Sheldon Dingwall

[quote name='Woodinblack' timestamp='1470746701' post='3108092'] Agreed. The dingwall combustion had one of the nicest playing necks of any bass i have owned, and I was very happy with it when i tried it, but I just couldn't get 'my sound' out of it, whatever I did it was uninspiring. [/quote] Not to derail this thread but, I've read this comment a couple of times and struggled to understand what you and maybe one or two others were saying. At any rate, we listened and I think we've figured it out. New pickups have been developed and are working their way toward being put into production. Just thought I'd share that. The power of users forums is pretty cool.

Nice playing Rushers. Keep up the good work.

I can agree with the above comment. Most 5-strings I hear have decent to excellent sounding B-strings on the open note. The problem with shorter scales and thicker cored strings is in the fretted notes. It shows up as a "warbling" quality to the tone as the shorter harmonics are pushed out of tune by the stiffness of the string. The more you roll off your tone, the less you will notice this but it's still there. As far as Multi-scale being a solution to a problem that doesn't exist. I'll throw some problems and solutions out there. If you don't experience the problem then for you it doesn't exist. Problem: B-strings are floppier and muddier sounding than the rest of the strings. This is pretty well documented so if you don't agree with this boy are you in the wrong thread LOL. Solution 1: heavier guage string. Fixes the floppiness and let's you attack the B-string harder, lots of string choices, makes the muddy tone worse. Increases that harmonic warbling making the 5th frets and above pretty unuseable. Doesn't balance the tone across the strings. Makes the tone change more as you go up the neck. Solution 2: lighter guage string (more importantly a lighter core string). Fixes the muddy tone, alows play further up the neck, causes less tone change as you play up the neck. Requires a much lighter touch - especially in comparison to the other strings. Does't help balance the tone across the strings. Limited string choices. Solution 3: Longer scale. Fixes the muddy tone, fixes the tension. Makes the G and D strings tighter and more "stringy" sounding. Limited string choices. Does nothing to address the balance of tone across the strings but does help the tone balance up the neck. Solution 4: Multi-scale. Fixes the muddy tone, fixes the tension - you can attack all strings equally, doesn't mess with the G and D strings, more even tone across the strings and up the neck is easier to mix. Requires fanned-frets and adjustment to them (easy for some, harder for others). Looks different. Fanned-fret basses are expensive. String choices limited to roughly 1 dozen brands. Based on the above, multi-scale isn't a perfect solution but IMO provides the most comprehensive solution. If you aren't bothered by any of the above problems then "it's a solution for a problem you don't care about" is probably more accurate. Physics mumbo jumbo? The physics are solid, just sit down at a good piano with your bass and compare the consistency of tone between the two. How does that apply? Think of all the concerts you've been to. The majority of the time which have been easier to hear clearly, the low notes of a piano or the low notes of an electric bass? The real world backs this up without any help or advertising from us. Just to be clear, I'm not talking about an 80's style "piano tone". The point I'm making is that having a more even tone across the strings and up the neck just makes it easier to effectively eq your tone for the room. More importantly a tighter bottom end is easier to hear and mix than a loose and woofy one. In the end what's really important -at least to us - is connecting with your audience and your bandmates. If you're on the right path, you'll know by the instant feedback they give you. It's that simple.

Leaks into the wood Nd looks messy. Silk screen would work but might look cheap.

[quote name='Johnston' timestamp='1332754332' post='1592411'] I guess it was a cost decision due to the bit of extra work involved that made you go for the plastic one? [/quote] No, the plate is way more of a pain to make. The problem is that the engraving is too subtle. From a distance it disappears.

[quote name='markstuk' timestamp='1332750380' post='1592339'] Hi Sheldon, What in your view are the downsides, if any, to using fanned frets? Just to balance things from a discussion perspective.. BUt it would be a boring world if everyone liked the same stuff... [/quote] That's a tough question. We've done our best to eliminate any downsides. Cost is one. Building basses the way we do is time consuming and expensive. Having to rethink things a bit is another. Some people want progress but don't like change. Our basses aren't from Mars but they may require some adaptation to technique and EQing. Initially change can make you feel inadequate but that goes away soon enough if you stick with it.

[quote name='Sheldon Dingwall' timestamp='1332749559' post='1592324'] Thanks Wayne. When the time comes that you get a chance to play one, if you like it great, if you don't, no worries, you still have my respect. [/quote] I take that back. Actually I'd be pissed at you. But I'd get over it sooner or later;)

[quote name='waynepunkdude' timestamp='1332716143' post='1592156'] To be fair whatever my perception of the basses, Sheldon has always come across as a top man. [/quote] Thanks Wayne. When the time comes that you get a chance to play one, if you like it great, if you don't, no worries, you still have my respect.

[quote name='Machines' timestamp='1332709715' post='1592053'] Since the E string is near enough standard scale, what benefits does the novax system offer on a 4 string bass ? I understand the practicality on 5/6 string Dingwalls and have played a few to attest to it working well there. [/quote] More even tone from string to string makes EQing for the room or recording much easier and effective. Plus the shorter scales make it feel like some kind of sports car, they almost play themselves.

[quote name='Johnston' timestamp='1332708606' post='1592035'] the satin black one on I think Bass directs website is I just wish they had the protos head stock. Not a fan of the plastic plate TBH. [/quote] I don't have a photo handy of the black plate with the new polished aluminum string tree, but let me know what you think of the look of that when you see it.

[quote name='Sean' timestamp='1332690265' post='1591655'] Stunning! What are the scale lengths? [/quote] 32" to 34.25"

[quote name='neilb' timestamp='1332660827' post='1591177'] Not a good bass to show me on a Sunday morning after a heavy night on the Pina Coldas!! [/quote] I've been meaning to talk to you about all those piña coladas.

[quote name='henry norton' timestamp='1332701101' post='1591859'] I wish I'd had the time to be able to tell whether I liked Dingwalls or not. When I was at the London Bass Guitar Show earlier this month I had about 20 seconds playing a Dingwalls bass before it was taken off me by someone on the stand. I guess he didn't think I looked worthy of playing one of their £5k basses although to give him his due he did take time to explain the "dual density" body and the theory behind the fanned frets. Unfortunately I wasn't allowed to test the 'theory'. As a maker myself I understand the importance of getting your wares out there and exposed to as many potential or future buyers as possible - obviously the 'professionals' showing the Dingwalls basses figured they knew better. [/quote] Henry, I don't remember this, but if it was me (and it probably was) I apologize. I wouldn't have meant anything personal, just a brain fart on my part. Not cool.

[quote name='Gust0o' timestamp='1332687761' post='1591622'] Sorry Sheldon, I was parodying Talkbass [/quote] Ha, ha, ha, I missed that completely.

The post directly above was regarding the metal question. To those who tried one but didnt care for the tone, we can't possibly please everyone. Thanks for trying with an open mind though. You have my respect. Does anyone have any input on their experience between playing alone in a music store and in a group setting? I'm not looking for hype or praise just honest feedback.

Very good. The amp is a big part of that too though.

[quote name='Doddy' timestamp='1332440840' post='1588492'] Is that why he's doing adverts and clinics for Warwick? [/quote] I get that question a lot. The reality is Lee plays for so many different artists one instrument can't begin to cover every gig he does. This speaks to the OP. My recomendation is that if you can afford to keep your old basses, keep them. I know I've sold instruments in the past and regretted it. If after a while they or even your Dingwall is gathering dust, sell.

[quote name='warwickhunt' timestamp='1332439865' post='1588471'] Just to be clear; the fanned frets make the bass sound more 'in-tune' across the whole fingerboard (better than the Buzz Feiten affair)? If so doesn't that make the guitarists appear even MORE out of tune than they frequently are! [/quote] Increased harmonicity is a side benefit of longer scale lengths and well designed strings but the main reason we use the fanned fret system, dual density bodies, asymmetric pickup coils etc is to get as close to a perfect match from string to string - both in tone and tension as possible. Here's the number one reason for what we do. Think of all the concerts you've been to where the bass can be heard overall but many or most of the notes the bass player is playing are just not heard. The more similar the tone of each string the more effectively you can EQ for the room. Add to that the clarity that the longer scale adds to the lows and you have the power to move an audience. On first play it's easy to miss the benefits of more equal tension but the ability to use the same attack and dynamic expression on all strings including the B is amazing. When I demo our basses and see the player using dynamics I ask them to exagerate their dynamics a little, playing lightly for a warm and round tone to really digging in and making it snarl and bark. In every case their eyes open wide when they see how much expression they can use. It's like a whole new world opens up.

The pleasure was all mine. It's a wonderful experience hearing beautiful music being played on something you've built.

I've got a lot of people to thank here for a truely wonderful couple of days at the show. Mark for having us at his stand. Dan and Pat for all the help and of course fun. David Swift and Neil Murray taught me so much and are such gentlemen. The organizers who dispite the noise complaints did a really good job of keeping a lid on things. I've done a lot of shows and this is the only one where there are regulated quiet times. I got stuck in the drum area at NAMM a couple of years ago :0 this show was peaceful by comparison. When you remove the clutter there were many gems, most of which I missed because I was busy. Yolanda did cause me to stop mid-sentence and run over for a listen. Freaking amazing! Most of all I'd like to thank all who took the time to stop by. Prior to the trip I was dreading the 12 hr flights, jet lag, exhaustion etc but you guys made it all worthwhile. Can't wait for next year.

[quote name='waynepunkdude' timestamp='1328214806' post='1523971'] Any news on my signature Jazz? [/quote] Any photoshop wizards out there want to mock one up?

[quote name='steve-soar' timestamp='1328133288' post='1522554'] Thanks for that GW. In response, I'll stick with builders who recognise that 1 in 10 people are left handed and are happy to produce instruments that cater for them. ie, Status, Wal, Jaydee, ACG, Shuker, Sei, etc. [/quote] Fair enough. I'm a left handed in most sports so am simpathetic to the frustrations of left-handed players. It's simply that our cost of building left-handed versions is prohibitive. That being said a future hybrid model is being planned that will be left-handed only. Long scale, our high-end saddles, ABII spec for the rest. Haven't found reverse taper pots so that might force us to use standard rotation controls (we can reverse the rotary switch though).

[quote name='charic' timestamp='1327999570' post='1519960']checkerboard paintjob[/quote] Me likey. That would match my old band's stage backdrop. I know you were only joking but anybody into it?

[quote name='Musicman20' timestamp='1327959448' post='1519627'] Just seen a NAMM video of this bass. It looks stunning, it sounds great, BUT, I do think its strays from a normal P bass tone. Could be the player's technique, who knows! [/quote] I blame that on too fast and too furious with a new camera. I didn't notice until it was too late that we didn't get the straightahead tone. With the tone in the centre detent position it's real close to a traditional P-tone but with more punch and clarity.

Wayne may or may not appreciate our basses. They're not really designed for punk. I've always felt our attitude had a bit of a punk rock edge to it in a "screw what everyone else thinks, we'll do it our way" kind of way. At any rate. I got some nice footage of Mitch Starkman playing the bass through the Aguilar Tone Hammer 350 at NAMM. If anyone's interested, here the link. [url="http://youtu.be/cIiN7LRCA2Q"]http://youtu.be/cIiN7LRCA2Q[/url] Special thanks to Mitch Starkman and Aguilar Amps.