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Model Specifications and find the right bass for you

Body

Swamp Ash with satin finish.

Alder | 2-piece construction is standard for transparent finishes, and 2 or 3-piece is standard for solid finishes.

Semi-hollow Walnut

African Mahogany ( Khaya

The standard body wood for the Super J is Alder. 2-piece is standard for transparent finishes and 2 or 3 piece is standard for solid finishes

Select dual density Swamp Ash

The standard body wood for the Super P is Alder. 2-piece contruction is standard for transparent finishes and 2 or 3 piece is standard for solid finishes

African Mahogany ( Khaya

2-3 pc Swamp Ash body The average weight of the Combustion is a low 8.75 lbs.

Core Wood – 2-3 pc Alder body

Dual-density: Walnut on the bass side, soft figured maple on the treble side.

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.

Khaya body, matching wood pickguard.

Swamp Ash with satin finish.

Alder | 2-piece construction is standard for transparent finishes, and 2 or 3-piece is standard for solid finishes.

Semi-hollow Walnut

African Mahogany ( Khaya

The standard body wood for the Super J is Alder. 2-piece is standard for transparent finishes and 2 or 3 piece is standard for solid finishes

Select dual density Swamp Ash

The standard body wood for the Super P is Alder. 2-piece contruction is standard for transparent finishes and 2 or 3 piece is standard for solid finishes

African Mahogany ( Khaya

2-3 pc Swamp Ash body The average weight of the Combustion is a low 8.75 lbs.

Core Wood – 2-3 pc Alder body

Dual-density: Walnut on the bass side, soft figured maple on the treble side.

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.

Khaya body, matching wood pickguard.

Swamp Ash with satin finish.

Alder | 2-piece construction is standard for transparent finishes, and 2 or 3-piece is standard for solid finishes.

Semi-hollow Walnut

African Mahogany ( Khaya

The standard body wood for the Super J is Alder. 2-piece is standard for transparent finishes and 2 or 3 piece is standard for solid finishes

Select dual density Swamp Ash

The standard body wood for the Super P is Alder. 2-piece contruction is standard for transparent finishes and 2 or 3 piece is standard for solid finishes

African Mahogany ( Khaya

2-3 pc Swamp Ash body The average weight of the Combustion is a low 8.75 lbs.

Core Wood – 2-3 pc Alder body

Dual-density: Walnut on the bass side, soft figured maple on the treble side.

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.

Khaya body, matching wood pickguard.

Body Core

Swamp Ash is a great-sounding body wood with reduced mid-presence but a lot of resonance and punch.
The heavily and unique textured ash grain goes well with the satin finish of the ABZ model.

Alder provides a traditional warm tone. We build the body slightly thinner to reduce weight and give more resonance. Optional upgrade – Swamp Ash (with a gloss finish

Walnut sounds very similar to Alder, but with more clarity, sustain and punch. We reduce the weight and increase the resonance by adding strategic tone chambers throughout the body.

The Afterburner II is the flagship of the Afterburner series. It has the tone and performance of a boutique instrument at an affordable price.

Internal tone chambers enhance the acoustic resonance for a richer tone. The average weight of an Afterburner II is a low 8.75 lbs.

The average weight of the D-ROC Standard is a low 8.5 to 9.5 lbs.

Alder provides a traditional warm tone. We build the body slightly thinner than standard to reduce weight and provide a bit more resonance. Optional upgrade – Swamp Ash Swamp Ash is a great option for those who would like a little less mid presence in their tone. It has a very distinctive grain pattern.

Optional Northern Ash/Swamp Ash or Northern Ash/Alder

Alder provides a traditional warm tone. We build the body slightly thinner than standard to reduce weight and provide a bit more resonance.

Optional upgrade – Swamp Ash

Swamp Ash is a great option for those who would like a little less mid presence in their tone. It has a very distinctive grain pattern.

The average weight of the D-ROC Standard is a low 8.5 to 9.5 lbs.

The average weight of the Combustion is a low 8.75 lbs.

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 average weight of the NG model is a low 8.75 lbs.

Dual-density Prima select Figured Walnut / Figured Maple

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.

The average weight of the D-ROC is a low 8.5 to 9.5 lbs.

Swamp Ash is a great-sounding body wood with reduced mid-presence but a lot of resonance and punch.
The heavily and unique textured ash grain goes well with the satin finish of the ABZ model.

Alder provides a traditional warm tone. We build the body slightly thinner to reduce weight and give more resonance. Optional upgrade – Swamp Ash (with a gloss finish

Walnut sounds very similar to Alder, but with more clarity, sustain and punch. We reduce the weight and increase the resonance by adding strategic tone chambers throughout the body.

The Afterburner II is the flagship of the Afterburner series. It has the tone and performance of a boutique instrument at an affordable price.

Internal tone chambers enhance the acoustic resonance for a richer tone. The average weight of an Afterburner II is a low 8.75 lbs.

The average weight of the D-ROC Standard is a low 8.5 to 9.5 lbs.

Alder provides a traditional warm tone. We build the body slightly thinner than standard to reduce weight and provide a bit more resonance. Optional upgrade – Swamp Ash Swamp Ash is a great option for those who would like a little less mid presence in their tone. It has a very distinctive grain pattern.

Optional Northern Ash/Swamp Ash or Northern Ash/Alder

Alder provides a traditional warm tone. We build the body slightly thinner than standard to reduce weight and provide a bit more resonance.

Optional upgrade – Swamp Ash

Swamp Ash is a great option for those who would like a little less mid presence in their tone. It has a very distinctive grain pattern.

The average weight of the D-ROC Standard is a low 8.5 to 9.5 lbs.

The average weight of the Combustion is a low 8.75 lbs.

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 average weight of the NG model is a low 8.75 lbs.

Dual-density Prima select Figured Walnut / Figured Maple

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.

The average weight of the D-ROC is a low 8.5 to 9.5 lbs.

Swamp Ash is a great-sounding body wood with reduced mid-presence but a lot of resonance and punch.
The heavily and unique textured ash grain goes well with the satin finish of the ABZ model.

Alder provides a traditional warm tone. We build the body slightly thinner to reduce weight and give more resonance. Optional upgrade – Swamp Ash (with a gloss finish

Walnut sounds very similar to Alder, but with more clarity, sustain and punch. We reduce the weight and increase the resonance by adding strategic tone chambers throughout the body.

The Afterburner II is the flagship of the Afterburner series. It has the tone and performance of a boutique instrument at an affordable price.

Internal tone chambers enhance the acoustic resonance for a richer tone. The average weight of an Afterburner II is a low 8.75 lbs.

The average weight of the D-ROC Standard is a low 8.5 to 9.5 lbs.

Alder provides a traditional warm tone. We build the body slightly thinner than standard to reduce weight and provide a bit more resonance. Optional upgrade – Swamp Ash Swamp Ash is a great option for those who would like a little less mid presence in their tone. It has a very distinctive grain pattern.

Optional Northern Ash/Swamp Ash or Northern Ash/Alder

Alder provides a traditional warm tone. We build the body slightly thinner than standard to reduce weight and provide a bit more resonance.

Optional upgrade – Swamp Ash

Swamp Ash is a great option for those who would like a little less mid presence in their tone. It has a very distinctive grain pattern.

The average weight of the D-ROC Standard is a low 8.5 to 9.5 lbs.

The average weight of the Combustion is a low 8.75 lbs.

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 average weight of the NG model is a low 8.75 lbs.

Dual-density Prima select Figured Walnut / Figured Maple

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.

The average weight of the D-ROC is a low 8.5 to 9.5 lbs.

Standard Top

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Figured Walnut

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Premium select top and back

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Figured Walnut

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Premium select top and back

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Figured Walnut

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Premium select top and back

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Tone Chambers

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Yes

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Yes

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Yes

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Top Options

Yes

Yes

Yes

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Yes

Yes

Yes

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Top & Back Standard

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Yes

Yes

Yes

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Yes

Yes

Yes

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Top & Back Standard

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Yes

Yes

Yes

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Yes

Yes

Yes

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Top & Back Standard

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Exotic wood contrasting layer option

Yes

Yes

Yes

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Yes

Yes

Yes

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Standard

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Yes

Yes

Yes

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Yes

Yes

Yes

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Standard

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Yes

Yes

Yes

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Yes

Yes

Yes

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Standard

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Matching Wood Cover Plates

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Standard

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Standard

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Standard

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Finish

We use polyurethane that’s been formulated for our satin finishes. It looks great and sounds excellent, allowing it to be acoustically transparent.

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 transparen

Most Afterburner II basses are finished in Natural to highlight the wood. However we have a huge range of available colors. Please refer to our photo galleries and price list for available colors and styles.

Limited edition Hellboy Graphics with a Matte 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

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.

We have a huge range of available colors. Please refer to our photo galleries and price list for available colors and styles.

Gloss Metalflake Aquamarine, Blue to Purple Colorshift, Matte Blackburst, Vintageburst.

Polyurethane satin-gloss

Polyurethane satin-gloss

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.

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.

The Matte D-ROC finishes are a polyurethane color and top coat. This industry standard finish is long-wearing and beautiful for years of service life.

We use polyurethane that’s been formulated for our satin finishes. It looks great and sounds excellent, allowing it to be acoustically transparent.

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 transparen

Most Afterburner II basses are finished in Natural to highlight the wood. However we have a huge range of available colors. Please refer to our photo galleries and price list for available colors and styles.

Limited edition Hellboy Graphics with a Matte 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

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.

We have a huge range of available colors. Please refer to our photo galleries and price list for available colors and styles.

Gloss Metalflake Aquamarine, Blue to Purple Colorshift, Matte Blackburst, Vintageburst.

Polyurethane satin-gloss

Polyurethane satin-gloss

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.

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.

The Matte D-ROC finishes are a polyurethane color and top coat. This industry standard finish is long-wearing and beautiful for years of service life.

We use polyurethane that’s been formulated for our satin finishes. It looks great and sounds excellent, allowing it to be acoustically transparent.

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 transparen

Most Afterburner II basses are finished in Natural to highlight the wood. However we have a huge range of available colors. Please refer to our photo galleries and price list for available colors and styles.

Limited edition Hellboy Graphics with a Matte 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

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.

We have a huge range of available colors. Please refer to our photo galleries and price list for available colors and styles.

Gloss Metalflake Aquamarine, Blue to Purple Colorshift, Matte Blackburst, Vintageburst.

Polyurethane satin-gloss

Polyurethane satin-gloss

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.

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.

The Matte D-ROC finishes are a polyurethane color and top coat. This industry standard finish is long-wearing and beautiful for years of service life.

Colors

We have a vast range of available colors. Please refer to our photo galleries and price list for available colors and styles.

We have a vast range of available colors. Please refer to our photo galleries and price list for available colors and styles.

N/A

Limited edition Hellboy Graphics with a Matte finish.

Colors: We have a huge range of available colors. Please refer to our photo galleries and price list for available colors and styles.

Pickguard : Matte Black is the standard pickguard. The following pickguard options are available: White/Black/ White, Black/White/ Black, Tortoiseshell, White Pearloid, Black Pearl

We have a huge range of available colors. Please refer to our photo galleries and price list for available colors and styles. Please note that for colors to be as bright and punchy as possible, pre-bleaching of the wood is often necessary

Colors: We have a huge range of available colors. Please refer to our photo galleries and price list for available colors and styles.

Pickguard : Matte Black is the standard pickguard. The following pickguard options are available: White/Black/ White, Black/White/ Black, Tortoiseshell, White Pearloid, Black Pearl

Gloss Metalflake Aquamarine, matching headstock edge
Matte Blue to Purple Colorshift, matching headstock edge
Matte Blackburst, matching headstock edge, Matte Vintageburst, matching headstock edge, Metallic/candy Dingwall colour

Natural (Ash)
2 tone Blackburst (Quilt maple top)
Vintageburst (Quilt maple top)
Indigoburst (Quilt maple top)
Whalepoolburst (Quilt maple top)
10th Anniversary  Amethystburst (Quilted Maple Top)
Matte Gold
Ultra Violet

Gloss Metallic Black, Matte Ducati Pearl White, Gloss Black Forest Green, Matte Gold Metallic, Celestial Blue

Natural gloss

Available in any candy metallic/pearl Dingwall colours

Most colours are available. All finishes are matte.

We have a vast range of available colors. Please refer to our photo galleries and price list for available colors and styles.

We have a vast range of available colors. Please refer to our photo galleries and price list for available colors and styles.

N/A

Limited edition Hellboy Graphics with a Matte finish.

Colors: We have a huge range of available colors. Please refer to our photo galleries and price list for available colors and styles.

Pickguard : Matte Black is the standard pickguard. The following pickguard options are available: White/Black/ White, Black/White/ Black, Tortoiseshell, White Pearloid, Black Pearl

We have a huge range of available colors. Please refer to our photo galleries and price list for available colors and styles. Please note that for colors to be as bright and punchy as possible, pre-bleaching of the wood is often necessary

Colors: We have a huge range of available colors. Please refer to our photo galleries and price list for available colors and styles.

Pickguard : Matte Black is the standard pickguard. The following pickguard options are available: White/Black/ White, Black/White/ Black, Tortoiseshell, White Pearloid, Black Pearl

Gloss Metalflake Aquamarine, matching headstock edge
Matte Blue to Purple Colorshift, matching headstock edge
Matte Blackburst, matching headstock edge, Matte Vintageburst, matching headstock edge, Metallic/candy Dingwall colour

Natural (Ash)
2 tone Blackburst (Quilt maple top)
Vintageburst (Quilt maple top)
Indigoburst (Quilt maple top)
Whalepoolburst (Quilt maple top)
10th Anniversary  Amethystburst (Quilted Maple Top)
Matte Gold
Ultra Violet

Gloss Metallic Black, Matte Ducati Pearl White, Gloss Black Forest Green, Matte Gold Metallic, Celestial Blue

Natural gloss

Available in any candy metallic/pearl Dingwall colours

Most colours are available. All finishes are matte.

We have a vast range of available colors. Please refer to our photo galleries and price list for available colors and styles.

We have a vast range of available colors. Please refer to our photo galleries and price list for available colors and styles.

N/A

Limited edition Hellboy Graphics with a Matte finish.

Colors: We have a huge range of available colors. Please refer to our photo galleries and price list for available colors and styles.

Pickguard : Matte Black is the standard pickguard. The following pickguard options are available: White/Black/ White, Black/White/ Black, Tortoiseshell, White Pearloid, Black Pearl

We have a huge range of available colors. Please refer to our photo galleries and price list for available colors and styles. Please note that for colors to be as bright and punchy as possible, pre-bleaching of the wood is often necessary

Colors: We have a huge range of available colors. Please refer to our photo galleries and price list for available colors and styles.

Pickguard : Matte Black is the standard pickguard. The following pickguard options are available: White/Black/ White, Black/White/ Black, Tortoiseshell, White Pearloid, Black Pearl

Gloss Metalflake Aquamarine, matching headstock edge
Matte Blue to Purple Colorshift, matching headstock edge
Matte Blackburst, matching headstock edge, Matte Vintageburst, matching headstock edge, Metallic/candy Dingwall colour

Natural (Ash)
2 tone Blackburst (Quilt maple top)
Vintageburst (Quilt maple top)
Indigoburst (Quilt maple top)
Whalepoolburst (Quilt maple top)
10th Anniversary  Amethystburst (Quilted Maple Top)
Matte Gold
Ultra Violet

Gloss Metallic Black, Matte Ducati Pearl White, Gloss Black Forest Green, Matte Gold Metallic, Celestial Blue

Natural gloss

Available in any candy metallic/pearl Dingwall colours

Most colours are available. All finishes are matte.

Neck

5-piece laminated Maple – Wenge and Roasted Ash optional.

5-piece laminated Maple – Wenge optional.

5-piece laminated Maple – Wenge and Roasted Ash optional.

1 piece maple standard, optional 5-piece laminated maple or Wenge.

Compound angle headstock, 5-piece laminated maple – Wenge and Roasted Northern Ash optional

1 piece standard, optional 5-piece laminated maple or Wenge .

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.

5-piece Maple

Prima Artist necks are laminated from 5-7 pieces of exotic wood.

5-piece laminated maple.

5-piece laminated Maple – Wenge and Roasted Ash optional.

5-piece laminated Maple – Wenge and Roasted Ash optional.

5-piece laminated Maple – Wenge optional.

5-piece laminated Maple – Wenge and Roasted Ash optional.

1 piece maple standard, optional 5-piece laminated maple or Wenge.

Compound angle headstock, 5-piece laminated maple – Wenge and Roasted Northern Ash optional

1 piece standard, optional 5-piece laminated maple or Wenge .

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.

5-piece Maple

Prima Artist necks are laminated from 5-7 pieces of exotic wood.

5-piece laminated maple.

5-piece laminated Maple – Wenge and Roasted Ash optional.

5-piece laminated Maple – Wenge and Roasted Ash optional.

5-piece laminated Maple – Wenge optional.

5-piece laminated Maple – Wenge and Roasted Ash optional.

1 piece maple standard, optional 5-piece laminated maple or Wenge.

Compound angle headstock, 5-piece laminated maple – Wenge and Roasted Northern Ash optional

1 piece standard, optional 5-piece laminated maple or Wenge .

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.

5-piece Maple

Prima Artist necks are laminated from 5-7 pieces of exotic wood.

5-piece laminated maple.

5-piece laminated Maple – Wenge and Roasted Ash optional.

Neck Construction

In my years in the guitar repair business, I constantly had to deal with humidity-related problems made worse by our local climate’s colossal temperature and humidity swings. Simple design changes and material choices could have minimized many of these problems.
Touring musicians are constantly amazed at how stable Dingwall instruments are.

We’ve experimented with many different laminations and have found a 5-piece maple construction to be among the most reliable. Years of experience have proven this design to be extremely stable and reliable.
We offer a 5-piece laminated wenge and roasted Ash neck options.

In my years in the guitar repair business, I constantly had to deal with humidity-related problems made worse by our local climate’s colossal temperature and humidity swings. Simple design changes and material choices could have minimized many of these problems.
Touring musicians are constantly amazed at how stable Dingwall instruments are.

We’ve experimented with many different laminations and have found a 5-piece maple construction to be among the most reliable. Years of experience have proven this design to be extremely stable and reliable.
We offer a 5-piece laminated wenge and roasted Ash neck options.

We take neck construction very seriously due to our extensive experience in guitar repairs coupled with our geographic location and extreme climate.

In my years in the guitar repair business, I constantly had to deal with humidity-related problems made worse by our local climate’s colossal temperature and humidity swings. Simple design changes and material choices could have minimized many of these problems.

Touring musicians are constantly amazed at how stable Dingwall instruments are. Many states that their Dingwall’s 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 most reliable. Years of experience have proven this design to be highly stable and reliable.

We offer a 5-piece laminated wenge neck as an option. Wenge is also very stable. A wenge neck will be roughly 50 grams heavier than maple with an open grain feel. The tone is similar to maple but with a slightly snappier response.

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.

The double expanding truss-rod style is one of the industry standards. However, our installation method – taught to us by Glenn McDougall of Fury Guitars, involves gluing the truss rod into the neck under almost 1000-LB of pressure. This creates a coupling of steel to wood, increasing both sustain and harmonic content.

“While repairing guitars, I found that many guitars had either stripped or missing truss rod cover plate screws. I found it frustrating that it usually took longer to remove and replace the cover plate than it did to make the actual adjustment.”
The truss rod is the most commonly adjusted component on most guitars, so access to the truss rod adjustment should be as easy as possible.

All Dingwall basses feature easy-to-access truss-rod adjustments.

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 most reliable. Years of experience have proven this design to be extremely stable and reliable.

We offer a 5 piece laminated wenge neck as an option. Wenge is also very stable. A wenge neck will be roughly 50 grams heavier than maple with an open grain feel. The tone is similar to maple but with a slightly snappier response.

The double expanding truss-rod style is one of the industry standards. However, our installation method – taught to us by Glenn McDougall of Fury Guitars, involves gluing the truss rod into the neck under almost 1000-LB of pressure. This creates a coupling of steel to wood, increasing both sustain and harmonic content.

“While repairing guitars, I found that many guitars had either stripped or missing truss rod cover plate screws. I found it frustrating that it usually took longer to remove and replace the cover plate than it did to make the actual adjustment.”
The truss rod is the most commonly adjusted component on most guitars, so access to the truss rod adjustment should be as easy as possible.

All Dingwall basses feature easy-to-access truss-rod adjustments.

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.

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.

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

Prima Artist necks are laminated from 5-7 pieces of exotic wood. We choose the woods for strength and tone first, then try to come up with a combination that either blends or contrasts nicely with the top and back woods.

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.

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.

In my years in the guitar repair business, I constantly had to deal with humidity-related problems made worse by our local climate’s colossal temperature and humidity swings. Simple design changes and material choices could have minimized many of these problems.
Touring musicians are constantly amazed at how stable Dingwall instruments are.

We’ve experimented with many different laminations and have found a 5-piece maple construction to be among the most reliable. Years of experience have proven this design to be extremely stable and reliable.
We offer a 5-piece laminated wenge and roasted Ash neck options.

In my years in the guitar repair business, I constantly had to deal with humidity-related problems made worse by our local climate’s colossal temperature and humidity swings. Simple design changes and material choices could have minimized many of these problems.
Touring musicians are constantly amazed at how stable Dingwall instruments are.

We’ve experimented with many different laminations and have found a 5-piece maple construction to be among the most reliable. Years of experience have proven this design to be extremely stable and reliable.
We offer a 5-piece laminated wenge and roasted Ash neck options.

We take neck construction very seriously due to our extensive experience in guitar repairs coupled with our geographic location and extreme climate.

In my years in the guitar repair business, I constantly had to deal with humidity-related problems made worse by our local climate’s colossal temperature and humidity swings. Simple design changes and material choices could have minimized many of these problems.

Touring musicians are constantly amazed at how stable Dingwall instruments are. Many states that their Dingwall’s 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 most reliable. Years of experience have proven this design to be highly stable and reliable.

We offer a 5-piece laminated wenge neck as an option. Wenge is also very stable. A wenge neck will be roughly 50 grams heavier than maple with an open grain feel. The tone is similar to maple but with a slightly snappier response.

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.

The double expanding truss-rod style is one of the industry standards. However, our installation method – taught to us by Glenn McDougall of Fury Guitars, involves gluing the truss rod into the neck under almost 1000-LB of pressure. This creates a coupling of steel to wood, increasing both sustain and harmonic content.

“While repairing guitars, I found that many guitars had either stripped or missing truss rod cover plate screws. I found it frustrating that it usually took longer to remove and replace the cover plate than it did to make the actual adjustment.”
The truss rod is the most commonly adjusted component on most guitars, so access to the truss rod adjustment should be as easy as possible.

All Dingwall basses feature easy-to-access truss-rod adjustments.

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 most reliable. Years of experience have proven this design to be extremely stable and reliable.

We offer a 5 piece laminated wenge neck as an option. Wenge is also very stable. A wenge neck will be roughly 50 grams heavier than maple with an open grain feel. The tone is similar to maple but with a slightly snappier response.

The double expanding truss-rod style is one of the industry standards. However, our installation method – taught to us by Glenn McDougall of Fury Guitars, involves gluing the truss rod into the neck under almost 1000-LB of pressure. This creates a coupling of steel to wood, increasing both sustain and harmonic content.

“While repairing guitars, I found that many guitars had either stripped or missing truss rod cover plate screws. I found it frustrating that it usually took longer to remove and replace the cover plate than it did to make the actual adjustment.”
The truss rod is the most commonly adjusted component on most guitars, so access to the truss rod adjustment should be as easy as possible.

All Dingwall basses feature easy-to-access truss-rod adjustments.

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.

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.

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

Prima Artist necks are laminated from 5-7 pieces of exotic wood. We choose the woods for strength and tone first, then try to come up with a combination that either blends or contrasts nicely with the top and back woods.

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.

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.

In my years in the guitar repair business, I constantly had to deal with humidity-related problems made worse by our local climate’s colossal temperature and humidity swings. Simple design changes and material choices could have minimized many of these problems.
Touring musicians are constantly amazed at how stable Dingwall instruments are.

We’ve experimented with many different laminations and have found a 5-piece maple construction to be among the most reliable. Years of experience have proven this design to be extremely stable and reliable.
We offer a 5-piece laminated wenge and roasted Ash neck options.

In my years in the guitar repair business, I constantly had to deal with humidity-related problems made worse by our local climate’s colossal temperature and humidity swings. Simple design changes and material choices could have minimized many of these problems.
Touring musicians are constantly amazed at how stable Dingwall instruments are.

We’ve experimented with many different laminations and have found a 5-piece maple construction to be among the most reliable. Years of experience have proven this design to be extremely stable and reliable.
We offer a 5-piece laminated wenge and roasted Ash neck options.

We take neck construction very seriously due to our extensive experience in guitar repairs coupled with our geographic location and extreme climate.

In my years in the guitar repair business, I constantly had to deal with humidity-related problems made worse by our local climate’s colossal temperature and humidity swings. Simple design changes and material choices could have minimized many of these problems.

Touring musicians are constantly amazed at how stable Dingwall instruments are. Many states that their Dingwall’s 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 most reliable. Years of experience have proven this design to be highly stable and reliable.

We offer a 5-piece laminated wenge neck as an option. Wenge is also very stable. A wenge neck will be roughly 50 grams heavier than maple with an open grain feel. The tone is similar to maple but with a slightly snappier response.

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.

The double expanding truss-rod style is one of the industry standards. However, our installation method – taught to us by Glenn McDougall of Fury Guitars, involves gluing the truss rod into the neck under almost 1000-LB of pressure. This creates a coupling of steel to wood, increasing both sustain and harmonic content.

“While repairing guitars, I found that many guitars had either stripped or missing truss rod cover plate screws. I found it frustrating that it usually took longer to remove and replace the cover plate than it did to make the actual adjustment.”
The truss rod is the most commonly adjusted component on most guitars, so access to the truss rod adjustment should be as easy as possible.

All Dingwall basses feature easy-to-access truss-rod adjustments.

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 most reliable. Years of experience have proven this design to be extremely stable and reliable.

We offer a 5 piece laminated wenge neck as an option. Wenge is also very stable. A wenge neck will be roughly 50 grams heavier than maple with an open grain feel. The tone is similar to maple but with a slightly snappier response.

The double expanding truss-rod style is one of the industry standards. However, our installation method – taught to us by Glenn McDougall of Fury Guitars, involves gluing the truss rod into the neck under almost 1000-LB of pressure. This creates a coupling of steel to wood, increasing both sustain and harmonic content.

“While repairing guitars, I found that many guitars had either stripped or missing truss rod cover plate screws. I found it frustrating that it usually took longer to remove and replace the cover plate than it did to make the actual adjustment.”
The truss rod is the most commonly adjusted component on most guitars, so access to the truss rod adjustment should be as easy as possible.

All Dingwall basses feature easy-to-access truss-rod adjustments.

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.

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.

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

Prima Artist necks are laminated from 5-7 pieces of exotic wood. We choose the woods for strength and tone first, then try to come up with a combination that either blends or contrasts nicely with the top and back woods.

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.

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.

Neck Carve

Medium thin C shape

Medium thin C shape

Medium thin C shape

Medium thin C shape

Medium thin C shape

Thin, flattened C shape

Medium thin C shape

Medium thin C shape

Medium thin C shape

Medium thin C shape

Thin, flattened C shape

Thin, flattened C shape

Medium thin C shape

Medium thin C shape

Medium thin C shape

Medium thin C shape

Medium thin C shape

Medium thin C shape

Thin, flattened C shape

Medium thin C shape

Medium thin C shape

Medium thin C shape

Medium thin C shape

Thin, flattened C shape

Thin, flattened C shape

Medium thin C shape

Medium thin C shape

Medium thin C shape

Medium thin C shape

Medium thin C shape

Medium thin C shape

Thin, flattened C shape

Medium thin C shape

Medium thin C shape

Medium thin C shape

Medium thin C shape

Thin, flattened C shape

Thin, flattened C shape

Medium thin C shape

Neck Reinforcement

Dingwall heavy duty truss-rod

Dingwall heavy duty truss-rod

Dingwall heavy duty truss-rod

Heavy duty truss-rod

double expanding truss-rod

Dingwall heavy duty truss-rod

double expanding truss-rod

Heavy duty truss-rod

Heavy duty truss-rod

Heavy duty truss-rod

Dingwall heavy duty truss-rod with carbon fiber bars

Dingwall heavy duty truss-rod

Dingwall heavy duty truss-rod

Dingwall heavy duty truss-rod

Dingwall heavy duty truss-rod

Dingwall heavy duty truss-rod

Heavy duty truss-rod

double expanding truss-rod

Dingwall heavy duty truss-rod

double expanding truss-rod

Heavy duty truss-rod

Heavy duty truss-rod

Heavy duty truss-rod

Dingwall heavy duty truss-rod with carbon fiber bars

Dingwall heavy duty truss-rod

Dingwall heavy duty truss-rod

Dingwall heavy duty truss-rod

Dingwall heavy duty truss-rod

Dingwall heavy duty truss-rod

Heavy duty truss-rod

double expanding truss-rod

Dingwall heavy duty truss-rod

double expanding truss-rod

Heavy duty truss-rod

Heavy duty truss-rod

Heavy duty truss-rod

Dingwall heavy duty truss-rod with carbon fiber bars

Dingwall heavy duty truss-rod

Dingwall heavy duty truss-rod

Headstock

The goal was to utilize a flat headstock. Materials and labour savings are significant with this design. The only problem was that a flat headstock needed a string tree to create a 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, allow proper break angle at the nut.
A side benefit is that these specially made Hipshot Ultra-lites are even lighter than the originals. Combined with the minimalist Afterburner headstock shape, the improved balance is significant.

Flat-counter bored.

Flat, counter bored.

 

Headstock design – flat. We designed a downsized tribute headstock with Hipshot Licenced Ultralite tuners. The results are excellent balance and solid performance.

Flat, counter bored, scalloped

.

Flat, scalloped.

Headstock design – flat. We designed a downsized tribute headstock with Hipshot Licenced Ultralite tuners. The results are excellent balance and solid performance.

Flat-string retaining bar.

Headstock design – Flat, string retaining bar.

We combined the minimalist shape of the Afterburner headstock with the lightest import tuners we could find. The results are excellent balance and solid performance.

Headstock design – Angled (compound).

Compound angled

Flat

The goal was to utilize a flat headstock. Materials and labour savings are significant with this design. The only problem was that a flat headstock needed a string tree to create a 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, allow proper break angle at the nut.
A side benefit is that these specially made Hipshot Ultra-lites are even lighter than the originals. Combined with the minimalist Afterburner headstock shape, the improved balance is significant.

Flat-counter bored.

Flat, counter bored.

 

Headstock design – flat. We designed a downsized tribute headstock with Hipshot Licenced Ultralite tuners. The results are excellent balance and solid performance.

Flat, counter bored, scalloped

.

Flat, scalloped.

Headstock design – flat. We designed a downsized tribute headstock with Hipshot Licenced Ultralite tuners. The results are excellent balance and solid performance.

Flat-string retaining bar.

Headstock design – Flat, string retaining bar.

We combined the minimalist shape of the Afterburner headstock with the lightest import tuners we could find. The results are excellent balance and solid performance.

Headstock design – Angled (compound).

Compound angled

Flat

The goal was to utilize a flat headstock. Materials and labour savings are significant with this design. The only problem was that a flat headstock needed a string tree to create a 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, allow proper break angle at the nut.
A side benefit is that these specially made Hipshot Ultra-lites are even lighter than the originals. Combined with the minimalist Afterburner headstock shape, the improved balance is significant.

Flat-counter bored.

Flat, counter bored.

 

Headstock design – flat. We designed a downsized tribute headstock with Hipshot Licenced Ultralite tuners. The results are excellent balance and solid performance.

Flat, counter bored, scalloped

.

Flat, scalloped.

Headstock design – flat. We designed a downsized tribute headstock with Hipshot Licenced Ultralite tuners. The results are excellent balance and solid performance.

Flat-string retaining bar.

Headstock design – Flat, string retaining bar.

We combined the minimalist shape of the Afterburner headstock with the lightest import tuners we could find. The results are excellent balance and solid performance.

Headstock design – Angled (compound).

Compound angled

Flat

Headstock options

Satin Blacked out Neck shaft, Head and Heel.

Satin Blacked out Neck shaft, Head and Heel.

Matching finish (solid finishes only).

N/A

Matching finish (solid finishes only). We don’t offer matching woods on the Super series headstocks.

Matching veneer

Matching finish (solid finishes only)

N/A

N/A

N/A

Matching veneer standard

Matching finish Standard

N/A

Satin Blacked out Neck shaft, Head and Heel.

Satin Blacked out Neck shaft, Head and Heel.

Matching finish (solid finishes only).

N/A

Matching finish (solid finishes only). We don’t offer matching woods on the Super series headstocks.

Matching veneer

Matching finish (solid finishes only)

N/A

N/A

N/A

Matching veneer standard

Matching finish Standard

N/A

Satin Blacked out Neck shaft, Head and Heel.

Satin Blacked out Neck shaft, Head and Heel.

Matching finish (solid finishes only).

N/A

Matching finish (solid finishes only). We don’t offer matching woods on the Super series headstocks.

Matching veneer

Matching finish (solid finishes only)

N/A

N/A

N/A

Matching veneer standard

Matching finish Standard

N/A

Standard Fingerboard

Wenge

Wenge

Wenge

Pau Ferro

Wenge

Wenge is an interesting fretboard wood due to the alternating layers of hard and soft grain (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.

Wenge

Pau Ferro

Maple

Maple

N/A

Wenge

Wenge

Wenge

Wenge

Wenge

Pau Ferro

Wenge

Wenge is an interesting fretboard wood due to the alternating layers of hard and soft grain (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.

Wenge

Pau Ferro

Maple

Maple

N/A

Wenge

Wenge

Wenge

Wenge

Wenge

Pau Ferro

Wenge

Wenge is an interesting fretboard wood due to the alternating layers of hard and soft grain (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.

Wenge

Pau Ferro

Maple

Maple

N/A

Wenge

Wenge

Fingerboard Options

Wenge, Quarter Sawn Maple, Pau Ferro, Macassar Ebony

Maple, Birdseye Maple, Pau Ferro, Macassar Ebony, Ziricote

Wenge, Quarter Sawn Maple, Pau Ferro, Macassar Ebony

N/A

Maple, Pau Ferro, Macassar Ebony

Wenge, Quarter Sawn Maple, Pau Ferro, Macassar Ebony

Maple, Pau Ferro, Macassar Ebony

N/A

Pau Ferro

Maple

Maple, Pau Ferro, Macassar Ebony, Ziricote.

N/A

Wenge, Quarter Sawn Maple, Pau Ferro, Macassar Ebony

Wenge, Quarter Sawn Maple, Pau Ferro, Macassar Ebony

Maple, Birdseye Maple, Pau Ferro, Macassar Ebony, Ziricote

Wenge, Quarter Sawn Maple, Pau Ferro, Macassar Ebony

N/A

Maple, Pau Ferro, Macassar Ebony

Wenge, Quarter Sawn Maple, Pau Ferro, Macassar Ebony

Maple, Pau Ferro, Macassar Ebony

N/A

Pau Ferro

Maple

Maple, Pau Ferro, Macassar Ebony, Ziricote.

N/A

Wenge, Quarter Sawn Maple, Pau Ferro, Macassar Ebony

Wenge, Quarter Sawn Maple, Pau Ferro, Macassar Ebony

Maple, Birdseye Maple, Pau Ferro, Macassar Ebony, Ziricote

Wenge, Quarter Sawn Maple, Pau Ferro, Macassar Ebony

N/A

Maple, Pau Ferro, Macassar Ebony

Wenge, Quarter Sawn Maple, Pau Ferro, Macassar Ebony

Maple, Pau Ferro, Macassar Ebony

N/A

Pau Ferro

Maple

Maple, Pau Ferro, Macassar Ebony, Ziricote.

N/A

Wenge, Quarter Sawn Maple, Pau Ferro, Macassar Ebony

Fretless Options

Macassar Ebony with segmented-lines.

Macassar Ebony with segmented-lines

Macassar Ebony with segmented-lines

N/A

Macassar Ebony with edge lines

Macassar Ebony with segmented-lines

Macassar Ebony with edge lines.

N/A

N/A

N/A

Macassar Ebony with segmented-lines

N/A

Macassar Ebony with segmented-lines Fretwire

Macassar Ebony with segmented-lines.

Macassar Ebony with segmented-lines

Macassar Ebony with segmented-lines

N/A

Macassar Ebony with edge lines

Macassar Ebony with segmented-lines

Macassar Ebony with edge lines.

N/A

N/A

N/A

Macassar Ebony with segmented-lines

N/A

Macassar Ebony with segmented-lines Fretwire

Macassar Ebony with segmented-lines.

Macassar Ebony with segmented-lines

Macassar Ebony with segmented-lines

N/A

Macassar Ebony with edge lines

Macassar Ebony with segmented-lines

Macassar Ebony with edge lines.

N/A

N/A

N/A

Macassar Ebony with segmented-lines

N/A

Macassar Ebony with segmented-lines Fretwire

Fret Options

Vintage small size 18% hard nickel silver fretwire

Vintage small size 18% hard nickel silver fretwire

Vintage small size 18% hard nickel silver fretwire

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.

Vintage small size 18% hard nickel silver fretwire

Vintage small size 18% hard nickel silver fretwire

Vintage small size 18% hard nickel silver fretwire

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.

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.

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.

Vintage small size 18% hard nickel silver fretwire

We install Mandoline size fretwire in the Lee Sklar model.  These are Leland’s personal favorite size frets.  They have an amazing feel – almost fretless like.  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.

Vintage small size 18% hard nickel silver fretwire

Vintage small size 18% hard nickel silver fretwire

Vintage small size 18% hard nickel silver fretwire

Vintage small size 18% hard nickel silver fretwire

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.

Vintage small size 18% hard nickel silver fretwire

Vintage small size 18% hard nickel silver fretwire

Vintage small size 18% hard nickel silver fretwire

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.

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.

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.

Vintage small size 18% hard nickel silver fretwire

We install Mandoline size fretwire in the Lee Sklar model.  These are Leland’s personal favorite size frets.  They have an amazing feel – almost fretless like.  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.

Vintage small size 18% hard nickel silver fretwire

Vintage small size 18% hard nickel silver fretwire

Vintage small size 18% hard nickel silver fretwire

Vintage small size 18% hard nickel silver fretwire

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.

Vintage small size 18% hard nickel silver fretwire

Vintage small size 18% hard nickel silver fretwire

Vintage small size 18% hard nickel silver fretwire

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.

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.

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.

Vintage small size 18% hard nickel silver fretwire

We install Mandoline size fretwire in the Lee Sklar model.  These are Leland’s personal favorite size frets.  They have an amazing feel – almost fretless like.  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.

Vintage small size 18% hard nickel silver fretwire

Position Markers and Inlays

White or Black Pearloid side and face dots. Optional Pearloid or Black blocks. Speedo Bars.

White or Black Pearloid side and face dots. Optional Pearloid or Black blocks. Speedo Bars.

White or Black Pearloid side and face dots. Optional Pearloid or Black blocks. Speedo Bars

3 mm plastic face dots, 2 mm plastic side dots.

White or Black Pearloid side and face dots. Optional Pearloid or Black blocks. Speedo Bars.

3 mm pearloid face and side dots with D at 12th fret and headstock are standard. Optional Speedo Bars, Blocks, Ghost Bars, Ghost Blocks in White or Black Pearloid as well as Exotic Wood or Coloured Pearloid

White or Black Pearloid side and face dots. Optional Pearloid or Black blocks. Speedo Bars.

3 mm plastic face dots, 2 mm plastic side dots.

3 mm plastic face dots, 2 mm plastic side dots

3 mm plastic face dots, 2 mm plastic side dots

Custom Smoke

3 mm pearloid face and side dots with Pearl D at 12th fret

Ellipse face markers, 3 mm Pearloid side dots (Standard).Speedo Bars (Optional)

White or Black Pearloid side and face dots. Optional Pearloid or Black blocks. Speedo Bars.

White or Black Pearloid side and face dots. Optional Pearloid or Black blocks. Speedo Bars.

White or Black Pearloid side and face dots. Optional Pearloid or Black blocks. Speedo Bars

3 mm plastic face dots, 2 mm plastic side dots.

White or Black Pearloid side and face dots. Optional Pearloid or Black blocks. Speedo Bars.

3 mm pearloid face and side dots with D at 12th fret and headstock are standard. Optional Speedo Bars, Blocks, Ghost Bars, Ghost Blocks in White or Black Pearloid as well as Exotic Wood or Coloured Pearloid

White or Black Pearloid side and face dots. Optional Pearloid or Black blocks. Speedo Bars.

3 mm plastic face dots, 2 mm plastic side dots.

3 mm plastic face dots, 2 mm plastic side dots

3 mm plastic face dots, 2 mm plastic side dots

Custom Smoke

3 mm pearloid face and side dots with Pearl D at 12th fret

Ellipse face markers, 3 mm Pearloid side dots (Standard).Speedo Bars (Optional)

White or Black Pearloid side and face dots. Optional Pearloid or Black blocks. Speedo Bars.

White or Black Pearloid side and face dots. Optional Pearloid or Black blocks. Speedo Bars.

White or Black Pearloid side and face dots. Optional Pearloid or Black blocks. Speedo Bars

3 mm plastic face dots, 2 mm plastic side dots.

White or Black Pearloid side and face dots. Optional Pearloid or Black blocks. Speedo Bars.

3 mm pearloid face and side dots with D at 12th fret and headstock are standard. Optional Speedo Bars, Blocks, Ghost Bars, Ghost Blocks in White or Black Pearloid as well as Exotic Wood or Coloured Pearloid

White or Black Pearloid side and face dots. Optional Pearloid or Black blocks. Speedo Bars.

3 mm plastic face dots, 2 mm plastic side dots.

3 mm plastic face dots, 2 mm plastic side dots

3 mm plastic face dots, 2 mm plastic side dots

Custom Smoke

3 mm pearloid face and side dots with Pearl D at 12th fret

Ellipse face markers, 3 mm Pearloid side dots (Standard).Speedo Bars (Optional)

Electronics

Passive FDV pickups, master volume, 4 position Tetratone pickup selector, master tone.

Passive FDV pickups, master volume, Tetratone pickup selector, master tone.

Passive FDV pickups, master volume, 4 position rotary pickup selector, master tone. Standard.

On board Darkglass distortion circuit, with a drive and tone control

Passive FDV pickups, master volume, Tetratone pickup selector, master tone. Standard

FDV (standard) , SF-II, FD3, P-Tone (optional) *All pickups are handmade here at Dingwall Guitars in Saskatoon

Passive

Passive

The FD-3N

The FD-3N

Handmade Prima Artist pickups

The Super-Fatty II pickups, Lee Sklar rotary selector switch, Glockenklang 3-band pre-amp with modified mid.

Passive FDV pickups, master volume, 4 position Tetratone pickup selector, master tone.

Passive FDV pickups, master volume, 4 position Tetratone pickup selector, master tone.

Passive FDV pickups, master volume, Tetratone pickup selector, master tone.

Passive FDV pickups, master volume, 4 position rotary pickup selector, master tone. Standard.

On board Darkglass distortion circuit, with a drive and tone control

Passive FDV pickups, master volume, Tetratone pickup selector, master tone. Standard

FDV (standard) , SF-II, FD3, P-Tone (optional) *All pickups are handmade here at Dingwall Guitars in Saskatoon

Passive

Passive

The FD-3N

The FD-3N

Handmade Prima Artist pickups

The Super-Fatty II pickups, Lee Sklar rotary selector switch, Glockenklang 3-band pre-amp with modified mid.

Passive FDV pickups, master volume, 4 position Tetratone pickup selector, master tone.

Passive FDV pickups, master volume, 4 position Tetratone pickup selector, master tone.

Passive FDV pickups, master volume, Tetratone pickup selector, master tone.

Passive FDV pickups, master volume, 4 position rotary pickup selector, master tone. Standard.

On board Darkglass distortion circuit, with a drive and tone control

Passive FDV pickups, master volume, Tetratone pickup selector, master tone. Standard

FDV (standard) , SF-II, FD3, P-Tone (optional) *All pickups are handmade here at Dingwall Guitars in Saskatoon

Passive

Passive

The FD-3N

The FD-3N

Handmade Prima Artist pickups

The Super-Fatty II pickups, Lee Sklar rotary selector switch, Glockenklang 3-band pre-amp with modified mid.

Passive FDV pickups, master volume, 4 position Tetratone pickup selector, master tone.

Pickups

Handmade FDV

Handmade FDV

Handmade FDV

The FD-3N pickups are made to our specifications. They feature Neodymium magnets which offer high output and a smooth but aggressive tone.

Handmade FDV

FDV pickups are the standard pickup in our Z model. They are a continuation of the FD (Fury/Dingwall) line of pickups but feature Alnico V magnets instead of Neodymium. Their tone and response is the most traditional sounding and feeling of all our pickups yet they maintain the tightness and clarity that Dingwall basses are known for. They 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. The pickup coils can be pre-wired in either series or parallel or can be run through a series/parallel toggle for on the fly tone shaping.

Handmade Super P

The FD-3N pickups are made to our specifications. They feature Neodymium magnets which offer high output and a smooth but aggressive tone.

The FD-3N pickups are made to our specifications. They feature Neodymium magnets which offer high output and a smooth but aggressive tone.

The FD-3N

The Prima Artist pickups feature an FD-3 treble coil with a custom wound bass coil. The coils are noise-symetric/tone-asymetric, which means they maintain near-perfect noise rejection with increased low-end clarity. The pickups are installed into wooden shells cut from the actual top and contrast layer of the body that they will be installed in. They are truly one of a kind pickups made in our shop in Canada.

Their tone can best be described as the best of a vintage J and P, but with the most clear and punchy lows possible. It’s impossible to imagine the power and clarity of the lows of these pickups. They have to be heard to be believed.

The Prima Artist pickups 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. The Prima Artist bass features individual series/parallel switches so that the player can access these tones at the flick of a switch.

Handmade SFII.

Handmade FDV

Handmade FDV

Handmade FDV

Handmade FDV

The FD-3N pickups are made to our specifications. They feature Neodymium magnets which offer high output and a smooth but aggressive tone.

Handmade FDV

FDV pickups are the standard pickup in our Z model. They are a continuation of the FD (Fury/Dingwall) line of pickups but feature Alnico V magnets instead of Neodymium. Their tone and response is the most traditional sounding and feeling of all our pickups yet they maintain the tightness and clarity that Dingwall basses are known for. They 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. The pickup coils can be pre-wired in either series or parallel or can be run through a series/parallel toggle for on the fly tone shaping.

Handmade Super P

The FD-3N pickups are made to our specifications. They feature Neodymium magnets which offer high output and a smooth but aggressive tone.

The FD-3N pickups are made to our specifications. They feature Neodymium magnets which offer high output and a smooth but aggressive tone.

The FD-3N

The Prima Artist pickups feature an FD-3 treble coil with a custom wound bass coil. The coils are noise-symetric/tone-asymetric, which means they maintain near-perfect noise rejection with increased low-end clarity. The pickups are installed into wooden shells cut from the actual top and contrast layer of the body that they will be installed in. They are truly one of a kind pickups made in our shop in Canada.

Their tone can best be described as the best of a vintage J and P, but with the most clear and punchy lows possible. It’s impossible to imagine the power and clarity of the lows of these pickups. They have to be heard to be believed.

The Prima Artist pickups 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. The Prima Artist bass features individual series/parallel switches so that the player can access these tones at the flick of a switch.

Handmade SFII.

Handmade FDV

Handmade FDV

Handmade FDV

Handmade FDV

The FD-3N pickups are made to our specifications. They feature Neodymium magnets which offer high output and a smooth but aggressive tone.

Handmade FDV

FDV pickups are the standard pickup in our Z model. They are a continuation of the FD (Fury/Dingwall) line of pickups but feature Alnico V magnets instead of Neodymium. Their tone and response is the most traditional sounding and feeling of all our pickups yet they maintain the tightness and clarity that Dingwall basses are known for. They 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. The pickup coils can be pre-wired in either series or parallel or can be run through a series/parallel toggle for on the fly tone shaping.

Handmade Super P

The FD-3N pickups are made to our specifications. They feature Neodymium magnets which offer high output and a smooth but aggressive tone.

The FD-3N pickups are made to our specifications. They feature Neodymium magnets which offer high output and a smooth but aggressive tone.

The FD-3N

The Prima Artist pickups feature an FD-3 treble coil with a custom wound bass coil. The coils are noise-symetric/tone-asymetric, which means they maintain near-perfect noise rejection with increased low-end clarity. The pickups are installed into wooden shells cut from the actual top and contrast layer of the body that they will be installed in. They are truly one of a kind pickups made in our shop in Canada.

Their tone can best be described as the best of a vintage J and P, but with the most clear and punchy lows possible. It’s impossible to imagine the power and clarity of the lows of these pickups. They have to be heard to be believed.

The Prima Artist pickups 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. The Prima Artist bass features individual series/parallel switches so that the player can access these tones at the flick of a switch.

Handmade SFII.

Handmade FDV

Pickup Options

The options include the P-tone, which gets you as close to the traditional P sound as possible. The FD3, for a slightly more modern tone and greater sensitivity to dynamics or the Super-Fatty II, for a huge, fat bottom-end with a bit of sparkle on top. The ABZ comes standard with two pickups in traditional spacing. The 3x option adds a middle pickup for even more tone options

The options include the P-tone, which gets you as close to the traditional P sound as possible. The FD3, for a slightly more modern tone and greater sensitivity to dynamics or the Super-Fatty II, for a huge, fat bottom-end with a bit of sparkle on top. The ABZ comes standard with two pickups in traditional spacing. The 3x option adds a middle pickup for even more tone options.

The options include the P-tone, which gets you as close to the traditional P sound as possible. The FD3, for a slightly more modern tone and greater sensitivity to dynamics or the Super-Fatty II, for a huge, fat bottom-end with a bit of sparkle on top. The ABZ comes standard with two pickups in traditional spacing. The 3x option adds a middle pickup for even more tone options.

3 pickup neck/middle/bridge

Any of our FD size pickups can be fitted or retro-fitted into the current spec (non-Super-Fatty I) Super J models. The available options include the P-tone, which gets you as close to the traditional P sound as possible, the FD3, for a slightly more hi-fi tone and greater sensitivity to dynamics or the Super-Fatty II, for a huge, fat bottom-end with a little bit of sparkle on top. The Super J comes standard with 2 pickups in traditional spacing. The 3x option adds a middle pickup for even more tone options.

The Z1 pickup spacing is modelled after the J-style bass. The tone combinations will be familiar to anyone used to a J-style bass.

The Z2 spacing features two pickups grouped in the sweet spot. The tone is more focused in the mid-range than the standard spacing. This tone will be familiar to anyone used to a MM SR tone.

The Z3 spacing is a three-pickup system that combines the Z1 and Z2 pickups. This system provides the ultimate tone-shaping versatility. Almost any bass tone you can think of is available at your finge

Neck position: Dual P
Bridge position (optional): P-Tone (standard), FDV, FD3, Super Fatty II

3 pickup neck/middle/bridge

2 pickup neck/bridge  3 pickup neck/middle/bridge

3 pickup neck/middle/bridge

PA1 spacing
The PA1 pickup spacing is modeled after the J style bass. The tone combinations will be familiar to anyone used to a J style bass.

PA2 spacing (optional)
The P2 spacing features two pickups grouped together in the sweet spot. The tone is more focused in the mid-range than the standard spacing. This tone will be familiar to anyone used to a MM SR tone.

PA3 spacing (optional)
The Z3 is a 3 pickup system that combines the Z1 and Z2 pickups. This system provides the ultimate in tone-shaping versatility. Almost any bass tone you can think of is available at your fingertips.

N/A

3 pickup neck/middle/bridge

The options include the P-tone, which gets you as close to the traditional P sound as possible. The FD3, for a slightly more modern tone and greater sensitivity to dynamics or the Super-Fatty II, for a huge, fat bottom-end with a bit of sparkle on top. The ABZ comes standard with two pickups in traditional spacing. The 3x option adds a middle pickup for even more tone options

The options include the P-tone, which gets you as close to the traditional P sound as possible. The FD3, for a slightly more modern tone and greater sensitivity to dynamics or the Super-Fatty II, for a huge, fat bottom-end with a bit of sparkle on top. The ABZ comes standard with two pickups in traditional spacing. The 3x option adds a middle pickup for even more tone options.

The options include the P-tone, which gets you as close to the traditional P sound as possible. The FD3, for a slightly more modern tone and greater sensitivity to dynamics or the Super-Fatty II, for a huge, fat bottom-end with a bit of sparkle on top. The ABZ comes standard with two pickups in traditional spacing. The 3x option adds a middle pickup for even more tone options.

3 pickup neck/middle/bridge

Any of our FD size pickups can be fitted or retro-fitted into the current spec (non-Super-Fatty I) Super J models. The available options include the P-tone, which gets you as close to the traditional P sound as possible, the FD3, for a slightly more hi-fi tone and greater sensitivity to dynamics or the Super-Fatty II, for a huge, fat bottom-end with a little bit of sparkle on top. The Super J comes standard with 2 pickups in traditional spacing. The 3x option adds a middle pickup for even more tone options.

The Z1 pickup spacing is modelled after the J-style bass. The tone combinations will be familiar to anyone used to a J-style bass.

The Z2 spacing features two pickups grouped in the sweet spot. The tone is more focused in the mid-range than the standard spacing. This tone will be familiar to anyone used to a MM SR tone.

The Z3 spacing is a three-pickup system that combines the Z1 and Z2 pickups. This system provides the ultimate tone-shaping versatility. Almost any bass tone you can think of is available at your finge

Neck position: Dual P
Bridge position (optional): P-Tone (standard), FDV, FD3, Super Fatty II

3 pickup neck/middle/bridge

2 pickup neck/bridge  3 pickup neck/middle/bridge

3 pickup neck/middle/bridge

PA1 spacing
The PA1 pickup spacing is modeled after the J style bass. The tone combinations will be familiar to anyone used to a J style bass.

PA2 spacing (optional)
The P2 spacing features two pickups grouped together in the sweet spot. The tone is more focused in the mid-range than the standard spacing. This tone will be familiar to anyone used to a MM SR tone.

PA3 spacing (optional)
The Z3 is a 3 pickup system that combines the Z1 and Z2 pickups. This system provides the ultimate in tone-shaping versatility. Almost any bass tone you can think of is available at your fingertips.

N/A

3 pickup neck/middle/bridge

The options include the P-tone, which gets you as close to the traditional P sound as possible. The FD3, for a slightly more modern tone and greater sensitivity to dynamics or the Super-Fatty II, for a huge, fat bottom-end with a bit of sparkle on top. The ABZ comes standard with two pickups in traditional spacing. The 3x option adds a middle pickup for even more tone options

The options include the P-tone, which gets you as close to the traditional P sound as possible. The FD3, for a slightly more modern tone and greater sensitivity to dynamics or the Super-Fatty II, for a huge, fat bottom-end with a bit of sparkle on top. The ABZ comes standard with two pickups in traditional spacing. The 3x option adds a middle pickup for even more tone options.

The options include the P-tone, which gets you as close to the traditional P sound as possible. The FD3, for a slightly more modern tone and greater sensitivity to dynamics or the Super-Fatty II, for a huge, fat bottom-end with a bit of sparkle on top. The ABZ comes standard with two pickups in traditional spacing. The 3x option adds a middle pickup for even more tone options.

3 pickup neck/middle/bridge

Any of our FD size pickups can be fitted or retro-fitted into the current spec (non-Super-Fatty I) Super J models. The available options include the P-tone, which gets you as close to the traditional P sound as possible, the FD3, for a slightly more hi-fi tone and greater sensitivity to dynamics or the Super-Fatty II, for a huge, fat bottom-end with a little bit of sparkle on top. The Super J comes standard with 2 pickups in traditional spacing. The 3x option adds a middle pickup for even more tone options.

The Z1 pickup spacing is modelled after the J-style bass. The tone combinations will be familiar to anyone used to a J-style bass.

The Z2 spacing features two pickups grouped in the sweet spot. The tone is more focused in the mid-range than the standard spacing. This tone will be familiar to anyone used to a MM SR tone.

The Z3 spacing is a three-pickup system that combines the Z1 and Z2 pickups. This system provides the ultimate tone-shaping versatility. Almost any bass tone you can think of is available at your finge

Neck position: Dual P
Bridge position (optional): P-Tone (standard), FDV, FD3, Super Fatty II

3 pickup neck/middle/bridge

2 pickup neck/bridge  3 pickup neck/middle/bridge

3 pickup neck/middle/bridge

PA1 spacing
The PA1 pickup spacing is modeled after the J style bass. The tone combinations will be familiar to anyone used to a J style bass.

PA2 spacing (optional)
The P2 spacing features two pickups grouped together in the sweet spot. The tone is more focused in the mid-range than the standard spacing. This tone will be familiar to anyone used to a MM SR tone.

PA3 spacing (optional)
The Z3 is a 3 pickup system that combines the Z1 and Z2 pickups. This system provides the ultimate in tone-shaping versatility. Almost any bass tone you can think of is available at your fingertips.

N/A

3 pickup neck/middle/bridge

Standard Electronics

Passive FDV pickups, master volume, 4 position rotary pickup selector, master tone.

Passive FDV pickups, master volume, 4 position Tetratone pickup selector, master tone.

Passive FDV pickups, master volume, 4 position Tetratone pickup selector, master tone.

Passive FDV pickups, Vol, rotary pickup selector, passive tone.

All Dingwall basses feature a Tetratone pickup selector. This system does two things. It reduces the load on the pickups compared to a standard blend control, and it offers four distinct bass tones that are all very musically useful and versatile. Pre-amp The standard passive system is amazingly versatile. Even more with the addition of series/parallel toggle switches. If you want even more tone shaping at your fingertips, we have two options of 3-band pre-amps: the Darkglass Tone Capsule and the Glockenklang 3-band.

Passive.

Passive, Master Volume, Passive Tone-Fusion.

Passive, FD-3n pickups, Vol, Tetratone pickup selector, passive tone.

EMG 3-band, FD-3n pickups, Vol, rotary pickup selector, Bass, Mid, Treble, Active/Passive switch

Darkglass Tone capsule pre-amp

Passive

Lee Sklar modified Glockenklang 3-band pre-amp

Passive FDV pickups, master volume, 4 position Tetratone pickup selector, master tone.

Passive FDV pickups, master volume, 4 position rotary pickup selector, master tone.

Passive FDV pickups, master volume, 4 position Tetratone pickup selector, master tone.

Passive FDV pickups, master volume, 4 position Tetratone pickup selector, master tone.

Passive FDV pickups, Vol, rotary pickup selector, passive tone.

All Dingwall basses feature a Tetratone pickup selector. This system does two things. It reduces the load on the pickups compared to a standard blend control, and it offers four distinct bass tones that are all very musically useful and versatile. Pre-amp The standard passive system is amazingly versatile. Even more with the addition of series/parallel toggle switches. If you want even more tone shaping at your fingertips, we have two options of 3-band pre-amps: the Darkglass Tone Capsule and the Glockenklang 3-band.

Passive.

Passive, Master Volume, Passive Tone-Fusion.

Passive, FD-3n pickups, Vol, Tetratone pickup selector, passive tone.

EMG 3-band, FD-3n pickups, Vol, rotary pickup selector, Bass, Mid, Treble, Active/Passive switch

Darkglass Tone capsule pre-amp

Passive

Lee Sklar modified Glockenklang 3-band pre-amp

Passive FDV pickups, master volume, 4 position Tetratone pickup selector, master tone.

Passive FDV pickups, master volume, 4 position rotary pickup selector, master tone.

Passive FDV pickups, master volume, 4 position Tetratone pickup selector, master tone.

Passive FDV pickups, master volume, 4 position Tetratone pickup selector, master tone.

Passive FDV pickups, Vol, rotary pickup selector, passive tone.

All Dingwall basses feature a Tetratone pickup selector. This system does two things. It reduces the load on the pickups compared to a standard blend control, and it offers four distinct bass tones that are all very musically useful and versatile. Pre-amp The standard passive system is amazingly versatile. Even more with the addition of series/parallel toggle switches. If you want even more tone shaping at your fingertips, we have two options of 3-band pre-amps: the Darkglass Tone Capsule and the Glockenklang 3-band.

Passive.

Passive, Master Volume, Passive Tone-Fusion.

Passive, FD-3n pickups, Vol, Tetratone pickup selector, passive tone.

EMG 3-band, FD-3n pickups, Vol, rotary pickup selector, Bass, Mid, Treble, Active/Passive switch

Darkglass Tone capsule pre-amp

Passive

Lee Sklar modified Glockenklang 3-band pre-amp

Passive FDV pickups, master volume, 4 position Tetratone pickup selector, master tone.

Pre-amp Option

Darkglass Tone Capsule | Glockenklang 3-band

Darkglass Tone Capsule | Glockenklang 3-band

Darkglass Tone Capsule | Glockenklang 3-band

On board Darkglass distortion circuit, with a drive and tone control.

Darkglass Tone Capsule | Glockenklang 3-band.

Darkglass Tone Capsule or Glockenklang preamp.

N/A

N/A

N/A

N/A

Darkglass Tone Capsule or Glockenklang preamp

N/A

N/A

Darkglass Tone Capsule | Glockenklang 3-band

Darkglass Tone Capsule | Glockenklang 3-band

Darkglass Tone Capsule | Glockenklang 3-band

On board Darkglass distortion circuit, with a drive and tone control.

Darkglass Tone Capsule | Glockenklang 3-band.

Darkglass Tone Capsule or Glockenklang preamp.

N/A

N/A

N/A

N/A

Darkglass Tone Capsule or Glockenklang preamp

N/A

N/A

Darkglass Tone Capsule | Glockenklang 3-band

Darkglass Tone Capsule | Glockenklang 3-band

Darkglass Tone Capsule | Glockenklang 3-band

On board Darkglass distortion circuit, with a drive and tone control.

Darkglass Tone Capsule | Glockenklang 3-band.

Darkglass Tone Capsule or Glockenklang preamp.

N/A

N/A

N/A

N/A

Darkglass Tone Capsule or Glockenklang preamp

N/A

N/A

Pickup Switching

4 position Tetratone pickup selector. Optional individual series/parallel toggle switches for each pickup.

4 position Tetratone pickup selector. Optional individual series/parallel toggle switches for each pickup.

4 position Tetratone pickup selector. Optional individual series/parallel toggle switches for each pickup.

Tetratone pickup selector

4 position Tetratone pickup selector. Optional individual series/parallel toggle switches for each pickup

Tetratone pickup selector.

4 position Tetatrone switch included with bridge pickup option.

Tetratone pickup selector

Tetratone pickup selector

Tetratone pickup selector.

Tetratone pickup selector.

Tetratone pickup selector.

Position 1 – Bridge (CCW)
Position 2 – Bridge/Middle (Parallel)
Position 3 – Middle
Position 4 – Bridge/Middle/Neck (CW)

4 position Tetratone pickup selector. Optional individual series/parallel toggle switches for each pickup.

4 position Tetratone pickup selector. Optional individual series/parallel toggle switches for each pickup.

4 position Tetratone pickup selector. Optional individual series/parallel toggle switches for each pickup.

Tetratone pickup selector

4 position Tetratone pickup selector. Optional individual series/parallel toggle switches for each pickup

Tetratone pickup selector.

4 position Tetatrone switch included with bridge pickup option.

Tetratone pickup selector

Tetratone pickup selector

Tetratone pickup selector.

Tetratone pickup selector.

Tetratone pickup selector.

Position 1 – Bridge (CCW)
Position 2 – Bridge/Middle (Parallel)
Position 3 – Middle
Position 4 – Bridge/Middle/Neck (CW)

4 position Tetratone pickup selector. Optional individual series/parallel toggle switches for each pickup.

4 position Tetratone pickup selector. Optional individual series/parallel toggle switches for each pickup.

4 position Tetratone pickup selector. Optional individual series/parallel toggle switches for each pickup.

Tetratone pickup selector

4 position Tetratone pickup selector. Optional individual series/parallel toggle switches for each pickup

Tetratone pickup selector.

4 position Tetatrone switch included with bridge pickup option.

Tetratone pickup selector

Tetratone pickup selector

Tetratone pickup selector.

Tetratone pickup selector.

Tetratone pickup selector.

Position 1 – Bridge (CCW)
Position 2 – Bridge/Middle (Parallel)
Position 3 – Middle
Position 4 – Bridge/Middle/Neck (CW)

Knobs

Dingwall design knobs feature a soft touch formula for extra comfort and grip and a sleek design that perfectly fits with our basses.

Dingwall design knobs feature a soft touch formula for extra comfort and grip and a sleek design that perfectly fits with our basses.

Dingwall design knobs feature a soft touch formula for extra comfort and grip and a sleek design that perfectly fits with our basses.

The D-ROC Standard now features Smoked Nickel knurled dome style knobs with a set-screw

Dingwall Knobs

Dingwall design knobs feature a soft touch formula for extra comfort and grip and a sleek design that perfectly fits with our basses.

Dingwall Knobs

The D-ROC Standard now features Smoked Nickel knurled dome style knobs with a set-screw.

Smoked Chrome knurled push-on knobs.

Smoked chrome knurled push-on knobs.

Prima Artist control knobs are made from cutoffs from the actual body blank and so are unique to the instrument. They feature a brass insert with a set-screw and are finished for a perfect match to the top.

Dingwall design knobs feature a soft touch formula for extra comfort and grip and a sleek design that perfectly fits with our basses.

The D-ROC Standard now features Smoked Nickel knurled dome style knobs with a set-screw.

Dingwall design knobs feature a soft touch formula for extra comfort and grip and a sleek design that perfectly fits with our basses.

Dingwall design knobs feature a soft touch formula for extra comfort and grip and a sleek design that perfectly fits with our basses.

Dingwall design knobs feature a soft touch formula for extra comfort and grip and a sleek design that perfectly fits with our basses.

The D-ROC Standard now features Smoked Nickel knurled dome style knobs with a set-screw

Dingwall Knobs

Dingwall design knobs feature a soft touch formula for extra comfort and grip and a sleek design that perfectly fits with our basses.

Dingwall Knobs

The D-ROC Standard now features Smoked Nickel knurled dome style knobs with a set-screw.

Smoked Chrome knurled push-on knobs.

Smoked chrome knurled push-on knobs.

Prima Artist control knobs are made from cutoffs from the actual body blank and so are unique to the instrument. They feature a brass insert with a set-screw and are finished for a perfect match to the top.

Dingwall design knobs feature a soft touch formula for extra comfort and grip and a sleek design that perfectly fits with our basses.

The D-ROC Standard now features Smoked Nickel knurled dome style knobs with a set-screw.

Dingwall design knobs feature a soft touch formula for extra comfort and grip and a sleek design that perfectly fits with our basses.

Dingwall design knobs feature a soft touch formula for extra comfort and grip and a sleek design that perfectly fits with our basses.

Dingwall design knobs feature a soft touch formula for extra comfort and grip and a sleek design that perfectly fits with our basses.

The D-ROC Standard now features Smoked Nickel knurled dome style knobs with a set-screw

Dingwall Knobs

Dingwall design knobs feature a soft touch formula for extra comfort and grip and a sleek design that perfectly fits with our basses.

Dingwall Knobs

The D-ROC Standard now features Smoked Nickel knurled dome style knobs with a set-screw.

Smoked Chrome knurled push-on knobs.

Smoked chrome knurled push-on knobs.

Prima Artist control knobs are made from cutoffs from the actual body blank and so are unique to the instrument. They feature a brass insert with a set-screw and are finished for a perfect match to the top.

Dingwall design knobs feature a soft touch formula for extra comfort and grip and a sleek design that perfectly fits with our basses.

The D-ROC Standard now features Smoked Nickel knurled dome style knobs with a set-screw.

Jack

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.

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.

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.

The jack is one of the most critical electronic components of a bass. It’s the most likely to suffer abuse so needs to be rugged in order to be reliable. We wanted the D-ROC Standard to be as reliable as it is great sounding and looking so we install the traditional style jack plate with a Switchcraft brand jack

We chose to use a traditional jack on the Super P to fit with the more traditional vibe of the design. We use only the Switchcraft brand, which has been the industry standard since the 1950s.

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.

We chose to use a traditional jack on the Super P to fit with the more traditional vibe of the design. We use only the Switchcraft brand, which has been the industry standard since the 1950s.

The jack is one of the most critical electronic components of a bass. It’s the most likely to suffer abuse so needs to be rugged in order to be reliable. We wanted the D-ROC Standard to be as reliable as it is great sounding and looking so we install the traditional style jack plate with a Switchcraft brand jack.

Switchcraft

Switchcraft

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.

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.

Switchcraft barrel jack

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.

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.

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.

The jack is one of the most critical electronic components of a bass. It’s the most likely to suffer abuse so needs to be rugged in order to be reliable. We wanted the D-ROC Standard to be as reliable as it is great sounding and looking so we install the traditional style jack plate with a Switchcraft brand jack

We chose to use a traditional jack on the Super P to fit with the more traditional vibe of the design. We use only the Switchcraft brand, which has been the industry standard since the 1950s.

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.

We chose to use a traditional jack on the Super P to fit with the more traditional vibe of the design. We use only the Switchcraft brand, which has been the industry standard since the 1950s.

The jack is one of the most critical electronic components of a bass. It’s the most likely to suffer abuse so needs to be rugged in order to be reliable. We wanted the D-ROC Standard to be as reliable as it is great sounding and looking so we install the traditional style jack plate with a Switchcraft brand jack.

Switchcraft

Switchcraft

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.

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.

Switchcraft barrel jack

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.

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.

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.

The jack is one of the most critical electronic components of a bass. It’s the most likely to suffer abuse so needs to be rugged in order to be reliable. We wanted the D-ROC Standard to be as reliable as it is great sounding and looking so we install the traditional style jack plate with a Switchcraft brand jack

We chose to use a traditional jack on the Super P to fit with the more traditional vibe of the design. We use only the Switchcraft brand, which has been the industry standard since the 1950s.

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.

We chose to use a traditional jack on the Super P to fit with the more traditional vibe of the design. We use only the Switchcraft brand, which has been the industry standard since the 1950s.

The jack is one of the most critical electronic components of a bass. It’s the most likely to suffer abuse so needs to be rugged in order to be reliable. We wanted the D-ROC Standard to be as reliable as it is great sounding and looking so we install the traditional style jack plate with a Switchcraft brand jack.

Switchcraft

Switchcraft

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.

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.

Switchcraft barrel jack

Hardware

Black

Hardware color

Black

Hardware color

Black

Smoked Nickel

Hardware color

Black, Chrome option

Hardware color

Black

Hardware color

Black, Chrome optional.

Smoked Nickel

Smoked Chrome

Smoked Chrome

Black

Hardware color

Black

Black

Black

Hardware color

Black

Hardware color

Black

Smoked Nickel

Hardware color

Black, Chrome option

Hardware color

Black

Hardware color

Black, Chrome optional.

Smoked Nickel

Smoked Chrome

Smoked Chrome

Black

Hardware color

Black

Black

Black

Hardware color

Black

Hardware color

Black

Smoked Nickel

Hardware color

Black, Chrome option

Hardware color

Black

Hardware color

Black, Chrome optional.

Smoked Nickel

Smoked Chrome

Smoked Chrome

Black

Hardware color

Black

Black

Tuners

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.

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.

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.

Hipshot Licensed Ultralite

Hipshot Ultra-lite ( Chrome optional )

Hipshot Ultralite tuners are an open-back design made from billet aluminum for minimal weight. Reducing weight at the headstock makes a big difference in the way an instrument balances.

Hipshot Ultra-lite ( Chrome optional )

Hipshot Licensed Ultralite

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.s.

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.

Hipshot Ultralite tuners are an open-back design made from billet aluminum for minimal weight. Reducing weight at the headstock makes a big difference in the way an instrument balance

Hipshot Ultralite tuners are an open-back design made from billet aluminum for minimal weight. Reducing weight at the headstock makes a big difference in the way an instrument balances.

Hipshot Ultralite

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.

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.

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.

Hipshot Licensed Ultralite

Hipshot Ultra-lite ( Chrome optional )

Hipshot Ultralite tuners are an open-back design made from billet aluminum for minimal weight. Reducing weight at the headstock makes a big difference in the way an instrument balances.

Hipshot Ultra-lite ( Chrome optional )

Hipshot Licensed Ultralite

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.s.

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.

Hipshot Ultralite tuners are an open-back design made from billet aluminum for minimal weight. Reducing weight at the headstock makes a big difference in the way an instrument balance

Hipshot Ultralite tuners are an open-back design made from billet aluminum for minimal weight. Reducing weight at the headstock makes a big difference in the way an instrument balances.

Hipshot Ultralite

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.

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.

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.

Hipshot Licensed Ultralite

Hipshot Ultra-lite ( Chrome optional )

Hipshot Ultralite tuners are an open-back design made from billet aluminum for minimal weight. Reducing weight at the headstock makes a big difference in the way an instrument balances.

Hipshot Ultra-lite ( Chrome optional )

Hipshot Licensed Ultralite

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.s.

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.

Hipshot Ultralite tuners are an open-back design made from billet aluminum for minimal weight. Reducing weight at the headstock makes a big difference in the way an instrument balance

Hipshot Ultralite tuners are an open-back design made from billet aluminum for minimal weight. Reducing weight at the headstock makes a big difference in the way an instrument balances.

Hipshot Ultralite

Bridge

Dingwall Afterburner bridge

Dingwall Afterburner bridge

Dingwall Afterburner bridge

Dingwall D-Roc bridge

Dingwall Super Bridge

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 sub plate system.

Designed to be “set & forget” simple. Once the string height and intonation are set, the saddle is locked down to the sub plate for perfect coupling. This also guarantees that the saddle never goes out of adjustment accidentally.

Aircraft aluminum is used for the saddles and sub plate 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. These screws will virtually last forever.

Dingwall Super Bridge

Dingwall D-Roc bridge

Dingwall/Hipshot license

Dingwall/Hipshot license

Dingwall Z Bridge

Dingwall Afterburner bridge

Dingwall Custom bridge

Dingwall Afterburner bridge

Dingwall Afterburner bridge

Dingwall Afterburner bridge

Dingwall D-Roc bridge

Dingwall Super Bridge

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 sub plate system.

Designed to be “set & forget” simple. Once the string height and intonation are set, the saddle is locked down to the sub plate for perfect coupling. This also guarantees that the saddle never goes out of adjustment accidentally.

Aircraft aluminum is used for the saddles and sub plate 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. These screws will virtually last forever.

Dingwall Super Bridge

Dingwall D-Roc bridge

Dingwall/Hipshot license

Dingwall/Hipshot license

Dingwall Z Bridge

Dingwall Afterburner bridge

Dingwall Custom bridge

Dingwall Afterburner bridge

Dingwall Afterburner bridge

Dingwall Afterburner bridge

Dingwall D-Roc bridge

Dingwall Super Bridge

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 sub plate system.

Designed to be “set & forget” simple. Once the string height and intonation are set, the saddle is locked down to the sub plate for perfect coupling. This also guarantees that the saddle never goes out of adjustment accidentally.

Aircraft aluminum is used for the saddles and sub plate 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. These screws will virtually last forever.

Dingwall Super Bridge

Dingwall D-Roc bridge

Dingwall/Hipshot license

Dingwall/Hipshot license

Dingwall Z Bridge

Dingwall Afterburner bridge

Dingwall Custom bridge

Strap Pins

Dunlop locking with “Reach Reducing” pin on back

Dunlop locking with “Reach Reducing” pin on back

Dunlop locking with “Reach Reducing” pin on back

Dunlop flush mount strap retainers

Dunlop locking

Dunlop locking with “Reach Reducing” pin on back

Dunlop locking

Dunlop flush mount strap retainers

Standard

Standard

Dunlop locking with “Reach Reducing” pin on back

Dunlop locking with “Reach Reducing” pin on back

Dunlop flush mount strap retainers

Dunlop locking with “Reach Reducing” pin on back

Dunlop locking with “Reach Reducing” pin on back

Dunlop locking with “Reach Reducing” pin on back

Dunlop flush mount strap retainers

Dunlop locking

Dunlop locking with “Reach Reducing” pin on back

Dunlop locking

Dunlop flush mount strap retainers

Standard

Standard

Dunlop locking with “Reach Reducing” pin on back

Dunlop locking with “Reach Reducing” pin on back

Dunlop flush mount strap retainers

Dunlop locking with “Reach Reducing” pin on back

Dunlop locking with “Reach Reducing” pin on back

Dunlop locking with “Reach Reducing” pin on back

Dunlop flush mount strap retainers

Dunlop locking

Dunlop locking with “Reach Reducing” pin on back

Dunlop locking

Dunlop flush mount strap retainers

Standard

Standard

Dunlop locking with “Reach Reducing” pin on back

Dunlop locking with “Reach Reducing” pin on back

Dunlop flush mount strap retainers

Scale Length

Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

6 string model – B E A D G C

B
37″
E
36.25″
A
35.5″
D
34.75″
G
34″
C
33.25″
Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

6 string model – B E A D G C

B
37″
E
36.25″
A
35.5″
D
34.75″
G
34″
C
33.25″
Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

6 string model – B E A D G C

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

Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

B
37”
E
36.25″
A
35.5″
D
34.75″
G
34″
C
N/A

Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

B
35″
E
34.25″
A
33.5″
D
32.75″
G
32″
C
N/A
Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

5 string model – B E A D G

6 string model – B E A D G C

B
37″
E
36.25″
A
33.5″
D
34.75″
G
34″
C
33.25″
Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

B
35″
E
34.25″
A
33.5″
D
32.75″
G
32″
C
N/A

Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

B
37”
E
36.25″
A
35.5″
D
34.75″
G
34″
C
N/A

Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

6 string model – B E A D G C

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

Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

6 string model – B E A D G C

B
37″
E
36.25″
A
35.5″
D
34.75″
G
34″
C
33.25″
Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

5 string model – B E A D G

 

B
37″
E
36.25″
A
33.5″
D
34.75″
G
34″
Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

5 string model – B E A D G

 

B
37″
E
36.25″
A
33.5″
D
34.75″
G
34″

Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

---

Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

6 string model – B E A D G C

B
37″
E
36.25″
A
35.5″
D
34.75″
G
34″
C
33.25″
Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

6 string model – B E A D G C

B
37″
E
36.25″
A
35.5″
D
34.75″
G
34″
C
33.25″
Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

6 string model – B E A D G C

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

Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

B
37”
E
36.25″
A
35.5″
D
34.75″
G
34″
C
N/A

Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

B
35″
E
34.25″
A
33.5″
D
32.75″
G
32″
C
N/A
Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

5 string model – B E A D G

6 string model – B E A D G C

B
37″
E
36.25″
A
33.5″
D
34.75″
G
34″
C
33.25″
Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

B
35″
E
34.25″
A
33.5″
D
32.75″
G
32″
C
N/A

Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

B
37”
E
36.25″
A
35.5″
D
34.75″
G
34″
C
N/A

Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

6 string model – B E A D G C

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

Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

6 string model – B E A D G C

B
37″
E
36.25″
A
35.5″
D
34.75″
G
34″
C
33.25″
Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

5 string model – B E A D G

 

B
37″
E
36.25″
A
33.5″
D
34.75″
G
34″
Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

5 string model – B E A D G

 

B
37″
E
36.25″
A
33.5″
D
34.75″
G
34″

Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

---

Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

6 string model – B E A D G C

B
37″
E
36.25″
A
35.5″
D
34.75″
G
34″
C
33.25″
Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

6 string model – B E A D G C

B
37″
E
36.25″
A
35.5″
D
34.75″
G
34″
C
33.25″
Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

6 string model – B E A D G C

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

Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

B
37”
E
36.25″
A
35.5″
D
34.75″
G
34″
C
N/A

Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

B
35″
E
34.25″
A
33.5″
D
32.75″
G
32″
C
N/A
Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

5 string model – B E A D G

6 string model – B E A D G C

B
37″
E
36.25″
A
33.5″
D
34.75″
G
34″
C
33.25″
Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

B
35″
E
34.25″
A
33.5″
D
32.75″
G
32″
C
N/A

Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

B
37”
E
36.25″
A
35.5″
D
34.75″
G
34″
C
N/A

Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

6 string model – B E A D G C

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

Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

6 string model – B E A D G C

B
37″
E
36.25″
A
35.5″
D
34.75″
G
34″
C
33.25″
Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

5 string model – B E A D G

 

B
37″
E
36.25″
A
33.5″
D
34.75″
G
34″
Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

5 string model – B E A D G

 

B
37″
E
36.25″
A
33.5″
D
34.75″
G
34″

Fingerboard radius – compound, 7-1/2” (at the nut) to 25” (at the bridge)

4 string model – E A D G

5 string model – B E A D G

---
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″
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″
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″
Bridge Spacing 4
19 mm – .748″
Bridge spacing 5
18mm - 709″
Nut width 4
42 mm – 1.65″
Nut width 5
45mm
Heel width 4
60 mm – 2.36″
Heel width 5
71mm
Neck thickness @ 1st fret
21 mm – .827″
Neck thickness @ 12th fret
24 mm – .945″
Bridge Spacing 4
19 mm – .748″
Bridge Spacing 5
19 mm – .748″
Bridge Spacing 6
N/A
Nut width 4
38 mm – 1.5″
Nut width 5
45.5 mm – 1.8″
Nut width 6
N/A
Heel width 4
60 mm – 2.36″
Heel width 5
77mm – 3″
Heel width 6
N/A
Neck thickness @ 1st fret
20 mm – .787″
Neck thickness @ 12th fret
24 mm – .906″
Bridge Spacing 5
18 mm – .709″
Bridge Spacing 6
18 mm – .709″
Nut width 5
45.5 mm – 1.8″
Nut width 6
55 mm – 2.2″
Heel width 5
71 mm – 2.8″
Heel width 6
87 mm – 3.43″
Neck thickness @ 1st fret
19 mm – .748″
Neck thickness @ 12th fret
22 mm – .866″
Bridge Spacing 4
19 mm – .748″
Bridge Spacing 5
19 mm – .748″
Bridge Spacing 6
N/A
Nut width 4
42 mm – 1.65″
Nut width 5
45.5 mm – 1.8″
Nut width 6
N/A
Heel width 4
60 mm – 2.36″
Heel width 5
77mm – 3″
Heel width 6
N/A
Neck thickness @ 1st fret
21 mm – .787″
Neck thickness @ 12th fret
24 mm – .906″
Bridge Spacing 4
19 mm – .748″
Bridge spacing 5
18mm - 709″
Nut width 4
42 mm – 1.65″
Nut width 5
45mm
Heel width 4
60 mm – 2.36″
Heel width 5
71mm
Neck thickness @ 1st fret
21 mm – .827″
Neck thickness @ 12th fret
24 mm – .945″
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″
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″
Bridge spacing 5
18 mm – .709″
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″
Bridge spacing 5
18 mm – .709″
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″
Bridge Spacing 4
19 mm – .748″
Bridge spacing 5
18mm - 709″
Nut width 4
42 mm – 1.65″
Nut width 5
45mm
Heel width 4
60 mm – 2.36″
Heel width 5
71mm
Neck thickness @ 1st fret
21 mm – .827″
Neck thickness @ 12th fret
24 mm – .945″
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″
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″
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″
Bridge Spacing 4
19 mm – .748″
Bridge spacing 5
18mm - 709″
Nut width 4
42 mm – 1.65″
Nut width 5
45mm
Heel width 4
60 mm – 2.36″
Heel width 5
71mm
Neck thickness @ 1st fret
21 mm – .827″
Neck thickness @ 12th fret
24 mm – .945″
Bridge Spacing 4
19 mm – .748″
Bridge Spacing 5
19 mm – .748″
Bridge Spacing 6
N/A
Nut width 4
38 mm – 1.5″
Nut width 5
45.5 mm – 1.8″
Nut width 6
N/A
Heel width 4
60 mm – 2.36″
Heel width 5
77mm – 3″
Heel width 6
N/A
Neck thickness @ 1st fret
20 mm – .787″
Neck thickness @ 12th fret
24 mm – .906″
Bridge Spacing 5
18 mm – .709″
Bridge Spacing 6
18 mm – .709″
Nut width 5
45.5 mm – 1.8″
Nut width 6
55 mm – 2.2″
Heel width 5
71 mm – 2.8″
Heel width 6
87 mm – 3.43″
Neck thickness @ 1st fret
19 mm – .748″
Neck thickness @ 12th fret
22 mm – .866″
Bridge Spacing 4
19 mm – .748″
Bridge Spacing 5
19 mm – .748″
Bridge Spacing 6
N/A
Nut width 4
42 mm – 1.65″
Nut width 5
45.5 mm – 1.8″
Nut width 6
N/A
Heel width 4
60 mm – 2.36″
Heel width 5
77mm – 3″
Heel width 6
N/A
Neck thickness @ 1st fret
21 mm – .787″
Neck thickness @ 12th fret
24 mm – .906″
Bridge Spacing 4
19 mm – .748″
Bridge spacing 5
18mm - 709″
Nut width 4
42 mm – 1.65″
Nut width 5
45mm
Heel width 4
60 mm – 2.36″
Heel width 5
71mm
Neck thickness @ 1st fret
21 mm – .827″
Neck thickness @ 12th fret
24 mm – .945″
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″
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″
Bridge spacing 5
18 mm – .709″
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″
Bridge spacing 5
18 mm – .709″
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″
Bridge Spacing 4
19 mm – .748″
Bridge spacing 5
18mm - 709″
Nut width 4
42 mm – 1.65″
Nut width 5
45mm
Heel width 4
60 mm – 2.36″
Heel width 5
71mm
Neck thickness @ 1st fret
21 mm – .827″
Neck thickness @ 12th fret
24 mm – .945″
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″
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″
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″
Bridge Spacing 4
19 mm – .748″
Bridge spacing 5
18mm - 709″
Nut width 4
42 mm – 1.65″
Nut width 5
45mm
Heel width 4
60 mm – 2.36″
Heel width 5
71mm
Neck thickness @ 1st fret
21 mm – .827″
Neck thickness @ 12th fret
24 mm – .945″
Bridge Spacing 4
19 mm – .748″
Bridge Spacing 5
19 mm – .748″
Bridge Spacing 6
N/A
Nut width 4
38 mm – 1.5″
Nut width 5
45.5 mm – 1.8″
Nut width 6
N/A
Heel width 4
60 mm – 2.36″
Heel width 5
77mm – 3″
Heel width 6
N/A
Neck thickness @ 1st fret
20 mm – .787″
Neck thickness @ 12th fret
24 mm – .906″
Bridge Spacing 5
18 mm – .709″
Bridge Spacing 6
18 mm – .709″
Nut width 5
45.5 mm – 1.8″
Nut width 6
55 mm – 2.2″
Heel width 5
71 mm – 2.8″
Heel width 6
87 mm – 3.43″
Neck thickness @ 1st fret
19 mm – .748″
Neck thickness @ 12th fret
22 mm – .866″
Bridge Spacing 4
19 mm – .748″
Bridge Spacing 5
19 mm – .748″
Bridge Spacing 6
N/A
Nut width 4
42 mm – 1.65″
Nut width 5
45.5 mm – 1.8″
Nut width 6
N/A
Heel width 4
60 mm – 2.36″
Heel width 5
77mm – 3″
Heel width 6
N/A
Neck thickness @ 1st fret
21 mm – .787″
Neck thickness @ 12th fret
24 mm – .906″
Bridge Spacing 4
19 mm – .748″
Bridge spacing 5
18mm - 709″
Nut width 4
42 mm – 1.65″
Nut width 5
45mm
Heel width 4
60 mm – 2.36″
Heel width 5
71mm
Neck thickness @ 1st fret
21 mm – .827″
Neck thickness @ 12th fret
24 mm – .945″
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″
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″
Bridge spacing 5
18 mm – .709″
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″
Bridge spacing 5
18 mm – .709″
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″
Bridge Spacing 4
19 mm – .748″
Bridge spacing 5
18mm - 709″
Nut width 4
42 mm – 1.65″
Nut width 5
45mm
Heel width 4
60 mm – 2.36″
Heel width 5
71mm
Neck thickness @ 1st fret
21 mm – .827″
Neck thickness @ 12th fret
24 mm – .945″