Author Topic: Strange new bass (Read 333 times)

afrobeat_fool · « **Reply #15 on:** September 30, 2009, 10:43:30 AM »

Yeah, Dave. Craigslist, Portland. If you want to try one out, your welcome to have a look. just E-mail me and we will work it out. I am stoaked to have it. The tone is incredable! I always wondered how to get that PRO-TONE. Now I know, it's the Pre-amp. Especially for slap and pull!
I am working on a new tailpiece for this type of set up. Dave's post got me thinking about how a spider is not a bird, even though they both fly, make nests, and eat bugs. What if the tailpiece looked like a bird, with the e-string coming out of the tailfeathers, and the G-string coming out of the head? I am no engineer, but I'm working on some sketches and hope to post one today.

(Message edited by afrobeat_fool on September 30, 2009)

john_judge · « **Reply #16 on:** September 30, 2009, 01:05:19 PM »

Hey Nick, Already got one of those going on my Raven Bass design Bird tail piece and a neat bridge design along with some wicked bird wood for the body shaped like a bird in flights feathers of Flaming Koa, a few have seen it and can testify to it but I am just not ready to post it yet...Lol! John

tbrannon · « **Reply #17 on:** September 30, 2009, 01:48:29 PM »

Interesting ideas on the alternate bird tailpiece...

I was set on the Elan bodyshape (my favorite) and I have always loved that traditional Alembic bird tailpiece.

bsee · « **Reply #18 on:** September 30, 2009, 08:17:56 PM »

The Dingwall design isn't particularly new. They've been around for over a dozen years at least. It also isn't really about altering the temperament. The feature of fanned frets is that the fatter strings get a longer scale which allows them to hold more tension for their respective notes and, therefore, feel and sound less floppy. Meanwhile, the smaller strings where one might be inclined to solo and such aren't forced into the same longer scale which would tend to slow a player down. Typically, there's about a 3 scale difference between the two sides of the fretboard.

jacko · « **Reply #19 on:** October 01, 2009, 04:49:41 AM »

Coincidantally, the british Bass Guitar magazine has an article about dingwall this month. Some very nice looking instruments on display. apparently, lee Sklar plays them exclusively now.

graeme

hankster · « **Reply #20 on:** October 01, 2009, 06:58:23 PM »

just looking at that bass makes me seasick.

R.

811952 · « **Reply #21 on:** October 01, 2009, 07:09:02 PM »

I'm told Lee uses an old P-bass in the studio...

John

tbrannon · « **Reply #22 on:** October 01, 2009, 08:18:38 PM »

Bob's point about scale length is a good one- but the thing I noticed most about the Dingwalls was how comfortable they were to play once you got used to them. If you have the time (or interest) imagine playing those frets and move your hand up towards the nut- the fanned frets take the 'funky' angle out of your wrist and the same is also true for playing in the upper registers. The fanned frets allow for a very comfortable wrist and shoulder position- at least in my experience

(Message edited by tbrannon on October 03, 2009)

jacko · « **Reply #23 on:** October 02, 2009, 04:44:58 AM »

Sorry John, you're probably right. In the article, Lee says it is the only bass I use live. More and more I'm reading interviews where the musician is using one make of instrument to record an album and a totally different one to tour.

Graeme

811952 · « **Reply #24 on:** October 02, 2009, 06:17:10 AM »

Graeme,

I think he's pretty much stuck with what the producer wants in the studio..

Nashville likes it's bass old and Fender..

I remember when Henry Strzelecki played a Steinberger at the Opry. I really thought they were gonna burn the place down...

John

dfung60 · « **Reply #25 on:** October 03, 2009, 05:34:54 PM »

Laying out the fret positions isn't that hard - on the bass side of the neck, it's 36 spacing (or whatever), on the treble side it's 33. Alembic calculates the fret positions and allows complete customization on scale length, so this isn't much of a challenge. I seem to remember that they had a robot/CNC setup to actually cut the fret slots, so that might not work though.

Part of the secret sauce of Novak's design isn't just the different scales, but the offset between the short side and long side, which had some sort of ergonomic basis. It doesn't looks like he split the difference, and I suspect that getting this right for the player is the difference between heaven and hell.

A design like this doesn't address intonation within keys. By having a longer scale on the larger strings, it does improve tension and the tone of the string. I don't think you can actually fix the equal-temperment intonation issues without making an instrument that can only play in tune in a single key.

David Fung

tbrannon · « **Reply #26 on:** October 04, 2009, 04:32:32 PM »

Nick,

I'm curious to hear your impressions once you get to play it this weekend.

afrobeat_fool · « **Reply #27 on:** October 04, 2009, 04:46:51 PM »

Hi, Toby! I played it last night. It took a little getting used to, but I have to say, I'm impressed. Both with the angled frets for hand position, and the electronics. In the upper register the thing is a monster. It is very fluid, and the clarity of sound far up the fingerboard is good. I tend to pull on the strings in the upper positions and the angled frets did not disturb me too much. I don't think it's the bass for me, but I am glad for the experience. I am also thinking of going down to Eugene this week and sitting in the Dingwall studio with a few of his guitars. I think I will like this fret system on guitar. Hard to give up on my 56' Gibson 175DN for an axe like these.

tbrannon · « **Reply #28 on:** October 05, 2009, 08:35:44 PM »

Nick,

Thanks for the report- I really liked both of the basses I played. Very comfortable, well built and I liked the electronics too. I wouldn't mind picking one up sometime if the price is right and I have the funds available.