It’s been 60 years since the electric bass
was born, and since then bass builders
have done their best to improve on an
already solid design. Craftsman Sheldon
Dingwall and his team at Dingwall Guitars
challenge tradition by creating instruments
that address many issues with bass design,
while keeping their eyes on aesthetics
and their ears on classic tones. A prime
example of this is the Z3—a striking bass
that challenges convention with thoughtful
features and versatile sounds.
Bass-ic Innovations
Under the Z3’s gorgeously deep, candy-purple
finish is a unique approach to
body design. The woods are chosen based
on how they complement the different
vibrations of the strings. For instance, the
bass side of the body has a heavier, denser
piece of swamp ash, while the treble side
consists of a softer, lighter piece of swamp
ash. Dingwall believes this dual-density
approach achieves a greater tonal balance
across the instrument.
While the body shape is one of the Z3’s
more subtle qualities, the neck is the most
eye-catching feature of the instrument. The
thin, C-shaped neck is constructed from five
pieces of maple, and it’s topped with a flat,
beautiful wenge fretboard that uses small
banjo frets in an arrangement based on the
Novax Fanned-Fret system. Fanning the frets
creates different scale lengths for each string,
ranging from 34" on the 1st string up to 37"
on the 5th string. While these scale lengths
provide consistency in tone and tension, it
could be a challenge to find replacement
strings for such a long 5th string—unless
you use Dingwall’s line of strings. To that
end, the forum on Dingwall’s website has
a section dedicated to helping players find
suitable strings from other manufacturers.
The Dingwall-designed bridge is impressive,
with qualities that almost make other
bridges look inferior. Its plate is countersunk
into the body, it features individual saddles
for each string, and the strings are held in
place by a pin that slides into the hole in the
ball end of the string. Reportedly, the benefit
of the latter feature is that it minimizes
stress points on the string and makes it easier
to remove strings after breakage. Other
special Z3 features include a compound-angled
headstock, a Hipshot Xtender key
for the 5th string, and a brilliantly devised
magnetic battery compartment. Throw
in a Neutrik locking jack and heavy-duty
mounting bolts, and you have an instrument
built for durability and performance.
Good Things Come in Threes
(and Sometimes Fours)
The Dingwall Z Series consists of three
models—the Z1, Z2, and Z3. The only difference
between the three is the configuration
of Dingwall’s Super-Fatty pickups. The
Z1 uses two pickups with spacing similar
to a 1960s Jazz bass, while the Z2 clusters
the pickups toward the bridge for a punchy,
Music Man StingRay-like tone. The Z3 is
loaded with three pickups and combines the
positions of the Z1 and Z2 basses for the
best of both worlds. The Super-Fatty pickups
match well with the included 3-band
Glockenklang preamp, which enhances the
tone in active mode, and provides a treble
cut in passive mode. Each pickup is also
wired with a series/parallel switch.
While some basses use a blend control
between pickups, the Z3 uses a 4-position
rotary selector to engage different pickup
combinations. Position 1 solos the bridge
pickup, position 2 activates the two pickups
closest to the bridge, position 3 turns on
the outer pickups (J-bass style), and position
4 solos the neck pickup.
Don’t Fret About Fanning!
“How does it play?” When fellow bassists
inspected our review model, every one of
them asked that question. They are not
alone, for this inquiry is discussed in bass
chat rooms across the Internet. The fanned
frets may look daunting, but they really
aren’t. As with any new instrument, playing
the Z3 entails an initial period of adjustment
during which you recalibrate muscle
memory for the new set of measurements
and spacing. I’ve spent many years playing
basses with a 34" scale, and I found it took
very little time to feel at ease with the varying
scale lengths of the Z3.
To get comfortable with the fanned frets,
I stood in front of a mirror in a natural
playing position and gradually slid my hand
from half position all the way up the
neck, which allowed me to watch the positioning
of my fingers over the fanned frets.
Surprisingly, my technique did not require
much adjustment as I transitioned from the
lower register to the upper part of the fretboard.
After a few minutes of this, I looked
away from the neck to allow muscle memory
to take effect. There were occasions when I
missed notes, but I didn’t find it to be any
different than adjusting to a 35" scale bass
with standard fret positioning. By the second
day, I felt more confident playing the fanned
frets and the Z3 actually began to feel more
comfortable than the basses in my collection.
In fact, I found that the fanned frets were
to be appreciated, not feared: They cater to
the natural shape of the hand moving up and
down the fretboard. Bassists with solid left-hand
technique should find it quite refreshing.
My only issue with the neck design was
that it was slightly difficult to reach notes
past the 21st fret on the 5th, 4th, and 3rd
strings. Though these notes are available on
other parts of the bass, an instrument of this
caliber should provide easier access to the
upper portions of the fretboard.
Out of the Practice Room . . .
If I had to describe playing the Z3 in two
words, I would say “balanced” and “versatile.”
The ergonomics are excellent. On
a strap, the bass doesn’t shift, regardless of
whether it’s at an angle or played horizontally.
And the weight is evenly distributed,
too—I never felt back pain or shoulder
strain while playing it. I’ve never been
a big fan of thin necks, but the neck on
this bass—which is tung-oiled and thinly
coated with polyurethane—felt smooth,
fast, and very comfortable.
The aforementioned construction goals
of the Z3 were confirmed when plucking
the strings. Tension on each string
was very even, making 16th-note runs
and string crossing a breeze. Expert slappers
may find the spacing between the
neck pickup and the fretboard too narrow
for two-finger popping, but Dingwall
also offers other basses that will appease
thumb players.
Tonally, the Z3 is a Swiss Army
knife. I played it through a Genz
Benz ShuttleMAX 9.2 head driving
a Glockenklang Quattro 410 cab, a
Glockenklang Soul head driving two
Glockenklang Space Deluxe 1x12s, and an
Eden WT800 driving an Eden 1x15 cab.
With all of these rigs, I was able emulate
the punch of a StingRay or the warm,
plucky sounds of a Jazz bass with a simple
turn of the pickup selector. I compared it
to my 1964 Fender Jazz bass and a 5-string
StingRay, and it was sonically spot-on. The
only difference was that the Dingwall conveyed
these tones with more clarity and a
more even fundamental note.
. . . And onto the Stage
In live settings, the Z3 sat firmly within
the mix and was so responsive that I easily
articulated my own voice. Every note
was delivered with great definition—from
the lowest notes of the 5th string to the
upper portion of the 1st string. I was also
able to adapt it to many different musical
styles. The deep growl of the neck pickup
was great on blues gigs, the punch and
crunch of the humbucker was ideal for
rock, and the J-bass position worked well
for R&B and fusion. In each scenario, I
was impressed with the its ability to rise
to the occasion.
The Verdict
The Dingwall Z3 is impressive in sound,
look, and feel, and would suit studio bassists
or players who perform multiple styles
of music. The multiple scale lengths and
slapping-space issues may frustrate some,
but anyone else who invests in this boutique
beauty will be thrilled with its quality
components, impeccable playability, and
pristine tone.
Buy if...
you seek a boutique bass with
clarity, definition, and a multitude
of tones.
Skip if...
you prefer traditional looks, slap
a lot, or are on a budget.
Rating...
