Afterburner 1

With the ABI we set out to create the ultimate passive bass. It’s lightweight and perfectly balanced. On stage or in the studio, perfect tone is as simple as plugging in and playing. See the AB1 options page above to customize this bass.

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Specifications

* While our website is under construction this information is subject to change. *

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The case is a Levys Dingwall Gigbag, made in Canada

Body

Alder is the traditional wood for the electric bass. 

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Body Core

Alder is the traditional wood for the electric bass. It can’t be beat for a traditional warm tone with strong mids, damped highs and warm but not overpowering lows.

The Afterburner I is available with or without a Flame Maple top.

The average weight of an Afterburner I is a low 8.5 lbs

Standard Top
N/A
Tone Chambers
N/A
Top Options
Yes
Exotic wood contrasting layer option
Yes
Matching Wood Cover Plates
N/A
Finish

We use a special polyester that’s been formulated for electric guitars. It not only looks great, but it sounds great too.  The bodies almost look like they’ve been dipped in glass, yet the finish is extremely thin allowing it to be acoustically transparent.

Colors
Natural, 3-tone burst, Vintageburst, Vintage White, Trans White, Black, Trans Blackburst, Candy Red, Chrome Blue, Supersonic Blue, BronzeAge, Ferrari Yellow
Pickguard Options
N/A

Neck

We take neck construction very seriously due to our extensive experience in guitar repairs coupled with our geographic location and corresponding extreme climate. We’ve experimented with many different lamination and have found a 5-piece maple construction to be among the best.

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Neck Construction

We take neck construction very seriously due to our extensive experience in guitar repairs coupled with our geographic location and corresponding extreme climate.  In my years in the guitar repair business I constantly had to deal with humidity related problems made worse by the huge temperature and humidity swings of our local climate.  Many of these problems could have been minimized through simple design changes and materials choices.

Touring musicians are constantly amazed at how stable Dingwall instruments are.  Many state that their Dingwall necks are as stable as their graphite necked instruments.

We’ve experimented with many different laminations and have found a 5-piece maple construction to be among the best. Years of experience have proven this design to be extremely stable and reliable while minimizing dead spots.

Neck Carve
Medium thin C shape
Neck Reinforcement

Dingwall heavy duty truss-rod

Headstock

The design goal was to utilize a flat headstock design.  Materials and labor savings are significant with this design.  The only problem was that a flat headstock needs a string tree to create proper downward angle at the nut.  It took some creative thinking and custom made tuners to solve this problem in the most elegant way possible.

The headstock features special counter bores that when combined with our custom tuners allows proper break angle at the nut.

A side benefit is that these special made Hipshot Ultra-lites are even lighter than the originals. Combined with the minimalist Afterburner headstock shape, the improved balance is significant.

Headstock options
Satin “Black out”
Standard Fingerboard

Ziracote (Zeer-ah-coh-tay) on Prima Artist
Similar to Ebony in tone, but with a very striking grain pattern. The color is typically slightly darker than milk chocolate with black grain swirling throughout. When available it can be ordered with a mix of sap wood, which adds a cream colored contrasting stripe along the edge.

Wenge (Wen-gay) on Lee Sklar Signature, Z Series, Afterburner I and Afterburner II
This is an interesting fretboard wood due to the alternating layers of hard and soft wood (early and late wood).  The hard grain gives the tone a nice top end similar to ebony and the soft grain adds the warmth of Rosewood.  It’s a great all around fingerboard wood.

Morado (More-ah-doh) on Super J
Morado is another name for Pau Ferro. This wood has a nice tight grain structure for a smooth look and feel.  Its tone is similar to ebony but slightly darker. It’s color ranges from golden-brown to orange-brown to milk chocolate with a slight purple hue. It is one of the most stable exotic woods meaning you won’t have to adjust your truss-rod very much with a Morado fretboard.

Maple on ABZ
Maple has a nice snappy top end that really enhances the attack of the note. We now finish our maple fingerboards with satin polyurethane. To maintain stability, we also finish the neck shaft with the same finish.

Fingerboard Radius

Fingerboard radius – compound, 7-1/2” to 25”

You can build bass fingerboard with either a single radius (cylindrical) or a compound radius (conical). We offer both types.

On our Canadian made basses we do the more complicated compound radius. We like it for a few reasons:
- We can have a very vintage feeling 7-1/2” radius at the nut for comfortable play in the lower frets.
- We can also have a much flatter radius at the bridge to make play easier for the plucking hand.
- The flatter radius at the bridge keeps the strings a more consistent distance from the pickups for more even response.

Fingerboard Options
Maple, Birdseye Maple, Pau Ferro, Macassar Ebony, Ziricote
Fretless Option

Epoxy coated Wenge

It’s not easy getting a singing tone from a fretless fingerboard.  We did a lot of experimenting trying to find the right combination.  We developed a process for coating Wenge with a layer of epoxy. The epoxy provides a long wearing surface that gives the notes a sweetly singing quality, while the Wenge provides warmth and mid presence.

Fret Options
We use 18% hard nickel silver fretwire.  Lee Sklar turned us onto the benefits of small frets. The advantages are a more woody, less metallic tone, smoother glissandos and a faster feel.  Our standard size is “banjo” size.  This is the same size as you’d find on most guitars from the 50’s and 60’s. Although its size is smaller than standard bass fretwire, its service life is about the same.
Position Markers and Inlays
White or Black Pearloid side and face dots. Optional Pearloid or Black blocks. Speedo Bars.

Electronics

The FD-3 line of pickups are the direct decendents of the (F)ury (D)ingwall-1 pickups originally co-developed by Glenn MacDougall of Fury Guitar and Sheldon Dingwall.

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Pickups

The FD-3 line of pickups are the direct decendents of the (F)ury (D)ingwall-1 pickups originally co-developed by Glenn MacDougall of Fury Guitar and Sheldon Dingwall. Glenn has a 40+ year career designing and building guitar and bass pickups.  We take pride in our close association with both Bartolini in the past and Fury as they are among the greatest pickup designers and makers on the planet.

The FD-3 pickups feature powerful neodymium magnets, humcancelling matched-pair coils, hardened steel pole pieces and are fully shielded for ultra quiet performance.

Their tone can best be described as a blend between a J and a P but with more highs, more lows and more dynamic response. The most current versions feature 4-lead wiring which enables the internal coils to be wired in either series for strong mids and high output or parallel for scooped mids and normal output.

Pickup Options
3X, P-tone neck
Exotic wood shells, matching wood shells
N/A
Standard Electronics
The Afterburner I and ABZ basses feature passive electronics with powerful tone shaping capability. The controls are a simple, no nonsense master volume, a rotary pickup selector and a master tone.  The rotary pickup selector doesn’t load down the pickups like a blend or second volume control.  The resulting tone has great dynamic range with lots of punch. The tone gets really growly with the bridge pickup soloed. Switch to both pickups in parallel for a nicely “produced” sounding tone with scooped mids that’s great for sitting back in the mix with lots of detail to the note, or for a perfect slap tone. Need more power? Switch to series for a heavy, full sounding humbucker tone that cuts, make that pounds through a mix. Looking for a deep mellow tone reminiscent of a 50’s P? Solo the neck pickup, dial down the tone a bit and you’re there.
Pre-amp Option
Active/Passive Glockenklang 2-band, 3-band. Hybrid active/passive treble.
Pickup Switching
Rotary pickup selector. Optional Series/Parallel toggles.
Knobs
We looked for years to find a control knob we were happy with. We eventually decided to design and manufacture our own control knobs in house. These knobs are exclusive to Dingwall guitars and feature a sleek design that blends perfectly with the overall design language of our basses and match the pickup shells perfectly. They feature a soft-touch forumla for extra comfort and grip.
Jack
We use the Neutrik locking jack because it is one of the best output jacks ever made.  It is designed for use in studio consoles where reliability is a must.  It’s not an easy jack to install in a guitar, therefore you don’t see them often. We take great pride in the way we’ve integrated this jack subtly into our body design. It’s accessible, yet unobtrusive.

Hardware

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Hardware color
Black
Tuners
We’ve tweaked the design of the venerable Hipshot Ultra-lite tuners to make them even lighter.  We’ve designed new posts to guide the string toward the headstock face. This allows proper downward angle at the nut for maximum sustain on a flat-style headstock without the use of string trees. Eliminating the string tree reduces the weight of the headstock slightly and improves tuning stability.
Bridge

Designed to be “set & forget” simple as well as featuring a slotted string anchor system for fast and simple string changes.

The Afterburner bridge borrows the simple, yet great sounding stainless steel riser screw system used in our high-end bridges.  We reduced the complexity of the saddles to a minimum and then designed a unique base plate system to hold them rigidly in place. By using stainless steel riser screws and a tough Teflon coating on the bridge long-term corrosion free performance is ensured.

Strap Pins
Dunlop locking with “Reach Reducing” pin on back

Scale Lengths and Dimensions

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Scale Lengths

B
37″
E
36.25″
A
35.5″
D
34.75″
G
34″
C
33.25″

Dimensions

Bridge Spacing 4
19 mm – .748″
Bridge spacing 5
18 mm – .709″
Bridge spacing 6
18 mm – .709″
Nut width 4
42 mm – 1.65″
Nut width 5
45.5 mm – 1.8″
Nut width 6
55 mm – 2.2″
Heel width 4
63 mm – 2.5″
Heel width 5
75 mm – 2.95″
Heel width 6
89 mm – 3.5″
Neck thickness @ 1st fret
21 mm – .827″
Neck thickness @ 12th fret
24 mm – .945″
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