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Super P

  Sunday, 13 November 2011
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We've machined one prototype body to test out the tool paths, here are some photos of the second body. This will be the first one machined on the new CNC.
10 years ago
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#22323
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You know... I am torn between the concept. My current Super J 5 has a split P bass pickup and a J on the bridge, sounds like a P bass, so being content with that I could argue if there is a need for a Super P, but ... if I find that the Super P is, as we all hope going to nail the sound of an original American P Bass 100% then I would be very happy with having both because what I would do is change my Super J into a full JJ pickups i.e. swap the neck split pickup with a superfatty. This because when I played Jonnyrock101's bass I was impressed by the series sound when the 2 J pickups were fully on.
10 years ago
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#22325
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[quote="singlemalt":1sa6qoeo]Cool! Is that a suction setup that holds the body down on the CNC table during the cutting? I'd love to see a video clip of the new CNC working.[/quote:1sa6qoeo] Yes, vacuum is the preferred method of work holding in the guitar industry. It can be a real challenge to make work. That particular fixture is from the old CNC and is only serving as a prototype fixture for the new one.
10 years ago
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#22327
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[quote="Dingwall Sales Lamb":1tnvusx5]Francesco, prototype will be heading to London to Dave Swift who will be playing it on the Jools Holland New Years Hootenany show which tapes next month. I will arrange for you to check it out. Neil Murray is also waiting to get his hands on it and as well would expect[b:1tnvusx5] Jonny might relish a test drive[/b:1tnvusx5].[/quote:1tnvusx5] Cheers Dingwall Sales, hell yeah, rude not to really, seeing as it'll be in my neighbourhood... I promise to give it a proper going over, "a la Simonon", then hand it over to Dave... "No problem mate, my pleasure...sounds great, has a good bounce to it too" :shock: [attachment=0:1tnvusx5]paul.jpg[/attachment:1tnvusx5]
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10 years ago
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#22329
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[quote="Mark L":732jn1an]Dee, there's nothing that sounds like a good American Pbass, IMO. If this SuperP comes close to, or surpasses, the the real thing, then we must have it.[/quote:732jn1an] I agree with Mark. If I was forced to keep just one traditional styled and sounding bass, I think the P would be at the top of my list. Upon pondering the potential possibility of acquiring a SuperP at the expense of my P5, I don't think I could do it. It would definitely have to be in addition to it. I am hoping that it will be within my budget.
10 years ago
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#22330
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[quote="jonnyrok101":z26u8vpn]has a good bounce to it too" :shock: [/quote:z26u8vpn] Never understood that. From neither the player nor the audience's standpoint. Your brain must be fried when you get to that point.
10 years ago
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#22331
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Hi Jonny, yes a very well-tempered going over will be in order, key word being well-tempered :o Having grown up on the 60's British Invasion I actually get the over-the-top enthusiasm of groups like the Who. While ultimately I think it is a crime to destroy great instruments when the Who smashed their instruments they initially were unleasing the rawness of a hard working, seriously hard rocking band, trying to go one step ahead of their peers in a live show. Playing with Moonie everynight would certainly set the stage for creating frenzy and potential mayhem. Jimi was obviously greatly influenced, taking it all one step further with lighter fluid. And here we are 45 years later talking about it. Happy it no longer happens but got it when it did. (Uh didn't mean to highjack the thread)
10 years ago
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#22332
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[quote="Dingwall Sales Lamb":2zsws94d]Hi Jonny, yes a very well-tempered going over will be in order, key word being well-tempered :o Having grown up on the 60's British Invasion I actually get the over-the-top enthusiasm of groups like the Who. While ultimately I think it is a crime to destroy great instruments when the Who smashed their instruments they initially were unleasing the rawness of a hard working, seriously hard rocking band, trying to go one step ahead of their peers in a live show. Playing with Moonie everynight would certainly set the stage for creating frenzy and potential mayhem. Jimi was obviously greatly influenced, taking it all one step further with lighter fluid. And here we are 45 years later talking about it. Happy it no longer happens but got it when it did. (Uh didn't mean to highjack the thread)[/quote:2zsws94d] Hey Dingwall Sales, all the P bass talk just reminded me of the classic shot of one and I made 2 + 2 = 5 :wink: I had a '65 P that had been well and truly abused, re-finished etc. and it had stood up to everything, still sounding and playing great. I guess I'm alluding to the simplicity and durability of the P and that some of the most "heavily used" basses I've ever seen have been P basses. But I do agree that instrument destruction has had its place and context in history - now, it's just a cliche...
10 years ago
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#22333
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I agree, a P- bass can taking a licking and keep on ticking, one of the advantages to the simplicity of design. I am lusting after a Super P4, light-weight Ash body, Trans White, Gold anodized pg, Maple neck, Birdseye fb, dots, matching headstock, hipshot. Hmm Santa's coming soon!!!!!
10 years ago
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#22334
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Not to further derail but I remember seeing Jesus Jones years ago and the keyboard player was bouncing his synth all over the place. I remember being shocked that someone would do that to such a fragile instrument but i have to admit it was pretty exciting.
10 years ago
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#22336
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Well to me it's a sacriledge, even if I was rich enough to afford a new bass on every gig, I wouldn't dream of disrespecting something that costed me money and that someone else can have in case I didn't want it anymore. I consider breaking instruments on the same level as child abuse. Hell I have a Paul Reed Smith bass that I've had from 1986, that's 25 years!! and the only marks on that bass are where the paint has sunken in the body joints causing some lines on the back, and a couple of very shallow depressions where the glue dried out, Yet that bass resonates like a marimba, gorgeous tone. I have gigged it non stop from day one and itv still hasn't got buckle rush or any scratches or dents, because I cherish something to the point where I look after it like the first day I bought it.
10 years ago
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#22337
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From some page I found on the internet: [quote:kmbhv9cx]It's September 21st, 1979, at a Clash show at New York's Palladium, and Paul Simonon's bass has only seconds to live. "The show had gone quite well," says Simonon, "but for me inside, it just wasn't working well, so I suppose I took it out on the bass. If I was smart, I would have got the spare bass and used that one, because it wasn't as good as the one I smashed up." Simonon still has the pieces. The moment was preserved by photographer Pennie Smith for the cover of the Clash's third album, London Calling, a visionary musical sampler that explores R&B, ska, rockabilly and other genres. "If you're a painter or a musician," says Simonon, "you get your research from the past and you mix it with what's affecting you today." The photo does just that, harking back to Pete Townshend's traditional set-ending tantrum. The typography is another rock homage: It was lifted from Elvis Presley's first album. "When that Elvis record came out, rock & roll was pretty dangerous," says Simonon. "And I suppose when we brought out our record, it was pretty dangerous stuff, too." Besides smashing his good bass, Simonon does have one other regret about the cover. "When I look at it now," he says, "I wish I'd lifted my face a bit more."[/quote:kmbhv9cx]
10 years ago
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#22338
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Hi, I can't wait to get my hands on the Super P/J! For me, the aesthetic is a huge part of it: I've always preferred the look of a P body over a J body, and I never liked the look of a chrome control plate. Before trying a Super J, I always preferred the balance of a P body, but of course, Sheldon has solved this problem with the SJ. In terms of playability, I've always preferred a J neck over a P neck. I admit that I was surprised when I recently bought my older model Super J (Serial #3757 with batteries under the pickguard) at how narrow the neck really was. I've always liked a 1.5" nut width, but a 1.5" wide nut on a slant makes for a narrower neck, that's for sure! That being said, I got used to it very quickly. Just out of curiosity, what will the nut width of the Super P be? And how will the narrowness of the neck compare to the Afterburner neck? GLF
10 years ago
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#22339
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The post above reminds me Sheldon, do the 4 string spacing 1 5/8"-1.625" at the nut, with 19mm at the bridge.
10 years ago
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#22340
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Sheldon, I know these are in the prototype stages, but when will options and pricing become available? I've purchased 4 Dingwalls, pretty much sight unseen on the used market, but this excites me enough to get in line and order my first brand spanking new one direct from Sheldon and crew! Will the bridge system be used from the AB series or the Z series, or something else entirely? I love the Super J headstock, but would love to see the SP headstock changed subtly to reflect a new model. I also hope TOTALLY passive would be an option, that is my go to on all my Dingwall's if available. Just when I thought DAS was purged from my system, dang!!!!!!
10 years ago
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#22343
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Thanks for your answers to my question about the "P-Hype"; I really appreciate it! I got an idea about the demand now. I like the P tone in many arrangements, but it was never "my" sound. Some say, it would fit in every context, but I found out that I'd prefer a more aggressive tone, a little brighter and with more high mids than low mids, and with a big but defined low end. When I restarted playing in a band after more than ten years three years ago, I tried several basses. Some of them didn't fit in the bands sound. Some came near to my wishes and were cutting quite good through the mix. These were a Precision copy, an old Ibanez Roadstar, an 80s G&L L-1000 and a Peavey T-40. But I wasn't really lucky with these sounds. Then I bought an EBMM Big Al SSS. This Bass changed the world for my band. I was happy for a while. And then, you know what follows: I played a Dingwall (ABI-5) for the first time. Didn't check it in my band, but wanted to have one and found one soon. It was Jan 2010. It played great, I fell in love, the Big Al went for long sleep in his case. Then I got the chance to check out the brand new Z3 of my friend Christoph. And I was totally blown away. From this moment on I wanted a Z3, but didn't saw the chance that I could afford one. Times changed very quick and I fell in love with a brandnew Z3 Sheldon designed for a shop; spent one night without sleep, then couldn't resist no more and bought it. That was Aug 2010. I'm very happy to tell you: This bass is my absolute favorite; it doesn't cut quite good through the mix, it [b:x0tzfj69]blasts[/b:x0tzfj69] through the mix, without any effort; and my bandmates want exactly this sound. I have checked many different basses since then, but none of them kicked me like my Z3. huh, long story .... Just wanted to say: I'm not a P boy; I like a different sound, and I like basses with a more modern shape and with natural wood tops. Feels like a found my home here. :D
10 years ago
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#22352
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Eagerly waiting on new pictures and updates on this thread, any news Sheldon?
10 years ago
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#22383
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Colors are a wee bit off but here are the pre-assembly photos. Things are coming together nicely.
10 years ago
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#22384
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Fantastic, Sheldon! Is that a Mary Kay type of see through blonde finish?
10 years ago
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#22385
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Wow, that upper horn looks thick. The headstock is sexy, but that upper horn.. Maybe it's the angle.
10 years ago
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#22386
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It is just the angle, Bocete. Look at a normal P bass below, Sheldon has got the shape nailed! ;) [img:1uf95681]http://i144.photobucket.com/albums/r200/xt660/Fender%20American%20Standard%20Precision/23564115.jpg[/img:1uf95681]
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