Lee Sklar II Signature

We’ve built basses for Lee for over 10 years. They’ve become his main touring basses and one of his most used recording basses. For his signature model we combined his favorite features and woods to create a bass with a unique voice that is both powerful and clear. We selected finishes to reflect Lee’s love of Hot Rods. If we were to choose one word to describe the Lee Sklar signature model it would be “Stunning!”



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


Dingwall Gigbag Included.


Scale Lengths and Dimensions


Fingerboard Radius

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

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


Scale Lengths

5 string model - B E A D G



Bridge Spacing 4
Bridge spacing 5
18 mm – .709″
Bridge spacing 6
Nut width 4
Nut width 5
45.5 mm – 1.8″
Nut width 6
Heel width 4
Heel width 5
71 mm – 2.8″
Heel width 6
Neck thickness @ 1st fret
19 mm – .748″
Neck thickness @ 12th fret
22 mm – .866″


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.

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

To achieve this naturally equalizing body we turned traditional thinking on its side by laminating across the width of the body. This allows us to use a higher density wood such as Northern Ash for the bass side to accentuate the highs and give power to the lows without affecting the treble strings. We then use a lower density wood (Alder) for the treble side to bring out the resonance and warm up the treble strings without making the bass strings sound muddy. For such a simple idea the results are pretty dramatic – warm, punchy treble strings with solid snappy bass strings.
Standard Top
Tone Chambers
Top Options
Exotic wood contrasting layer option
Matching Wood Cover Plates
We use a special polyester that’s been formulated for electric guitars. It not only looks great, but it sounds great too.  The bodies almost look like they’ve been dipped in glass, yet the finish is extremely thin allowing it to be acoustically transparent.
Available in any candy, metallic, or pearl Dingwall Colors 
Candy Apple Red, Candy Blueberry, Candy Green, Candy Tangerine, Chrome Blue, Dark Candy Green, Candy Black Cherry, Optional Gulf Racing colors. Available in any Metallic/ Candy Dingwall color. View Finishes
Pickguard Options


5-piece laminated maple.

Neck Construction
We take neck construction very seriously due to our extensive experience in guitar repairs coupled with our geographic location and corresponding extreme climate. In my years in the guitar repair business, I constantly had to deal with humidity-related problems made worse by the huge temperature and humidity swings of our local climate. Many of these problems could have been minimized through simple design changes and materials choices. Touring musicians are constantly amazed at how stable Dingwall instruments are. Many 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 best. Years of experience have proven this design to be extremely stable and reliable.
Neck Carve
Thin, flattened C shape
Neck Reinforcement

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 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 do 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.

Compound angled
Headstock options
Matching finish Standard
Standard Fingerboard

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


Fingerboard Options
Fretless Option
Fret Options
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.
Position Markers and Inlays
3 mm pearloid face and side dots with Pearl D at 12th fret.


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


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

Pickup Options
Exotic wood shells, matching wood shells
Standard Electronics
Rotary switch
The Lee Sklar II features a 4 position rotary switch that's been custom wired to Lee's specifications. It's positions are: Bridge, Bridge/Neck in parallel, Neck, Bridge/Neck in series. The Lee Sklar III features a D-bird rotary switch. It's positions are: Bridge, Bridge/Middle in parallel, Middle, All three pickups.


The Lee Sklar II uses a modified Glockenklang 3-band pre-amp. We lower the midrange frequency to 250 Hz. The Active treble boosts and cuts as expected in active mode but when the pre-amp is switched to passive mode, the control is switched to a passive cut control. This is essentially like having two basses with two distinct characters. One active and one passive.
Pre-amp Option
Pickup Switching
Rotary pickup selector.
We looked for years to find a control knob we were happy with. We eventually decided to design and manufacture our own control knobs in house. These knobs are exclusive to Dingwall guitars and feature a sleek design that blends perfectly with the overall design language of our basses and match the pickup shells perfectly. They feature a soft-touch forumla for extra comfort and grip.
We use the Neutrik locking jack because it is one of the best output jacks ever made.  It is designed for use in studio consoles where reliability is a must.  It’s not an easy jack to install in a guitar, therefore you don’t see them often. We take great pride in the way we’ve integrated this jack subtly into our body design. It’s accessible, yet unobtrusive.


Hardware Color
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.

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.

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

*Available in a 5 string model only.

Multi-scale basses require multi-scale strings for optimal performance. Click here to find the right strings for this bass...