Super J Standard

 The Super J is our interpretation of the Classic J style bass. We deconstructed the original design, kept what worked and improved on everything else. The look and feel lean toward the traditional, but the tone and performance are everything you’d expect from a Dingwall. We downsized the scale 2” from our standard scale range. The results are great clarity on the B and E-strings with a big and warm quality to the D and G-strings.



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


The case is Levys Dingwall Gigbag and it is made in Canada


Alder is the traditional wood for the J style bass.

Body Core

Alder is the traditional wood for the J style bass. It can’t be beat for a traditional warm tone. Due to the internal tone chambers of in the Super J body we add a bookmatched Alder top. This gives the natural finishes a nicer look too.

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.

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.
Natural, 3-tone burst, Vintageburst, Vintage White, Trans White, Black, Trans Blackburst, Candy Red, Chrome Blue, Supersonic Blue, BronzeAge, Ferrari Yellow
Pickguard Options
White/Black/ White, Black/White/ Black, Tortoiseshell, White Pearloid, Black Pearl


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

Neck Construction

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

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

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

Neck Carve
Medium thin C shape
Neck Reinforcement

The double expanding style is one of the industry standards.  However, our method of installation – 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, minimizing dead spots and 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 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.


Headstock design – Flat, counter bored, scalloped.

I watched an endorser receive a bass from another company once.  His tech brought it to him, he strapped it on, took his hands off of it and jumped up and down a bit then said, “It’s too heavy, send it back.” He never played a note.

Not everyone is this extreme, but it taught me a good lesson on the importance of balance.

The Super J headstock was designed to not only look great and fit with the body design, but to be the lightest traditional design headstock available.

The most distinctive feature of the Super J headstock is the scallop. The scallop serves two functions. 1. It reduces headstock mass slightly. 2. It defines a three dimensional Hot Rod style flame on the bottom edge of the headstock. The Super J follows the spirit of the original American Hot Rods. Strip it down to its raw components and build it back up to perform better than the original designers could have ever envisioned.

Building on the success of the shortened and counter bored Afterburner tuners, I designed a traditional meets modern boutique headstock for the Super J. Because the longer traditional headstock caused a reduction in downward string angle on the furthest tuner, we designed a new tuner that had the capability to direct the string below the headstock surface to increase the break angle slightly.

The end result of all this effort was weight savings of well over 100 grams. That’s nearly the weight of two tuners.

Headstock options
Matching finish
Standard Fingerboard

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

Wenge (Wen-gay) is standard on all domestic made basses except Prima Artist.
This is an interesting fretboard wood due to the alternating layers of hard and soft wood (early and late wood).  The hard grain gives the tone a nice top end similar to ebony and the soft grain adds the warmth of Rosewood.  It’s a great all around fingerboard wood.


Fingerboard Radius

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

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

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

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

Epoxy coated Wenge

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

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


The Super-Fatty pickups including the shells are made right in our shop here in Canada.


The Super-Fatty pickups including the shells are made right in our shop here in Canada. They feature an end to end humcancelling coil array with neodymium magnets and hardened steel poles. The coils are noise-symetric/tone-asymetric, which means they maintain near-perfect noise rejection with increased low-end clarity. They have been designed to combine Super clarity on the B and E strings with increased warmth and Fatness on the D and G-strings.

Their tone has been described as very clear and transparent on the bottom and very smooth and punchy on the top.  They they have a natural overdriven quality when pushed hard that is similar to a vintage tube amp.

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.

Pickup Options

The most current version of the FD-4P pickup features neodymium magnets and hardened steel poles. The coils are noise-symetric/tone-asymetric, which means they maintain near-perfect noise rejection with increased low-end clarity. The pickups including shells are made in our shop in Canada.

The tone can best be described as emulating the tone of a Vintage P, but taking it to new levels of power and punch while balancing extremely well with an FD-4 series-wired bridge pickup. It’s uncommon to find a PJ pickup combination that work so well together. We are very proud of the performance of this pair.

The FD-P pickup set can be wired in either series or parallel configuration. We pre-wire and recommend them wired in series.

Exotic wood shells, matching wood shells
Standard Electronics
Rotary switch
All Dingwall basses (except Combustion) feature a 4-position rotary pickup selector. The pickup combinations are bridge pickup soloed, both in parallel, both in series, neck pickup soloed.


In the past we’ve used Bartolini, Aguilar and now Glockenklang pre-amps.  These are all top-notch, high-quality pre-amps. What we like about the Glockenklang pre-amps is the smooth and subtle tone shaping and the Active/Passive treble control. We’ve spent a lot of time perfecting the natural tone of our basses so that they don’t need a lot of tone adjustment. The Glockenklang really fits well with this philosophy. 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
Active/Passive Glockenklang 2-band. Hybrid active/passive treble.
Pickup Switching
Rotary pickup selector. Optional Series/Parallel toggles.
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 chose to use to use a traditional jack on the Super J to fit with the more traditional vibe of the design. We use only Switchcraft brand which has been the standard of the industry since the 1950’s.


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

Scale Lengths and Dimensions


Scale Lengths



Bridge Spacing 4
19 mm – .748″
Bridge spacing 5
18 mm – .748″
Bridge spacing 6
Nut width 4
38 mm – 1.5″
Nut width 5
45.5 mm – 1.8″
Nut width 6
Heel width 4
60 mm – 2.36″
Heel width 5
77mm – 3″
Heel width 6
Neck thickness @ 1st fret
21 mm – .787″
Neck thickness @ 12th fret
24 mm – .906″


We’re very proud to announce our newest dealer: Music World Brilon in Germany

They’ve got some really sweet Super J’s and a Super P on their way to them


The first SJ5 3x has lived up to our expectations. All the tone capabilities of a Z3 in an SJ package.

These long awaited nickel strings sound and feel amazing. They have the best tension balance and greatest clarity and harmonic purity of any string we’ve tried. The tension is slightly heavier than our old Stainless strings so that you can dig in more too.  Available now in our

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