Main basses: back in my days - warwick corvette $$ (made in D) heute Spector NS Pulse II 5 String Double Humbucker activ DR Strings (black / red) auf drop b funktionieren beide mit finger oder plec. Spector 889 mensur / 24 bünde früher mit darkglass b7k v2, heute eigentlich nurnoch mit kemper player und leicht abgeänderte orange settings
I built my own Bass from scratch and I loved it. But my Bass is big and heavy, and I had to fly between countries, so I had bought a cheap headless, bodyless bass from AnyGig. It will have to do until I can play my own bass again.
Woah. Things are start to make sense now. One of the best conversations about instruments I've ever had the pleasure to witness and it was way to short. Good job lads!
THE best "tone wood" explanation. It's all about the player's connection to the instrument. It isn't something the listener can perceive. But the more the player connects with the instrument, the better they will play.
As a guitar player that uses a bass for music writing and production, everything that I have ever felt annoying with a bass but couldn't quite explain... He just perfectly explained all of it and I kept saying "That's it!" while listening to this video
It's amazing to me that people don't understand the importance of scale length. If you go to a concert hall to see a pianist, do they play on an upright piano or a massive concert grand? Everyone knows that the massive grand piano has clearer pitch and less inharmonic information (yes, I know Grand Pianos are a little louder but that's not reason people prefer to play on them!). Why would bass and guitar strings be different?
Getting a Dingwall changed my life as a bass player. I was always looking into getting new basses, changing pickups and whatnot. After getting my Combustion that completely ended
I have 2 Dingwall’s, and have had over 10 friends &/or clients come in, play them, then go out and buy one for themselves. Incredibly made, and just have a sound and ability to get such low action, that as a tech/player I have never experienced on another bass.
@ that sucks, man. Even here in the States, they’ve gone up. Can’t imagine how much they are elsewhere. I got mine back in like 2019/20, and they were pricey then, but nowhere what they are now. Hopefully that more affordable run I’ve heard rumored becomes a reality for you.
Awesome video. Very informative. Always loved my NG-2, but this confirmation bias makes me appreciate it even more. As a piano player, I kinda knew all the stuff Sheldon is talking about on an instinctive level.
I’ve tried to explain to other musicians how I like a “pianosity” to my bass & tone, that it should sound like a Grand Piano. This guy gets it and puts it into practice in manufacturing.
Thank you so much for that take on tonewood! That is EXACTLY the argument for tonewood that ive been trying to convey for years. Its almost like you read some of my past coments! Lol
People here in the comments don’t seem to realize that it’s not TONEwood. It’s just wood that makes you feel good. It doesn’t affect the TONE and SOUND of the instrument, but it can effect the overall feel of the instrument. We should prolly start calling it feelwood from now on 😂
I was lost for a long time when I was searching great bass guitar with huge sound, comfortable neck and ideal string spacing at the bridge. And once I had a chance to play Sandberg California TM5 and it is 13 years I have not tried to find another bass. Obviously I love Dingwall sound, but I wasn`t 100% convinced that it is the best one for me and my hands.
I have a nice bass collection. Fender P, Fender J, Rick 4003, and a Dingwall combustion. The other three have not gotten much playing time since the Dingwall was added to my quiver. Three "classic" American basses and Dingwall's China made Squire equivalent is my current #1 bass. Suspect I'll wind up with a super J eventually, but it's far from a need. That combustion is one hell of a nice bass.
I"d love to hear more about the onboard preamp and eq! I was always a bit confused by the purpose of it in a metal context, as it doen'st make sense to me to eq the bass before the distortion. Aside when compensating for dead strings >_> With good strings and good pickups I prefer going into my distortion pedal first and eq afterwards. So to me the battery powered preamp feels more like a liability then anything else. But very curious what more experienced people than me think of it and use it for!
EQ can make sense before the distortion to shape how the signal „triggers“ it. I would have loved to talk much longer but we just had the room for 30 minutes. More next time!
Great down to earth explanation of inharmonicity! I think Leo Fender was right to make the bass 34" scale... ...if you tune to E (or no lower than D). The first Dingwall I ever had my hands on was a real eyeopener. Honestly, though, as great as 37" is for B (and works fine for A, too), I feel like even more would be better for anything lower. I think the 37" Dingwalls are all set up with hardware that gets you the most you can get- pickups, electronics, bridge, woods, etc. But I'd like to see a 40" or 41" scale for people who go into more extended range... however, I think people will just tune down until it sounds mucky... still, I'd love to see more options.
For some people the muckiness drives the desire to tune down to begin with. At least in part, or almost subconsciously. The slightly mellowed but nastier response that tuning down even a little can introduce. A need for that GHOOOOSHHHH you know? Especially on guitar. Not saying that’s everyone, or all the time. I kinda fluctuate myself. I tune my guitars to C# with 10’s or 11’s but play a 35” 5 string in standard because I prefer the tensioned sound.
@inmemoryofin I started playing 7 string guitars back in '97, and pretty much switched over 100%. Back then, all factory 7 string guitars were standard scale length. B sounds pretty okay, but even tuning down to A makes thinks muddy to my ears' *but* - I know exactly what you are saying. That low A on a 25.5" guitar sounds muddy in a very entertaining way... and I agree that on bass, the muddiness is different. If you think about a 34" bass versus a 25.5" guitar, you are talking 5 frets. But you are talking about tuning down 12 frets. 35" scale adds an extra 1/3 of a fret worth of length... not really a world worth of difference. Even 37" Dingwall goodness is only 1 fret longer than 34" (if you fret the first fret on a Dingwall, you have a 34" length of string). There are plenty of guitars 27" (25.5" +1fret), 28 5/8" (2 frets), and even 30" (3 frets), but for bass, 34" is already considered "long scale." There are a few 37" options, and I only know of three 40" basses (Kalium aka Knuckle Quake, Booka in Australia, and a company I can't think of the name in Greece). I saw a video of a guy who built a 40-43". Even that is less than 5 frets from a 30" baritone guitar. So very few ootions if you want to downtune a bass. Then there's the issue of strings. If I build my own 40-43" bass like the guy in the other video I saw, where do I buy strings? Even Kalium strings max out at 40 3/4" between windout and ball end... so custom made Newtones? Who is going to pay $150 for a 5 string pack? Well, if you want to push the limits, obviously you need to innovate something. I am rambling, but, all this to say I just wished extended scale basses were more normalized in this day and age.
Before Nolly really established that tone in metal, there were people like Kim Gordon and others doing that grind and maybe even klank to a lesser degree in Punk/Indie/Noise type music. In some ways she was doing something like Lemmy, where the bass was doing what more normall a rhythm guitar would do: holding down the heavy riffs. In that group it was so that Thurston and Lee could weave their noise textures over the top while keeping the propulsive momentum up, via the bass. She was using some bass guitars more associated with heavier styles (Thunderbird, B.C. Rich, Rickenbacker a la Lemmy), dirty Ampeg SVTs driven with pedals like Turbo RAT and the nice breaking tube-amp sounding EHX Hot Tubes which is quite a hot/bass-heavy sounding pedal. But I don't know if she was running parallel clean+dirty rigs. I think not, it was all pretty dirty.
Mr. Dingwall's comment about distorting bass in the overtones was *really helpful* here, as I tended to not know how much or where to distort a bass and so used a Fender clean amp sound for metal by default with maybe a bit of Sansamp edge dialed in. Further, I doubt this will happen, but *I hope Mr. Dingwall and Floyd Rose collaborate on a multiscale floating Floyd Rose bridge for 8 string guitars that can handle a high A string being pulled up to C# without breaking.* Why no F#? One is I do not like the low F#1 string on an 8 string guitar. It is around 46.25hz and usually around 50hz is when things start fighting with the bass drum. The solution is usually to make the kick drums very high and clicky with triggered samples and to dial a lot of the low end out of the bass and guitars to make them clearer and brighter in such low tunings. The bass and guitar end up in the same octave and only the timbre of their different string types differentiate them. Some djent bands get rid of bass players all together, which I think is a mistake because you lose the timbre of the bass. Eventually with all the low end dialed out, the bass clanks and sounds like a guitar, only one octave down, or the guitar sounds like a bass. Instead of going lower, I generally prefer the melodic high strings on a 6 or even 7-8 string bass if they are tuned like a guitar or drop A with a high A string on top (A E A D G B E A). Why the high A instead of F#? We are used to droning F# tones. But with high A the ear does not expect it. Sweep arpeggios sound very cool with a high A, and you cannot emulate this with a Digitech Whammy pedal because the single note comes too quickly in the sweep to isolate. Since guitar low A1 is at 55hz, the bass A0 would be an octave below that at 27.50hz. The bass drums and bass guitar still have somewhere to live in the below 50hz range, while the guitar sits just above it. The problem is now we are looking at a high open A4 on the first string with a frequency of 440hz. A5 would be 880hz at 12th fret. A6 at 24th fret would be 1660hz. This has been accomplished with the Dean Rusty Cooley RC8, which had a low B of 25.5" scale length and a high A of 23.5". But if you use the whammy bar to raise the high A6 to C#7, you are looking at an incredible 2217.46hz. The fret slant would have to be massive--probably at least 25.5" to less than 23.5". But I am hoping one day it can be done. Dimebag used to use his Digitech Whammy pedal to go to E6 at 1318.51hz and it was still very musical. Imagine if you could play those notes fretted and still have full use of a whammy bar on an 8 string. We have to get guitar up into the 7th octave and down into the 1 octave on the same instrument to push the boundaries of metal. And, we still need the bass guitar in there to play independent counterpoint lines in a different octave, something that an 8 string guitar player cannot do alone because the hand will not stretch that far. I am interested in what Mr. Kohle thinks of the idea of a fully floating high A string.
A small side note as well for bass players--try different string alloys to change your sound, not just your pickups or tone settings. I use traditional nickel wrapped steel core strings for a balance of warmth and clarity, but it is amazing how much difference pure nickel vs. stainless steel makes, as does the kind of winding (flatwound, halfround, roundwound, tapewound). My guess is stainless strings would help a lot with the dangle dangle. Or even try different alloy strings on each string. Perhaps stainless steel on low strings and nickel wrapped or pure nickel on high strings?
@@alrecks619 Good point, but I'm not sure string sets are sold with mixed alloys the way they are for mixed string gauges, which would necessitate buying two sets of bass strings and leaving a bunch of unused ones left over. That might be a downside of mixing alloys. Plus I tend to like slightly worn in strings to reduce fret and finger noise. Unless I'm recording, I may leave a set of bass strings on for years or more. They will just become warmer sounding anyway with use and I usually boost the highs a bit to compensate. Also, a lot of metal basses like to do reverse P coils (Jackson, Charvel, BC Rich, and ESP basses in the 80s-90s especially). I've heard both traditional stagger and reverse stagger on a pair of BC Rich Eagles and I prefer traditional stagger. So, going with stainless on low and nickel on high might be like doing a reverse P. It gets a lot of in between frequencies I don't care for and have to dial out. Bassists also tend to not use a lot of wiring options these days on passive basses. I rarely see even PJs out of phase or in parallel, especially with hot pickups. Really helps with the clarity. The amp can always be boosted to make up the volume. Something bassists who want a warm fundamental might want to try is nylon. Due to the nature of the string they don't really degrade. They're pretty warm--similar to flats and tapewounds--and I'm sure the attack can be dialed back in. Steve Harris uses flats and fingers and always cuts through. Thanks for noticing.
I have a suggestion for musicians that will be super good, if we all be really positive people so learn to live it all, strings and drums, vocals and do everything at once. We don't have to be good just to do it and put energy into it, emotion. If you do everything it will help you to understand more music at the end of your time, obviously, knowledge is the key to everything and we just need to be more militant in our gathering of that knowledge, that works every time and it does not matter which hobby or interest it is, which passion. You can become so good on bass, any instrument people start think can you can walk on water, if that's what you want to do is bring people together, just to hear you play something. But listen, none of us are really this good yet anymore, to bring the whole world together to play music, like Michael Jordan did with basketball. You need to be really hungry, starving inside. You can do this with anything, but IF you did manage to meet your goals, can you handle them in the first place ?. Talent does not mix well with depression, it's not a good combo to have. The worst combo ever, is talent and drugs. Michael Jordan, he was and still is insane, it's not even sane to want to be the best, but he was. This is all why we need to be more positive people, like stop being keeping track of people so much online, starting to get really uncomfortable even using the internet anymore, for me. People are doing background checks, having seizures and emotional explosions in outer space, cause I offer advice or criticism, I don't think so. I can actually hear you freaking out. Just take the advice like a champ and let's be adults now, this is not your personal domain. We can be positive and then offer advice or criticism, simple as that. I like all of your music, let's focus on that first then we can work on music. Nobody on UA-cam are the best players, artists in the world, this is not what this means automatically. I see guys on the street who are very good and nobody knows who they are, they live under subways and stuff and just killing it, by themselves for 5$ an hour, those people are just hungry or, maybe even starving musicians. Players and artists are two different things, I see many great players and fewer artists in general, just a observation. Men sometimes don't like art, that's a big mistake to make for music because that's what it is, not just playing fast. Imho it's tired, we shouldn't just play fast all of the time anymore cause art is multiple speeds, or it will get really boring in a week or so of watching people play fast only. There's just way too many fast people vs slow people with music, it can be slow too. You need to be a hungry artist if you want to impress people. I was really impressed with some people in the subway trains, all I am saying is that it's sad they are living down there, let's help them come out. I think they have them in each city, it does not matter, the big ones have very hungry musicians. Until this changes, I consider the industry in a state of danger zone, some unbalanced thing as it is now for us. I don't know, people are going to need to change a lot of stuff to play music and be positive people again. We need a new outlook on music and maybe life, a lot of us will need one, but it won't be based on actual reality. Cause the industry is coming down, I think it's falling apart at the seams. The way things are needs to change and go back to normal, how it always was. I will keep playing until the industry is rebuilt and by that time, I will be kinda old but with today and the technology we have, I will be ready to play and we will get together, then if you want me to show off I will show off, I guess ?. I hate showing off cause it's kind of a weak vibe overall, unless it's Blues soloing cause, playing fast on Bass just gets old after so many people do it, similar to Flea or Mark King and how many guys now play very fast ?. I can't remember right now. But a Blues solo has more artistic value than a fast solo, now it does cause so many people shred, look at Stanley Clarke and people like him are more chill and artistic. I could play very fast and it's just not the same, it's speed is good sometimes flashes. If you can play a Bass, you can solo a Guitar too maybe, check it out cause Blues sounds better on guitar and there's only a few guys who can play it. You can learn all the chords and licks on bass, it's just stings. Some people are very negative people, super bad energy coming from them and watch out for those highly emotional people who are negative while also totally insane, obsessed. These people are in the music industry and scaring me with rumors, worship of negative energy is bad and we will have to battle with people who are positive, good, those conceited and good jerks !. Stop calling each other names and stuff, be a good person. I think American idol changed how people rated music, it degraded it then to be overly judgmental, catty audiences that like certain music, Polka. Blues is not weird music, nothing is bad knowledge at all. It depends how your brain got wired to play some of it, I think we are lacking artistic quality but it will change. Maybe we can do a music battle, good vs evil ?. No it's just music except I think we do have to battle now, I feel it coming. I can't even explain what is going on, something new or someone new is out there and I'm not sure what's wrong with them, but if this is what people think it means they're evil, unacceptable sized egos the size of trucks and that's not my problem, it's everyone else and I am not battling anyone today, not right now I can't and don't wanna, cause only a negative result unless...what ?. Other people are going to follow me, then if I win ?. I don't want your job it looks like a pain, I only would teach a person I liked or loved to play music but I give human advice for free, like be nicer to the musicians please, cause they don't all suck besides one person and who is better at making music ?. I am for like commercials probably, not for being a hot dog artist but I would need to practice this first being a hot dog artist, for a false sense of gratification ?. Cause this is what a guitar does is solo all the time. So, then when I saw people start to pick on slower bassists, I said hold up...what ?. First of all she's beautiful, 2nd she's doing well and doing her job, we don't make fun of those people coming up, nobody downplayed someone like Zender and yes he has better timing, faster and so will she get there. A good choice selection, approach and is learning and not a exact star yet, I can teach her some stuff I think, but obviously who cares right because people are not sharing the knowledge yet anymore and nobody is a father, a leader or a teacher anymore and people step on each others toes all the time. They think of, don't talk to women, what ?. Yeah, someone should talk to them and people are acting like total psychos now online, time to start over. This is not even real life, remember that. Anyone can say anything they like to anyone, since we own this place called the web and we can do what we want, you can't search my information or dox me, not at all. If there's anything on me first of all, it's not even legal info. You privately store people's social credit info, amongst your confused and immoral selves. That's all illegal, buddy you're going to jail if you do that. I am not going to jail for anything, you might be looking at a lawsuit though. Cause you wanted to know who I was since I had some negative feedback, o well...toughen up girl sissy pants all you guys do is instruments and run youtube shows, lucky half the comments are not like mixed negative. Everyone figure out your next career moves.
The core issue is the stiffness of the string. A string does not vibrate in an ideal manner because it is build out of actual material and because is has a diameter >0. Which leads to a certain stiffness. This is what renders the overtone series out of tune. You can lessen this effect by a) using a thinner string, or b) extending the scale length. There you go.
True, but a really thick but short bass string sounds dull and thud-y. It ends up sounding lifeless and doesn't ring out in a way that lets the notes feel musical. The lengthening of the scale allows the same tension/note to be achieved with a thinner string. The result being that the same low notes now ring freely and sustain in a way you'd expect from the instrument. (I absolutely tried putting absurdly thick strings on a regular bass with a 34" scale length. The results were far from up to standard.) With thick enough strings in the bass register, it is also possible for the fundamental of a note to be perfectly in tune, but the upper harmonics sound out of tune. Which then results in the instrument never really sounding like it's tuned properly. No amount of fiddling with the actual tuning or setup can fix that problem.
I like clank bass for some songs, but this is a signature sound of only a few bands to me--like Overkill. It is their signature sound as much as the high tuned snare is to Helmet. My ideal bass tone is still Steve Harris's tone from the 80s until 1992 when Martin Birch stopped doing their albums. Warm and fat, but still bright enough to cut through the mix even with fingers and flatwound strings. That said the guitars are very turned down and thin to compensate for his increased loudness in the mix. Fredrik Nordstrom's bass sound on the Dark Tranquillity album "Projector" I also like. I am guessing this is a mid scooped sound. When I emailed about it, Martin Henriksson told me he recorded with an Ibanez bass (I am guessing J or dual soapbar style), a Peavey Mark VIII amp, and a 4x10 cabinet I think. These old heads can be found dirt cheap used. I liked David Ellefson's tone as well, but I am growing tired of dual soapbar pickups for everything because they are too scooped and sound uninteresting despite the wiring options you can get from the passive variety. The Musicman Stingray style pickups especially are really versatile. Lately I am having luck with 4 string bolt on PJs, both active and passive, in cutting through and sitting in the mix. I do not like the neck sound of a J bass so I do not use them much. Thru necks sustain more and are great for fretless but I think they are too warm. Fretless Steve DiGiorgio style bass popular with tech death bands like Obscura can kind of disappear and reappear in the mix. The fills and slides sound great but underneath the guitars the fretless can disappear unless really compressed or the fingerstyle player is really consistent. I use rather low output traditional Fender 62 reissue pickups because they are clearer with a tighter bottom end. Any boost I need I do through the amp or plugins. It is only when I am using a type of bass like 6 strings that I use a specific type of pickup I dislike, usually a J or soapbar, because those basses tend to use that pickup form factor. Lately, I have seen some UA-camrs like Leon Todd use semi hollows for heavy tones. I am considering semi hollow and hollow short scale basses to experiment with tones.
I agree about Overkill! The tone I got for Dave Ellefson when I tracked his new band was quite different though: Check it out: ua-cam.com/video/kqM1FAmSJqk/v-deo.htmlsi=pdo5DNAInqk1TmSv
That’s what it comes down to now! Jamming in your bedroom dressed up like your on stage ??!! Very good bass player n playing you just need a band now ! Great tone ! I’m blessed to afford the samsamp 480 bucks later . That samsamp does that to all basses from Alembic to Spector If that guy gets a band I’ll pay to see it then he can wear those cut finger gloves 🧤
The thing I don't get after many years of playing guitar is that what happens to a string when you can't really tune it. You pluck it then it goes over the intended pitch and slowly goes below the pitch. How the hell are you supposed to tune that string?
@@vorpalblades Maybe but pickup magnets definitely do what magnets do. Also it might be the pickup selection as bridge pickups are not in my experience as accurate when tuning as neck pickups, probably because string vibration is less over bridge pickups.
Tune the strings with the same force that you use when playing normally. If you use thin or lighter gauge picks, try using something heavier, you'll to get the desired tone or feel you might be going for without having to hit as hard. Or if you really want, find a guitar with an Evertune bridge.
Just wish these type of instruments are made available for everyone, I don't think dingwall will do it, but maybe other brands could start using the same logic.
Well others do similar things with fan frets , Ibanez BTB, Spectors . The frets on the dingwall are too short and thin for my tastes . Almost $3k for a Chinese made bass put me off a little. I also think the down tuning BS has gone to far already , its almost non-musical to me 😮
That dangle dangle sound is definitely an acquired taste - for me personally I got massively put off by all the Nolly copycats who went for exactly the same gear and the same sound. But hey, you can't blame the gear for that :)
It’s about finding a bass tone that sits right in the mix. Not so much the actual level. It’s the “Dängle“ of the bass tone that makes the bass cut through, hence the discussion about overtones.
Some examples of excellent bass tone and level sitting perfectly in a mix: Rage Against The Machine (any album really) Stone Temple Pilots (Core) Red Hot Chili Peppers (BloodSugarSexMagick) Everything sounds perfectly mixed on these albums imo, but the bass is prominent and detailed...ferocious and nuanced, and indispensible to the overall sound.
I’s say it’s the build quality and pickup placement first since I never played a Stingray or a Sadowsky with a bad sounding B string, the problem with Dingwall for me is that the pickups sound like shit, dead and lifeless. Not dishing just stating my opinion 😇
Since I hate metal and especially that rattling foundationless unmanly weak and sterile tone of bass guitar in metal, now I know what not to do to get a good sound. Thank you!!
An instrument built with properly dried wood with a thin finish, sounds and performs better than one that is thrown together. Tone wood does matter, acoustic guitars prove this. A electric guitar unplugged that is loud,resonates and notes bloom with out the help from an amplifier also proves the point
There's still some epic bullshit in here. Now we've gone from the wood won't change your tone to it will change your performance. I feel like asking people whose entire lives are invested in selling stuff, especially very expensive stuff like him - aren't the best people to debunk myths with - to say the least and be polite.
Fair point @SenseiKreese. Sheldon does illustrate by talking about how different people interact with the instrument and how it 'feels' right or not. I don't remember him saying that there was necessarily a price point attached to what feels right or better. To me he was saying it was an individual thing. If you had 5 - 10 basses that were identical in almost every way - one or two would likely 'feel better' to you than the rest. Would they always be the most expensive of the bunch? Probably not, especially with the rise in quality of import basses these days. Will you play better if the bass feels better to you? I think most would say yes. Will a bass that feels better to you suddenly make you sound like Jaco, Flea or Victor Wooten without any practice? Nah, not gonna happen.
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Which Bass Guitars do you guys play for heavy tones and why? SHOOT! 😎
Always end up going with a P bass or a J bass.
Main basses:
back in my days - warwick corvette $$ (made in D)
heute Spector NS Pulse II 5 String
Double Humbucker
activ
DR Strings (black / red) auf drop b
funktionieren beide mit finger oder plec. Spector 889 mensur / 24 bünde
früher mit darkglass b7k v2, heute eigentlich nurnoch mit kemper player und leicht abgeänderte orange settings
Heavy always lands on a Dingwall. Combustion 5 string
Stingrays or P Bass into an Ampeg... granted that's not the Modern Heavy sound
I built my own Bass from scratch and I loved it. But my Bass is big and heavy, and I had to fly between countries, so I had bought a cheap headless, bodyless bass from AnyGig. It will have to do until I can play my own bass again.
Woah. Things are start to make sense now. One of the best conversations about instruments I've ever had the pleasure to witness and it was way to short. Good job lads!
We didn’t have the room long enough. There’s so much more to talk about, I agree
agreed, way to snort
@@kimseniorb Rick James! yewwwwww
THE best "tone wood" explanation. It's all about the player's connection to the instrument. It isn't something the listener can perceive. But the more the player connects with the instrument, the better they will play.
'couldn't sleep, thinking about the B string' - yeah, that sums it up perfectly
As a guitar player that uses a bass for music writing and production, everything that I have ever felt annoying with a bass but couldn't quite explain... He just perfectly explained all of it and I kept saying "That's it!" while listening to this video
Same! 😂
Great to see Sheldon getting his major props. Great explanation of what the multiscale imparts on the ability to carve out frequencies
It's amazing to me that people don't understand the importance of scale length. If you go to a concert hall to see a pianist, do they play on an upright piano or a massive concert grand? Everyone knows that the massive grand piano has clearer pitch and less inharmonic information (yes, I know Grand Pianos are a little louder but that's not reason people prefer to play on them!). Why would bass and guitar strings be different?
This was such an awesome interview 😎
This is pure gold.
This is Awesome to hear the interview from the best!!!!
Awesome interview!
Getting a Dingwall changed my life as a bass player. I was always looking into getting new basses, changing pickups and whatnot. After getting my Combustion that completely ended
Seems like a really humble guy and a professional in his field. Now i really want a dingy.
I have 2 Dingwall’s, and have had over 10 friends &/or clients come in, play them, then go out and buy one for themselves. Incredibly made, and just have a sound and ability to get such low action, that as a tech/player I have never experienced on another bass.
Where I live sadly they are extremely expensive.
@ that sucks, man. Even here in the States, they’ve gone up. Can’t imagine how much they are elsewhere. I got mine back in like 2019/20, and they were pricey then, but nowhere what they are now. Hopefully that more affordable run I’ve heard rumored becomes a reality for you.
Very insightful. Thank you.
Proud to live 3 hours away from Saskatoon, home of the Dingwall. Sheldon is the man! Love my D Roc 5 and I cant wait to upgrade to a custom someday!
Great interview. Thanks for that!
That was awesome!! Thank you. I love my NG3
This guy is 1 in a million
Thank you
The man the myth the legend.
Great information video, thank you! Dangle dangle!
Absolutely amazing.
Excellent stuff, man! 🤘
Awesome video. Very informative. Always loved my NG-2, but this confirmation bias makes me appreciate it even more. As a piano player, I kinda knew all the stuff Sheldon is talking about on an instinctive level.
Sheldon is such a gentleman and I love his passion for sharing his thoughts! The “longer the better” went right past him 😂
I don't think it went past him, I think he's just a professional and polite kind of guy.
I’ve tried to explain to other musicians how I like a “pianosity” to my bass & tone, that it should sound like a Grand Piano. This guy gets it and puts it into practice in manufacturing.
Not for bass but I had my old viper baritone (27") tuned to D standard and it was really clear so his explanation in the beginning makes sense.
Dingwall basses rule 🤘🏽
Thank you so much for that take on tonewood! That is EXACTLY the argument for tonewood that ive been trying to convey for years. Its almost like you read some of my past coments! Lol
That's not tonewood making any difference.
It's hardware type, neck construction, strings, the setup.
It's a proven fact tonewood is a fallacy.
If it makes you want to take your instrument more often, then it's good wood.
@vorpalblades Yeah, so you all on that side keep saying. Just because you keep on saying it though, doesn't make it true!
@@vorpalblades Repeat the mantra - repeat the mantra - repeat the mantra - repeat ...
People here in the comments don’t seem to realize that it’s not TONEwood. It’s just wood that makes you feel good. It doesn’t affect the TONE and SOUND of the instrument, but it can effect the overall feel of the instrument. We should prolly start calling it feelwood from now on 😂
I was lost for a long time when I was searching great bass guitar with huge sound, comfortable neck and ideal string spacing at the bridge. And once I had a chance to play Sandberg California TM5 and it is 13 years I have not tried to find another bass. Obviously I love Dingwall sound, but I wasn`t 100% convinced that it is the best one for me and my hands.
WOW, this guy is educated and so interesting,I could listen all day. Great interview! Dingwall is Canadian, very cool!
This dude's points are very convincing... now I think I will need a fan fretted bass ❤
I have a nice bass collection. Fender P, Fender J, Rick 4003, and a Dingwall combustion.
The other three have not gotten much playing time since the Dingwall was added to my quiver. Three "classic" American basses and Dingwall's China made Squire equivalent is my current #1 bass. Suspect I'll wind up with a super J eventually, but it's far from a need. That combustion is one hell of a nice bass.
I"d love to hear more about the onboard preamp and eq! I was always a bit confused by the purpose of it in a metal context, as it doen'st make sense to me to eq the bass before the distortion. Aside when compensating for dead strings >_>
With good strings and good pickups I prefer going into my distortion pedal first and eq afterwards. So to me the battery powered preamp feels more like a liability then anything else. But very curious what more experienced people than me think of it and use it for!
EQ can make sense before the distortion to shape how the signal „triggers“ it.
I would have loved to talk much longer but we just had the room for 30 minutes. More next time!
Great down to earth explanation of inharmonicity! I think Leo Fender was right to make the bass 34" scale... ...if you tune to E (or no lower than D). The first Dingwall I ever had my hands on was a real eyeopener. Honestly, though, as great as 37" is for B (and works fine for A, too), I feel like even more would be better for anything lower. I think the 37" Dingwalls are all set up with hardware that gets you the most you can get- pickups, electronics, bridge, woods, etc. But I'd like to see a 40" or 41" scale for people who go into more extended range... however, I think people will just tune down until it sounds mucky... still, I'd love to see more options.
For some people the muckiness drives the desire to tune down to begin with. At least in part, or almost subconsciously. The slightly mellowed but nastier response that tuning down even a little can introduce. A need for that GHOOOOSHHHH you know? Especially on guitar.
Not saying that’s everyone, or all the time. I kinda fluctuate myself. I tune my guitars to C# with 10’s or 11’s but play a 35” 5 string in standard because I prefer the tensioned sound.
@inmemoryofin I started playing 7 string guitars back in '97, and pretty much switched over 100%. Back then, all factory 7 string guitars were standard scale length. B sounds pretty okay, but even tuning down to A makes thinks muddy to my ears' *but* - I know exactly what you are saying. That low A on a 25.5" guitar sounds muddy in a very entertaining way... and I agree that on bass, the muddiness is different.
If you think about a 34" bass versus a 25.5" guitar, you are talking 5 frets. But you are talking about tuning down 12 frets. 35" scale adds an extra 1/3 of a fret worth of length... not really a world worth of difference. Even 37" Dingwall goodness is only 1 fret longer than 34" (if you fret the first fret on a Dingwall, you have a 34" length of string). There are plenty of guitars 27" (25.5" +1fret), 28 5/8" (2 frets), and even 30" (3 frets), but for bass, 34" is already considered "long scale." There are a few 37" options, and I only know of three 40" basses (Kalium aka Knuckle Quake, Booka in Australia, and a company I can't think of the name in Greece). I saw a video of a guy who built a 40-43". Even that is less than 5 frets from a 30" baritone guitar. So very few ootions if you want to downtune a bass. Then there's the issue of strings. If I build my own 40-43" bass like the guy in the other video I saw, where do I buy strings? Even Kalium strings max out at 40 3/4" between windout and ball end... so custom made Newtones? Who is going to pay $150 for a 5 string pack? Well, if you want to push the limits, obviously you need to innovate something. I am rambling, but, all this to say I just wished extended scale basses were more normalized in this day and age.
Dingwall is a name that is destined to bass
Before Nolly really established that tone in metal, there were people like Kim Gordon and others doing that grind and maybe even klank to a lesser degree in Punk/Indie/Noise type music. In some ways she was doing something like Lemmy, where the bass was doing what more normall a rhythm guitar would do: holding down the heavy riffs. In that group it was so that Thurston and Lee could weave their noise textures over the top while keeping the propulsive momentum up, via the bass. She was using some bass guitars more associated with heavier styles (Thunderbird, B.C. Rich, Rickenbacker a la Lemmy), dirty Ampeg SVTs driven with pedals like Turbo RAT and the nice breaking tube-amp sounding EHX Hot Tubes which is quite a hot/bass-heavy sounding pedal. But I don't know if she was running parallel clean+dirty rigs. I think not, it was all pretty dirty.
Mr. Dingwall's comment about distorting bass in the overtones was *really helpful* here, as I tended to not know how much or where to distort a bass and so used a Fender clean amp sound for metal by default with maybe a bit of Sansamp edge dialed in.
Further, I doubt this will happen, but *I hope Mr. Dingwall and Floyd Rose collaborate on a multiscale floating Floyd Rose bridge for 8 string guitars that can handle a high A string being pulled up to C# without breaking.*
Why no F#? One is I do not like the low F#1 string on an 8 string guitar. It is around 46.25hz and usually around 50hz is when things start fighting with the bass drum. The solution is usually to make the kick drums very high and clicky with triggered samples and to dial a lot of the low end out of the bass and guitars to make them clearer and brighter in such low tunings. The bass and guitar end up in the same octave and only the timbre of their different string types differentiate them. Some djent bands get rid of bass players all together, which I think is a mistake because you lose the timbre of the bass.
Eventually with all the low end dialed out, the bass clanks and sounds like a guitar, only one octave down, or the guitar sounds like a bass. Instead of going lower, I generally prefer the melodic high strings on a 6 or even 7-8 string bass if they are tuned like a guitar or drop A with a high A string on top (A E A D G B E A).
Why the high A instead of F#? We are used to droning F# tones. But with high A the ear does not expect it.
Sweep arpeggios sound very cool with a high A, and you cannot emulate this with a Digitech Whammy pedal because the single note comes too quickly in the sweep to isolate. Since guitar low A1 is at 55hz, the bass A0 would be an octave below that at 27.50hz. The bass drums and bass guitar still have somewhere to live in the below 50hz range, while the guitar sits just above it.
The problem is now we are looking at a high open A4 on the first string with a frequency of 440hz. A5 would be 880hz at 12th fret. A6 at 24th fret would be 1660hz.
This has been accomplished with the Dean Rusty Cooley RC8, which had a low B of 25.5" scale length and a high A of 23.5".
But if you use the whammy bar to raise the high A6 to C#7, you are looking at an incredible 2217.46hz. The fret slant would have to be massive--probably at least 25.5" to less than 23.5". But I am hoping one day it can be done.
Dimebag used to use his Digitech Whammy pedal to go to E6 at 1318.51hz and it was still very musical. Imagine if you could play those notes fretted and still have full use of a whammy bar on an 8 string.
We have to get guitar up into the 7th octave and down into the 1 octave on the same instrument to push the boundaries of metal. And, we still need the bass guitar in there to play independent counterpoint lines in a different octave, something that an 8 string guitar player cannot do alone because the hand will not stretch that far.
I am interested in what Mr. Kohle thinks of the idea of a fully floating high A string.
The voice on this guy. Wow. And he makes bass guitars too. 😁
He seems like a really cool dude.
A small side note as well for bass players--try different string alloys to change your sound, not just your pickups or tone settings.
I use traditional nickel wrapped steel core strings for a balance of warmth and clarity, but it is amazing how much difference pure nickel vs. stainless steel makes, as does the kind of winding (flatwound, halfround, roundwound, tapewound).
My guess is stainless strings would help a lot with the dangle dangle.
Or even try different alloy strings on each string. Perhaps stainless steel on low strings and nickel wrapped or pure nickel on high strings?
steel for low strings and nickel on high strings, best of both worlds.
@@alrecks619 Good point, but I'm not sure string sets are sold with mixed alloys the way they are for mixed string gauges, which would necessitate buying two sets of bass strings and leaving a bunch of unused ones left over. That might be a downside of mixing alloys.
Plus I tend to like slightly worn in strings to reduce fret and finger noise. Unless I'm recording, I may leave a set of bass strings on for years or more. They will just become warmer sounding anyway with use and I usually boost the highs a bit to compensate.
Also, a lot of metal basses like to do reverse P coils (Jackson, Charvel, BC Rich, and ESP basses in the 80s-90s especially).
I've heard both traditional stagger and reverse stagger on a pair of BC Rich Eagles and I prefer traditional stagger.
So, going with stainless on low and nickel on high might be like doing a reverse P. It gets a lot of in between frequencies I don't care for and have to dial out.
Bassists also tend to not use a lot of wiring options these days on passive basses. I rarely see even PJs out of phase or in parallel, especially with hot pickups. Really helps with the clarity. The amp can always be boosted to make up the volume.
Something bassists who want a warm fundamental might want to try is nylon. Due to the nature of the string they don't really degrade. They're pretty warm--similar to flats and tapewounds--and I'm sure the attack can be dialed back in. Steve Harris uses flats and fingers and always cuts through.
Thanks for noticing.
I have a suggestion for musicians that will be super good, if we all be really positive people so learn to live it all, strings and drums, vocals and do everything at once.
We don't have to be good just to do it and put energy into it, emotion. If you do everything it will help you to understand more music at the end of your time, obviously, knowledge is the key to everything and we just need to be more militant in our gathering of that knowledge, that works every time and it does not matter which hobby or interest it is, which passion.
You can become so good on bass, any instrument people start think can you can walk on water, if that's what you want to do is bring people together, just to hear you play something.
But listen, none of us are really this good yet anymore, to bring the whole world together to play music, like Michael Jordan did with basketball. You need to be really hungry, starving inside. You can do this with anything, but IF you did manage to meet your goals, can you handle them in the first place ?. Talent does not mix well with depression, it's not a good combo to have. The worst combo ever, is talent and drugs. Michael Jordan, he was and still is insane, it's not even sane to want to be the best, but he was.
This is all why we need to be more positive people, like stop being keeping track of people so much online, starting to get really uncomfortable even using the internet anymore, for me.
People are doing background checks, having seizures and emotional explosions in outer space, cause I offer advice or criticism, I don't think so. I can actually hear you freaking out. Just take the advice like a champ and let's be adults now, this is not your personal domain. We can be positive and then offer advice or criticism, simple as that. I like all of your music, let's focus on that first then we can work on music. Nobody on UA-cam are the best players, artists in the world, this is not what this means automatically.
I see guys on the street who are very good and nobody knows who they are, they live under subways and stuff and just killing it, by themselves for 5$ an hour, those people are just hungry or, maybe even starving musicians. Players and artists are two different things, I see many great players and fewer artists in general, just a observation. Men sometimes don't like art, that's a big mistake to make for music because that's what it is, not just playing fast. Imho it's tired, we shouldn't just play fast all of the time anymore cause art is multiple speeds, or it will get really boring in a week or so of watching people play fast only. There's just way too many fast people vs slow people with music, it can be slow too.
You need to be a hungry artist if you want to impress people. I was really impressed with some people in the subway trains, all I am saying is that it's sad they are living down there, let's help them come out. I think they have them in each city, it does not matter, the big ones have very hungry musicians. Until this changes, I consider the industry in a state of danger zone, some unbalanced thing as it is now for us. I don't know, people are going to need to change a lot of stuff to play music and be positive people again. We need a new outlook on music and maybe life, a lot of us will need one, but it won't be based on actual reality. Cause the industry is coming down, I think it's falling apart at the seams. The way things are needs to change and go back to normal, how it always was. I will keep playing until the industry is rebuilt and by that time, I will be kinda old but with today and the technology we have, I will be ready to play and we will get together, then if you want me to show off I will show off, I guess ?.
I hate showing off cause it's kind of a weak vibe overall, unless it's Blues soloing cause, playing fast on Bass just gets old after so many people do it, similar to Flea or Mark King and how many guys now play very fast ?. I can't remember right now. But a Blues solo has more artistic value than a fast solo, now it does cause so many people shred, look at Stanley Clarke and people like him are more chill and artistic. I could play very fast and it's just not the same, it's speed is good sometimes flashes. If you can play a Bass, you can solo a Guitar too maybe, check it out cause Blues sounds better on guitar and there's only a few guys who can play it. You can learn all the chords and licks on bass, it's just stings.
Some people are very negative people, super bad energy coming from them and watch out for those highly emotional people who are negative while also totally insane, obsessed. These people are in the music industry and scaring me with rumors, worship of negative energy is bad and we will have to battle with people who are positive, good, those conceited and good jerks !. Stop calling each other names and stuff, be a good person. I think American idol changed how people rated music, it degraded it then to be overly judgmental, catty audiences that like certain music, Polka.
Blues is not weird music, nothing is bad knowledge at all. It depends how your brain got wired to play some of it, I think we are lacking artistic quality but it will change. Maybe we can do a music battle, good vs evil ?. No it's just music except I think we do have to battle now, I feel it coming. I can't even explain what is going on, something new or someone new is out there and I'm not sure what's wrong with them, but if this is what people think it means they're evil, unacceptable sized egos the size of trucks and that's not my problem, it's everyone else and I am not battling anyone today, not right now I can't and don't wanna, cause only a negative result unless...what ?. Other people are going to follow me, then if I win ?.
I don't want your job it looks like a pain, I only would teach a person I liked or loved to play music but I give human advice for free, like be nicer to the musicians please, cause they don't all suck besides one person and who is better at making music ?. I am for like commercials probably, not for being a hot dog artist but I would need to practice this first being a hot dog artist, for a false sense of gratification ?. Cause this is what a guitar does is solo all the time. So, then when I saw people start to pick on slower bassists, I said hold up...what ?. First of all she's beautiful, 2nd she's doing well and doing her job, we don't make fun of those people coming up, nobody downplayed someone like Zender and yes he has better timing, faster and so will she get there.
A good choice selection, approach and is learning and not a exact star yet, I can teach her some stuff I think, but obviously who cares right because people are not sharing the knowledge yet anymore and nobody is a father, a leader or a teacher anymore and people step on each others toes all the time. They think of, don't talk to women, what ?. Yeah, someone should talk to them and people are acting like total psychos now online, time to start over. This is not even real life, remember that.
Anyone can say anything they like to anyone, since we own this place called the web and we can do what we want, you can't search my information or dox me, not at all. If there's anything on me first of all, it's not even legal info. You privately store people's social credit info, amongst your confused and immoral selves. That's all illegal, buddy you're going to jail if you do that. I am not going to jail for anything, you might be looking at a lawsuit though. Cause you wanted to know who I was since I had some negative feedback, o well...toughen up girl sissy pants all you guys do is instruments and run youtube shows, lucky half the comments are not like mixed negative. Everyone figure out your next career moves.
just came after Nolly's The Bad Thing playthrough, the clarity of lower strings are unparalleled.
Dingwall and Spector are the champions league of Dängle!
I need a Dingwall P now
that ever-present urge to sell all my basses and buy 2 Dingwalls
The core issue is the stiffness of the string. A string does not vibrate in an ideal manner because it is build out of actual material and because is has a diameter >0. Which leads to a certain stiffness. This is what renders the overtone series out of tune. You can lessen this effect by a) using a thinner string, or b) extending the scale length. There you go.
Please, question. The microphone You used for the interview is called ............
Austrian Audio OC818
I’m not even primarily a bass player but as a mix engineer I want one 😂
I have an Ibanez SR premium with nordstrand pickups... Those pickups also bring in the dängle dängle 🔥
Which ones are you using?
@KohleAudioKult SR1305SB with the Nordstrand Big Break. I do not have to do much processing the tone, it sits almost perfectly in the mix 💪
It has always been a thickness of your guitar Strings vs. Scale length. They both gets a better tension
True, but a really thick but short bass string sounds dull and thud-y. It ends up sounding lifeless and doesn't ring out in a way that lets the notes feel musical.
The lengthening of the scale allows the same tension/note to be achieved with a thinner string. The result being that the same low notes now ring freely and sustain in a way you'd expect from the instrument.
(I absolutely tried putting absurdly thick strings on a regular bass with a 34" scale length. The results were far from up to standard.)
With thick enough strings in the bass register, it is also possible for the fundamental of a note to be perfectly in tune, but the upper harmonics sound out of tune. Which then results in the instrument never really sounding like it's tuned properly. No amount of fiddling with the actual tuning or setup can fix that problem.
Duff Mckagen had the of clank tone. Not so much distorted but def had that clank.
Anthrax and Overkill are my favorite examples for clank without much distortion
@ yes I forgot about DD from overkill!!! Absolutely clank tone before it was a thing!!
I like clank bass for some songs, but this is a signature sound of only a few bands to me--like Overkill. It is their signature sound as much as the high tuned snare is to Helmet.
My ideal bass tone is still Steve Harris's tone from the 80s until 1992 when Martin Birch stopped doing their albums.
Warm and fat, but still bright enough to cut through the mix even with fingers and flatwound strings.
That said the guitars are very turned down and thin to compensate for his increased loudness in the mix.
Fredrik Nordstrom's bass sound on the Dark Tranquillity album "Projector" I also like. I am guessing this is a mid scooped sound.
When I emailed about it, Martin Henriksson told me he recorded with an Ibanez bass (I am guessing J or dual soapbar style), a Peavey Mark VIII amp, and a 4x10 cabinet I think. These old heads can be found dirt cheap used.
I liked David Ellefson's tone as well, but I am growing tired of dual soapbar pickups for everything because they are too scooped and sound uninteresting despite the wiring options you can get from the passive variety. The Musicman Stingray style pickups especially are really versatile.
Lately I am having luck with 4 string bolt on PJs, both active and passive, in cutting through and sitting in the mix. I do not like the neck sound of a J bass so I do not use them much. Thru necks sustain more and are great for fretless but I think they are too warm.
Fretless Steve DiGiorgio style bass popular with tech death bands like Obscura can kind of disappear and reappear in the mix. The fills and slides sound great but underneath the guitars the fretless can disappear unless really compressed or the fingerstyle player is really consistent.
I use rather low output traditional Fender 62 reissue pickups because they are clearer with a tighter bottom end. Any boost I need I do through the amp or plugins.
It is only when I am using a type of bass like 6 strings that I use a specific type of pickup I dislike, usually a J or soapbar, because those basses tend to use that pickup form factor.
Lately, I have seen some UA-camrs like Leon Todd use semi hollows for heavy tones. I am considering semi hollow and hollow short scale basses to experiment with tones.
I agree about Overkill!
The tone I got for Dave Ellefson when I tracked his new band was quite different though:
Check it out:
ua-cam.com/video/kqM1FAmSJqk/v-deo.htmlsi=pdo5DNAInqk1TmSv
@@KohleAudioKult Thank you, Mr. Kohle!
That’s what it comes down to now! Jamming in your bedroom dressed up like your on stage ??!! Very good bass player n playing you just need a band now ! Great tone ! I’m blessed to afford the samsamp 480 bucks later . That samsamp does that to all basses from Alembic to Spector
If that guy gets a band I’ll pay to see it then he can wear those cut finger gloves 🧤
How can I guy with no money get a bass from them .. they are amazing. I do play and have some vids
The thing I don't get after many years of playing guitar is that what happens to a string when you can't really tune it. You pluck it then it goes over the intended pitch and slowly goes below the pitch. How the hell are you supposed to tune that string?
Are your pickups too high? That might be it.
@@crabbubbles1161 magnetic string pull is a fallacy.
Tune to the transient of the note while hitting the string as you would when playing normally, rather than the decay
@@vorpalblades Maybe but pickup magnets definitely do what magnets do. Also it might be the pickup selection as bridge pickups are not in my experience as accurate when tuning as neck pickups, probably because string vibration is less over bridge pickups.
Tune the strings with the same force that you use when playing normally. If you use thin or lighter gauge picks, try using something heavier, you'll to get the desired tone or feel you might be going for without having to hit as hard. Or if you really want, find a guitar with an Evertune bridge.
Just wish these type of instruments are made available for everyone, I don't think dingwall will do it, but maybe other brands could start using the same logic.
Well others do similar things with fan frets , Ibanez BTB, Spectors .
The frets on the dingwall are too short and thin for my tastes . Almost $3k for a Chinese made bass put me off a little.
I also think the down tuning BS has gone to far already , its almost non-musical to me 😮
@michaelblaney4461 Yeah, I know about the other brands, but a BTB MS is 1200-1300€. That's not affordable for most of us
Däääääääääääääääääääääääääääääääääääängle!!!!!!!!!!!! 🤘🤘🤘🤘🤘🤘🤘🤘🤘🤘🤘🤘🤘🤘🤘🤘🤘🤘
💋
played a multiscale at a music store. now I'm crying because I can't afford them ;-;
What makes a great rock and metal bass tone?
*You can hear it.*
DengWall
Answer: the player
I had a bunch of basses and they were cool; I guess.
I bought a Dingwall; fuck me, booooom. Amazing
P bass is the best❤
12:14 🤘🤘🤘🤘
YES!
If it's longer, it dangles better. If it dangles better, I like it more.
Wise words!
Egyptian harp? tabs? 🍻
The longee the bettee
That dangle dangle sound is definitely an acquired taste - for me personally I got massively put off by all the Nolly copycats who went for exactly the same gear and the same sound. But hey, you can't blame the gear for that :)
Amazes me, but mine's over 20yrs old now. It's like putting on pants.
Condor
Put Bass loud in the mix.
Like Korn, Soundgarden and Smashing Pumpkins, your not playing for nothing.
It’s about finding a bass tone that sits right in the mix. Not so much the actual level. It’s the “Dängle“ of the bass tone that makes the bass cut through, hence the discussion about overtones.
@@KohleAudioKultThe angle of the dangle should be directly proportional to the heat of the meat.
Some examples of excellent bass tone and level sitting perfectly in a mix: Rage Against The Machine (any album really)
Stone Temple Pilots (Core)
Red Hot Chili Peppers (BloodSugarSexMagick)
Everything sounds perfectly mixed on these albums imo, but the bass is prominent and detailed...ferocious and nuanced, and indispensible to the overall sound.
Mangle mangle
I’s say it’s the build quality and pickup placement first since I never played a Stingray or a Sadowsky with a bad sounding B string, the problem with Dingwall for me is that the pickups sound like shit, dead and lifeless. Not dishing just stating my opinion 😇
Since I hate metal and especially that rattling foundationless unmanly weak and sterile tone of bass guitar in metal, now I know what not to do to get a good sound. Thank you!!
ok boomer
Honestly i hate multiscale basses ive tried one dislike them. I am a warwick user
I could never bring myself to spend that kind of money on a made in China bass. I can get those kind of tones with a $700 Ibanze Sound Gear
It sucks to see people still discussing tonewood when over and over and over again it's been shown that the differences are meaningless
An instrument built with properly dried wood with a thin finish, sounds and performs better than one that is thrown together. Tone wood does matter, acoustic guitars prove this. A electric guitar unplugged that is loud,resonates and notes bloom with out the help from an amplifier also proves the point
@ fun fact, acoustic guitars are not electric guitars
There's still some epic bullshit in here. Now we've gone from the wood won't change your tone to it will change your performance.
I feel like asking people whose entire lives are invested in selling stuff, especially very expensive stuff like him - aren't the best people to debunk myths with - to say the least and be polite.
Fair point @SenseiKreese. Sheldon does illustrate by talking about how different people interact with the instrument and how it 'feels' right or not. I don't remember him saying that there was necessarily a price point attached to what feels right or better. To me he was saying it was an individual thing. If you had 5 - 10 basses that were identical in almost every way - one or two would likely 'feel better' to you than the rest. Would they always be the most expensive of the bunch? Probably not, especially with the rise in quality of import basses these days. Will you play better if the bass feels better to you? I think most would say yes. Will a bass that feels better to you suddenly make you sound like Jaco, Flea or Victor Wooten without any practice? Nah, not gonna happen.