lot, and getting more usable tones out of the Rumble.

But without great advice like yours, I wouldn't know!

 

[EMoneySC2]

That's good to know. I'm learning a lot, and getting more usable tones out of the Rumble.

But without great advice like yours, I wouldn't know!

You're definitely in an interesting situation, and you're experiencing difficulties not many in this group have had, so I applaud you for keeping the conversation going.

I run my onboard bass EQ flat, my amp EQs flat, I've got a preamp pedal that gives me a bit of a contour without cutting mids, and I run an analog cabinet simulator pedal that I use to high pass filter, low pass filter, and shape my mids a bit further. I use a bunch of different distortion and overdrive pedals, but I don't do any crazy EQ stuff with them. Both of my combustions have the pickups in the NG-2 position (one actual NG-2 and one modded combustion v4), and I always leave the pickup selector in the both pickups in series setting. Overall my sound isn't too complex, and it mostly comes down to the Dingwall tone that I like so much.

When I rehearse with the rumble and my 2 guitarists, I maybe boost the bass a little, and I usually hit the '''bright" button. It's a pretty zing-y tone, but the zing is the sound I listen for in our mix...its pretty easy for me to pick out. If I'm bedroom jamming, I leave all the EQ flat.

 

[IvanBassist]

That's good to know. I'm learning a lot, and getting more usable tones out of the Rumble.

But without great advice like yours, I wouldn't know!

Again, I would suggest watching all the videos Sheldon made about setting up the bass.
If that still doesn't help with the playability, I'd consider getting different strings.
Long scale Dingwall strings are pretty light, so that could be a factor if you're coming from heavier gauges or flat wounds. I remember having to adjust my right hand technique when I had my ABZ.
You could try Payson strings, as they definitely have some versions with more tension

 

[Andyman001]

I'll echo the right hand technique comment, it is real easy to play "too close to the bridge" on the higher strings D&G, and closer to the neck than you think you are on the B string.

good luck!

 

[bebass]

I'll echo the right hand technique comment, it is real easy to play "too close to the bridge" on the higher strings D&G, and closer to the neck than you think you are on the B string.

good luck!

Yeah, probably THE single most important thing when going from a parallel fret to a fanned fret. Makes such a difference.

 

[NaH]

Fender Rumble 100, all controls flat for reference.

Yes, I know I need a better amp/cab. I'm trying some of our songs that I can now drop an octave lower than I could with a four-string, and it is reasonable at low D and above. I'd like the option of maximizing the potential of using low B-C# without it sounding like mud. I prefer bass guitars to play bass notes, but not if they're muddy and indistinct. (I could probably live with four-strings strung BEAD!)

Recommendations for reasonably priced light/midweight amps/cabs solicited. Budget ~$1000. Mainly for practice and as a stage monitor, as everything goes through the PA with subs.

I've been eyeing up Genzler MG350/BA110-2 (or a 112-3 I think it is). Currently play Markbass. What I did was use the VLE and VPF to essentially remove a lot of the high end and "round the tone off". It also helped me eliminate fret noise. I'd turn up VLE about 2/3 and VPF up a third. After using that way for a long time, I find myself starting to dial it back and let in more high end. I believe the VLE is essentially a shelving EQ, so that might be pedal option you could find.

 

[Smallmouth_Bass]

I've been eyeing up Genzler MG350/BA110-2 (or a 112-3 I think it is). Currently play Markbass. What I did was use the VLE and VPF to essentially remove a lot of the high end and "round the tone off". It also helped me eliminate fret noise. I'd turn up VLE about 2/3 and VPF up a third. After using that way for a long time, I find myself starting to dial it back and let in more high end. I believe the VLE is essentially a shelving EQ, so that might be pedal option you could find.

They used to have it as a pedal, but it is now discontinued.
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[Bassheart365]

Now that I've been shedding with my new AB II 6 string for about a week, it is obvious to me that the six string bass is the ultimate implementation of the multiscale design in the Dingwall line up.