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AFTERBURNER I NATURAL
Εμφάνιση Μεγάλης Εικόνας

Dingwall AFTERBURNER I NATURAL

3.700,00 €

 

AFTERBURNER I OVERVIEW

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

Bass Guitar Review-Dingwall Blackburst Afterburner ABZ 6 iGuitar Magazine

http://www.youtube.com/watch?v=QqmFcuRgEUY

 

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THE NOVAX® FANNED-FRET SYSTEM™ – UNDER LICENSE FROM NOVAX GUITARS®

After years of building basses mostly using the Novax® Fanned-Fret System™, but also some with standard parallel frets, Dingwall came to the conclusion that the use of this technology makes basses better - period. The tension and tone from string to string is more even and low note definition is greatly improved. EQing a bass whose strings are all of a similar tonal character is so much easier than when the low strings have a darker quality and the higher strings have a brighter quality.


ELECTRONICS ON AFTERBURNER I

The Afterburner I and ABZ basses feature passive electronics with powerful tone shaping capability. The controls are a simple, no nonsense master volume, a rotary pickup selector and a master tone.  The rotary pickup selector doesn’t load down the pickups like a blend or second volume control.  The resulting tone has great dynamic range with lots of punch. The tone gets really growly with the bridge pickup soloed. Switch to both pickups in parallel for a nicely “produced” sounding tone with scooped mids that’s great for sitting back in the mix with lots of detail to the note, or for a perfect slap tone. Need more power? Switch to series for a heavy, full sounding humbucker tone that cuts, make that pounds through a mix. Looking for a deep mellow tone reminiscent of a 50’s P? Solo the neck pickup, dial down the tone a bit and you’re there.


Pre-amp
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.


•NECK

•Neck Construction

•One-Piece Flat-Sawn Hard Rock Maple

•We take neck construction very seriously due to Sheldon's extensive experience in guitar repairs coupled with our geographic location. During his many years in the repair business Sheldon constantly had to deal with humidity related problems made worse by our extreme local climate. Many of these problems could have been minimised 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 use only aged hard rock maple for our neck shafts. The Afterburner is our first instrument to use a one-piece flat sawn neck shaft. Experience has taught us the correct way to orient the grain of the wood to maximise strength (resistance to deflection from string tension). In most cases this results in a neck that is actually stiffer than a quarter-sawn neck


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•Neck Carve

•Semi Elliptical

•Here is another area where Computer Aided Design has been a great help. An elliptical shape is the most natural feeling, efficient shape there is. We used CAD to create an ellipse that tapers equally down the entire length of the neck shaft. It doesn't matter what position you are playing anywhere on the neck, it is always extraordinarily comfortable


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•Truss Rod

•Pressure Fit, Double Expanding, Single Acting

•The double expanding style is an industry standard. 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, minimising dead spots and increasing both sustain and harmonic content

•Adjustment - Hidden Plateless

•The hidden, plate-less truss rod adjustment has always been a design feature of Dingwall instruments.

•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.

•While repairing guitars, Sheldon found that a high number of guitars had either stripped or missing truss rod cover plate screws. Besides which it usually took longer to remove and replace the cover plate than it did to do the actual adjustment. The Afterburner truss rod is so easy to access and adjust, if needed, you could even make an adjustment between songs. The irony is that Dingwall necks are so stable, your truss-rod will rarely need adjustment


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•Neck Finish

•Oil/Wax

•The finish on a neck makes a big difference in the feel of the neck. Most people prefer the smooth, natural feel of an oil-finished neck. It has also been our experience that an oil-finished neck is more humidity stable than a painted neck (providing the fingerboard is not painted as well). Even though oil provides less moisture vapour protection than a painted finish, an oil-finished neck is considered a balanced finish. In other words the fingerboard side of the neck has the same finish and therefore the same moisture protection as the back of the neck. So the whole neck gains and loses moisture at an equal rate. This is true of a neck that is painted both front and back as well such as most maple necks.

•Necks that are painted on the back of the neck but whose fingerboards are oiled would be considered to have an unbalanced finish where the moisture gain and loss will be slightly more inhibited through the paint. Not much mind you, but enough to make the neck less stable through humidity changes.


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•Headstock

•Flat, Counter Bored

•The design goal was to utilise a flat headstock design. Materials and labour savings are significant with this design. The only problem was that a flat headstock needs a string tree to create proper downward angle at the nut. It took some creative thinking and custom made tuners to solve this problem, but we feel we've come up with the most elegant solution currently available.

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


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•Fingerboards

•Materials- Wenge

•Wenge is an interesting wood with alternating layers of hard and soft wood (early and late wood). This gives the tone a nice top end similar to ebony, but with the warmth of Rosewood. It's a great all around fingerboard wood


•Radius- Compound, 7-1/2” to 25”

•We started with a 7-1/2” radius at the nut. This is a very comfortable and familiar feeling radius. Then using Computer Aided Design, we adjusted the radius to match the increasing width of the fingerboard while maintaining the exact same thickness under each string. The latter point is critical to achieving a low action. A side benefit is that the flatter radius at the bridge makes right hand work easier and keeps the strings a more consistent distance from the pickups for more even response.


•Tuners

•Dingwall Designed, Custom Made

•In order for our counter bored headstock design to work, we needed custom made tuners with shorter posts and a “semi-hour glass” shape that forces the string downward as tension is applied.


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•Frets

•24, Banjo Size, Novax® Fanned-Fret™.

•Leland Sklar turned us on to small frets. We use a size that is normally used on banjos. The small frets intonate very precisely, feel sleek and have a warmer, woodier tone. .

•Markers

•3mm White Plastic Side Dots

•Nut

•Phenolic

•Phenolic is long wearing and very consistent.


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•Neck Mounting Bolts

•Large Head Machine Screws

•In published tests, “Lee Valley Tools” showed the pullout resistance of various wood screws compared to machine screws properly installed in wood. The results were hands down in favour of the machine screws and tapped threads.

•We use machine screws with special large heads designed to distribute the pressure in soft materials like wood. This system is a little more costly and labour intensive to use but results in an extremely strong neck joint.


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•BODY – DUAL DENSITY CORE, EXOTIC TOP AND BACK

•Body Woods

•Core wood – Soft Maple

•We chose soft maple due to its availability, low cost and great tone. The acoustic qualities of soft maple are similar to alder but with more sustain and a better B-string response


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•Top Woods

•Optional - AAAAA flame maple

•OK, here we should have tried harder to save money, but we have a weakness for beautiful woods. The Afterburner is such a great instrument we felt it deserved the best flame maple money could buy. When you pick an Afterburner up and watch the flame come alive in the light, you'll be glad we made the choice we did!


•Finish

•Polyester/Polyurethane

•Through years of experience, we've come up with our own blend of polyester and polyurethane paints that offer great protection, great colours, and great tone. The bodies almost look like they've been dipped in glass, yet the finish is extremely thin allowing it to be acoustically transparent


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•Strap Pin Screws

•Extra Long, Aggressive Thread Design

•Traditional strap pin screws are doomed to fail. For one, most solid body woods are quite soft. Secondly, the screws are inserted into “end grain” which has a hard time “holding” a screw. Thirdly, the strap pin screw is constantly being pulled on by the strap. This is why it is quite common for strap pin holes to strip out. On the Afterburner, we've come up with a solution. We replace the standard strap pin screw with a longer much more aggressively threaded screw designed for soft materials that strip easily.


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•Bridge System

•Dingwall Designed, Custom Made By Hipshot

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

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

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FD-3 4L PICKUPS ON AFTERBURNER SERIES

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

The FD-3 pickups feature powerful neodymium magnets, humcancelling matched-pair coils, hardened steel pole pieces and are fully shielded for ultra quiet performance. Their tone can best be described as a blend between a J and a P but with more highs, more lows and more dynamic response. The most current versions feature 4-lead wiring which enables the internal coils to be wired in either series for strong mids and high output or parallel for scooped mids and normal output.


“I also have a soft spot for good-sounding passive basses, perhaps from having owned and played some great ´60s Fender Jazz and Precision basses. The passive electronics on the Afterburner are just great, hum-free with very nice sounding pickup combinations. I think the slap sound in parallel mode is one of the best I ever heard. I did not miss the blending pot.” Mats Gronberg, Skarplinge, Sweden.


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•Shielding System

•Star Grounding

•The Afterburner is unbelievably quiet. Much of this is due to the new FD-1 pickups and our use of high-end shielding techniques



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•Jack

•Neutrik Locking

•The Neutrik locking jack is one of the best ever made. Rugged and beefy, we take great pride in the way we've integrated this jack subtly into our body design.





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•STRINGS

•Dingwall Custom Made Stainless Steel

•We've spent years fine tuning and perfecting our strings. They only have to work with our basses, so that allows us to really fine tune the physical characteristics of the string rather than average them out to fit the majority of basses. This means that our strings reproduce every subtle nuance you will find in our instruments. For the player that wants to experiment on their own, there are several other manufacturers that make strings that will fit our instruments. 

 



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