Lee Sklar Signature

We’ve built basses for Lee for over 15 years. They’ve become his main touring basses and one of his most used recording basses. For his signature model, we combined his favourite features and woods to create a bass with a unique voice that is both powerful and clear.

We selected finishes to reflect Lee’s love of Hot Rods. If we were to choose one word to describe the Lee Sklar signature model, it would be “Stunning!”

Available in 5 strings only


Dual-density body

The traditional way of combining body woods to control tone is to laminate horizontally. For example, laminate a thick maple top on a mahogany core to increase the brightness of the mahogany. This system works well to alter the tone response of all the strings as a group. However, our experience with the Novax Fanned-Fret ® system has opened up a new way of thinking about an instrument. What if we could take this concept one step further by focusing on the needs of the bass and treble strings separately? This creates a body that balances the tone between the bass and treble strings. At the time, this had never been done before.

To achieve this naturally equalizing body, we turned traditional thinking on its side by laminating across the body’s width. This allows us to use a higher-density wood such as Northern Ash for the bass side to accentuate the highs and give power to the lows without affecting the treble strings. We then use a lower-density wood (Alder) for the treble side to bring out the resonance and warm up the treble strings without making the bass strings sound muddy. The results are pretty dramatic for such a simple idea – warm, punchy treble strings with solid snappy bass strings.


We install Mandoline size fretwire in the Lee Sklar model. These are Leland’s personal favourite size frets.
They have a fantastic feel.

They are the woodiest and smooth-sounding frets available. Their service life is very good. Depending on playing style, you can expect 5-10 years of use per set.


Headstock design – Angled (compound).

If you build a fanned-fret neck with a traditional headstock angle, there will be an odd-looking triangle between the nut and the end of the fingerboard. It will also be difficult to position the treble tuners close to the nut for a compact headstock and best balance. We figured out a better way.

If you look closely at the angle of our headstock, you will notice that it’s actually a combination of two angles. This adds considerable complication to the construction process but enables a perfectly linear string path to the tuners, compact design and no telltale triangle behind the nut.

All Z-series headstocks feature a matching face veneer cut from the same veneer as the top for a perfect match.


The Super-Fatty II is a re-design of the FD3 pickup with more windings for a huge, fat bottom end with a little bit of sparkle on top.



The Lee Sklar II features a 4-position Quad-tone pickup selector custom wired to Lee’s specifications. Its positions are Bridge, Bridge/Neck in parallel, Neck, Bridge/Neck in series.

The Lee Sklar III features a D-Roc rotary switch. Its positions are Bridge, Bridge/Middle in parallel, Middle, and All three pickups.


The Lee Sklar II uses a modified Glockenklang 3-band pre-amp. The midrange frequency is lowered to 250 Hz. The Active treble boosts as expected in active mode and cuts both actively and with a passive treble roll-off. When the pre-amp is switched to passive mode, the treble control acts as a passive cut. This is essentially like having two basses with two distinct characters. All the tone shaping capabilities needed from studio to stage.


At Dingwall, we take our hardware pretty seriously. Nowhere is this more evident than our bridges. The Prima Artist and Z-series basses feature Dingwall-designed individual saddles with a countersunk subplate system.
Designed to be “set & forget” simple. Once the string height and intonation are set, the saddle is locked down to the subplate for perfect coupling. This also guarantees that the saddle never goes out of adjustment accidentally.
Aircraft aluminum is used for the saddles and subplate as it is lightweight and has a wonderful ring (Aluminum is the material of choice for vibraphone bars. The riser screws are made from 18-8 stainless steel.


The double-expanding truss-rod style is one of the industry standards. Carbon fibre is standard on the Sklar.

“While repairing guitars, I found that many had either stripped or missing truss rod cover plate screws and found it frustrating that it usually took longer to remove and replace them than it did to make the actual adjustment.” The truss rod is the most commonly adjusted component on most guitars which is why all Dingwall basses feature an easy-to-access truss-rod.


Dingwall Strings

For more than 30 years, Dingwall Guitars have been committed to shaping the sound of the most exciting and forward-thinking bass players on the planet.

Dingwall created the first string sets optimized for multi-scale. Dingwall strings have been meticulously designed and tested to maximize the ability of our high-performance instruments to create a tone that blends effortlessly into any style of music.

Dingwall strings provide the evenest tension for the most balanced feel and tone, letting you experience the warmest highs and the tightest lows possible.

Note: basses are shipped with Dingwall Nickel Strings


Body Core
Northern Ash on the bass side adds great sustain, clarity and punch to the B and E strings. Alder on the treble side keeps the G and D strings nice and warm sounding.
Standard Top
Tone Chambers
Top Options
Exotic wood contrasting layer option
Matching Wood Cover Plates
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.
Available in any candy metallic/pearl Dingwall colours
Pickguard Options


5-piece laminated maple.
Neck Carve
Thin, flattened C shape
Neck Reinforcement
Dingwall heavy duty truss-rod
Compound angled
Headstock options
Matching finish Standard
Standard Fingerboard
Fingerboard Options
Fretless Option
Macassar Ebony with segmented-lines
Mandoline frets
Position Markers and Inlays
3 mm pearloid face and side dots with Pearl D at 12th fret


Handmade SFII
Standard Electronics
Lee Sklar modified Glockenklang 3-band pre-amp
Pickup Switching
Quad-tone pickup selector
Dingwall design knobs feature a soft touch formula for extra comfort and grip and a sleek design that perfectly fits with our basses.
We use the Neutrik locking style, one of the market's best and most reliable output jacks. We take great pride in the way we've integrated this jack subtly into our body design. It's accessible yet unobtrusive.


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 8” 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 a more even response.
Fingerboard Radius-compund
7-1/2” (at the nut) to 25” (at the bridge)
Scale Lengths
B 37”
E 36.25″
A 35.5″
D 34.75″
G 34″
C 33.25″


Bridge spacing 5
Bridge spacing 5
Nut width 5
45.5 mm – 1.8″
Heel width 5
71 mm – 2.8″
Neck thickness @ 1st fret
19 mm – .748″
Neck thickness @ 12th fret
22 mm – .866″


Hardware color
We collaborated with Hipshot to modify their Ultra-lite tuners. They now feature a shorter notched tuning peg. Allowing proper downward angle at the nut for maximum sustain on a flat-style headstock without using string trees and improves tuning stability.
Dingwall Afterburner bridge
Strap Pins
Dunlop locking with “Reach Reducing” pin on back