Dingwall: Won't Settle For Less

[Sheldon D.]

Does the fanned fret affect construction and wood choice in any way?

Wood Choice - No.

Construction - in subtle ways. For example how the headstock face blends into the fingerboard. If the headstock is angled, there are some challenges making everything line up correctly. You can't use off the shelf parts as the pickups and bridge have to be custom made. Nut slots and dots are harder to layout. On long scales necks the truss-rods have to be heavy-duty.

Other than that, there's not much difference.

 

[mattj1stc]

I'm very interested in Dingwalls as well. I've seen several posters cite all the advantages, which is great. However, a few other posters have referred to Dingwalls not being for everyone. Any examples of who Dingwalls might not work for? Thanks

 

[Blues Cat]

I'm very interested in Dingwalls as well. I've seen several posters cite all the advantages, which is great. However, a few other posters have referred to Dingwalls not being for everyone. Any examples of who Dingwalls might not work for? Thanks

It might not work as well if you're always above the 12th fret chording. It can easily be done however with some work. The sonic advantages are worth it imo.

So chording up there is slightly different, not necessarily harder. Some chords are actually easier to play fanned.

 

[Jefenator]

I'm very interested in Dingwalls as well. I've seen several posters cite all the advantages, which is great. However, a few other posters have referred to Dingwalls not being for everyone. Any examples of who Dingwalls might not work for? Thanks

It's a subjective thing so there might not be a "scientific" way to predict who will & won't take to the fanned frets (along with the rest of the Dingwall "package"). Same thing with anyone's stuff - nothing is going to please everyone.

 

[Lady Kayri]

FYI: Just got in the 50th issue of the UK Bass Guitar Magazine (Jan 2010 issue). They're planning a review of the Combustion in their next issue, according to the editorial page.

 

[lowphatbass]

I'm very interested in Dingwalls as well. I've seen several posters cite all the advantages, which is great. However, a few other posters have referred to Dingwalls not being for everyone. Any examples of who Dingwalls might not work for? Thanks

The only specific example I can think of is a gentleman I know from LA, busy as a studio player, great guy, fantastic player. He's not very tall(maybe 5'6"ish) and has a pin in his left shoulder from a previous injury or something. He's sat-in on my bass(37" B string) a few times. He's mentioned that it's hard for him to hold his arm out there for the first fret for extended amounts of time. It is a slightly longer stretch that could be a deal breaker for someone in his situation. There's also a possibility he could work around it with a dialed-in strap height and bass positioning.

 

[Bocete]

FYI: Just got in the 50th issue of the UK Bass Guitar Magazine (Jan 2010 issue). They're planning a review of the Combustion in their next issue, according to the editorial page.

 

[RobJeff3]

I'm very interested in Dingwalls as well. I've seen several posters cite all the advantages, which is great. However, a few other posters have referred to Dingwalls not being for everyone. Any examples of who Dingwalls might not work for? Thanks

I think the two points above, not having the length to take advantage of the extra long B(In my opinion the way that my Dingwall is shaped, bridge placement, head stock/string tuning positions it really doesn't seem any larger than what I was used to 34"). It's the lightest bass and one of the best balanced I've owned and played. Secondly above the 12 fret chords can be tricky and the frets as you go up the neck the angle increases forward making it something you have to be aware of. Once you have your bearings on the upper fret boards it's fantastic.

This is something I'm almost positive is in my head or an optical illusion, but it seems that the space between the frets above the 12th are narrower. I have pretty big hands, and despite the mind telling me the space is narrow my fingers get in there and work.

I personally being new to the dingwall will figure out issues as time continues, but at this moment in time my thumb is sore from the slant and screw placement on the pickup. I guess I have to either rest my thumb on the B or I am gonna make a little ramp for the top of the Pickup so my thumb has a nice resting spot.

If you use a pick then this doesn't apply.

I could understand the dingwall not being for everyone. If you are a multi bass player, and change song to song or gig to gig, I'm sure the jump from a 34" - 35" scale, then to the fanned fret could be difficult. I know when I play a 4 string bass, then go to 5 string I have to think about what I am doing so I don't Chunk a song or an intro.

If you don't like Canadians....j/k

I am not a rich guy, and I don't have a room full of instruments. I could see if you collected basses or had the finances to have lots of basses why wouldn't you have a sick collection. Alimbic's-Zon's

Right now I have 2 basses my first bass(Dad gave it to me), and Dingwall Combustion, and it's new to me, but IMO my Dingwall is better than my Warwick, Fender(p & j), Gibson(TB), Tobias(I would love that which was taken, returned), Ibanez, Lakland, MTD's, and Modulus.

I am really besides myself how much I love this bass. If you are anywhere near Ventura County CA, I'll let you play mine to get a taste, I know when I played it for the first time I was almost certain what I was going to settle for.(Had what I thought the only bass for me and was stolen) My backup bass was a beautiful Fender Jazz 4 with flamed maple top, and 18V 3band preamp that was so sexy, but needed a 5 string for the music.

If the fanned fret system hard to play... The Idea can't teach an old dog new tricks.

I find myself in a position you can have one bass, what do you play?
The Dingwall Combustion answered, when compared to other basses in it's price range the most versatile, best sounding, best craftsmanship, setup from factory, and Dingwall as a company was represented as honorable and would stand behind each bass produced.

Originally Posted by Sheldon D.
It sounds like you need to raise the bass ends of the pickups. Try 1-2 turns on each mounting screw. Double check to make sure the string isn't going to hit the pickup shell when playing.

Thanks for the fix. It looks like there is plenty of room to move the pickup closer to the strings. I have to play tomorrow so I'll know if it made a difference. If this is all it takes then two thumbs up. As far as changing the preamp out to the aguilar 3 band. Do you know what it would do to the overall sound of the bass? I think that you have used this preamp in other models. Can you think of an other method to boost bass, with out losing the volume produced by the other strings?
Are there other wiring options that would produce different results that could also be an option?

Thanks
Rob J.

 

[Sheldon D.]

Thanks for the fix. It looks like there is plenty of room to move the pickup closer to the strings. I have to play tomorrow so I'll know if it made a difference. If this is all it takes then two thumbs up. QUOTE]

That would be cool if it does the trick for you. You should be able to gain 3-5 dB on the B-string. You could also lower the treble end a little to further tip the balance toward the B, although there's not a whole lot more the treble end can go down.

As far as changing the preamp out to the aguilar 3 band. Do you know what it would do to the overall sound of the bass? I think that you have used this preamp in other models.QUOTE]

The OBP-3 is a great pre-amp. It also runs off 9 volts so that makes the install simpler. I'd have to look up the bass curves of the two pre-amps to see where they are voiced. I do know from experience that you'll hear the bass boost on all strings not just the B.

Can you think of an other method to boost bass, with out losing the volume produced by the other strings?
Are there other wiring options that would produce different results that could also be an option?

Thanks
Rob J.

We've intentionally left the Combustion relatively open-ended for modifications.
The neck pickup for instance can be rewired in series relatively easily. This will increase the output and low mids of the neck pickup tone.
The dual volume circuit could be replaced with a Master Volume and our rotary switch. You'd lose the subtlies of the dual volume, but you'd gain some presence and the series setting which many of our customers favor.
A push/pull volume could be installed and wired for a series setting too. You'd maintain the dual volume in parallel and have a single master volume in series.

Lastly we can install FD-3 pickups in the Combustion pickup shells. You'd see an increase in output, dynamic range and punch.

Before we go too far, I'd like you to try the free stuff first. Let me know how the pickup height works out.

 

[RobJeff3]

Before we go too far, I'd like you to try the free stuff first. Let me know how the pickup height works out.

I thank you for going this way. I have raised my pickups, and I only haven't played it through my gig rig, so I am trying to be most optimistic. By 9:30 I'll know. I'll keep you updated.

Rob J

Dr. Sheldon Dingwall Thank you for your personal attention. I could just see me wasting time and money on my own guidance. Have a gr8 mid week.

 

[RobJeff3]

Originally Posted by Sheldon D.
Before we go too far, I'd like you to try the free stuff first. Let me know how the pickup height works out.

Dr. Dingwall-

I moved the pickups around and definitely got a volume boost, but I lost some of the smooth tone, and it seemed to make the B stand out. I thought my prayers had been answered when I was sound checking by myself, but while playing live I found that the B string didn't punch through the mix as I had hoped. What in your opinion is the best direction to go in order to obtain that sound. I think I was pretty specific with what I was looking for, but if you need more info to get a clear idea of what I am seeking ask away. BTW tonight my friend and I hosted an open mic/musicians jam/networking/experiance to play and connect with new musicians. Tonight was a great evening, some great musicians and new faces came out, and our local music lovers out to enjoy the music. There was some pretty epic music tonight, and my bass was the center of attention. I knew that when I decided to get a dingwall it was going to be different, but I didn't expect so much personal attention and positive feedback. Kudos on a great bass.

Thanks
Rob J

 

[Sheldon D.]

Dr. Dingwall-

I moved the pickups around and definitely got a volume boost, but I lost some of the smooth tone, and it seemed to make the B stand out. I thought my prayers had been answered when I was sound checking by myself, but while playing live I found that the B string didn't punch through the mix as I had hoped. What in your opinion is the best direction to go in order to obtain that sound. I think I was pretty specific with what I was looking for, but if you need more info to get a clear idea of what I am seeking ask away. BTW tonight my friend and I hosted an open mic/musicians jam/networking/experiance to play and connect with new musicians. Tonight was a great evening, some great musicians and new faces came out, and our local music lovers out to enjoy the music. There was some pretty epic music tonight, and my bass was the center of attention. I knew that when I decided to get a dingwall it was going to be different, but I didn't expect so much personal attention and positive feedback. Kudos on a great bass.

Thanks
Rob J

OK, I thought it was an output issue. Now I'm thinking it's an eq issue. Add some mids. This can be difficult because mids that cut in a band setting sound honky when you play by yourself. It might help to have a friend/soundman add the mids and fine tune the level and frequency while the whole band is playing.

 

[RobJeff3]

OK, I thought it was an output issue. Now I'm thinking it's an eq issue. Add some mids. This can be difficult because mids that cut in a band setting sound honky when you play by yourself. It might help to have a friend/soundman add the mids and fine tune the level and frequency while the whole band is playing.

I'll give it a try, but as far as I'm concerned I thought i had great mids. The Low B just doesn't have more volume than my D,C, and B on my A string. It's what I am looking to gain... Drop an octave and have it louder than my other notes. I'm going to be with on Friday evening that could tweak my eq while playing.

If I play another 5 string bass the low B is definitely more pronounced. I really thought it was an output problem too.

On another note I was reading in your forum about setup, and I was wondering what's involved in getting a new nut and a neck shim? My combustion has a slight buzz when played open E, and I like my action low. I adjusted the truss rod to make it even lower and a little tweak on the bridge and the nut is cut a bit to low in the E string and the buzzing has increased. I wondered with maybe a shim and a new nut if I could get it even lower.

Thanks again!
Rob J.

 

[Sheldon D.]

I'll give it a try, but as far as I'm concerned I thought i had great mids. The Low B just doesn't have more volume than my D,C, and B on my A string. It's what I am looking to gain... Drop an octave and have it louder than my other notes.

OK, I think I get it now. We've done everything we can think of to make things more even so you'll need to boost a specific frequency if you want it to pop out.

If you want it to rumble you could try 30 Hz or 60 Hz, if you want to thicken try 120 Hz, if you want a little more definition with that thickness try 250 Hz.

On another note I was reading in your forum about setup, and I was wondering what's involved in getting a new nut and a neck shim? My combustion has a slight buzz when played open E, and I like my action low. I adjusted the truss rod to make it even lower and a little tweak on the bridge and the nut is cut a bit to low in the E string and the buzzing has increased. I wondered with maybe a shim and a new nut if I could get it even lower.

Thanks again!
Rob J.

email me your serial number (include your mailing address). I'd like to cross reference that with our nut slot height records.

For now, you'll need to back off on the truss-rod a bit. Loosen it more than you need then tighten back up to just below the buzz threshold.

I'll send out a shim and a nut blank. The nut will have to be professionally installed, but the shim you can install yourself.

Buzzes can be difficult to track down even with the bass in your hands. I've never found much success trying to to it "blind" via email or phone. I suggest having a pro look at it if you're trying to get the action lower than factory setup.

 

[BurningSkies]

A quick confession.

I ran in parallel (pickups in series) the other night for practice and it killed. More complexity and richness than series. It's the stealth killer tone on Dingwall basses.

 

[brocco]

I have a couple, and I certainly have no intention of playing any basses other than Sheldon's.

There are lots of great instruments in our world, both production and small shop produced, but for me, the Dingwall basses are the pinnacle, from the build and construction to the feel and tone.

+1 I own a new Combustion 3 tone sunburst.
This bass sounds like a Pbass or Jbass on steroids,active but not to hot,some what an agressive passive sound.Intonation is perfect all over the neck.String tension feels so good.Every note played is clear & full,open E and b is so sweet.Above the 12th fret is clear and in tune,and no DEAD spots ANYWHERE.This one is a keeper