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These look like quality cables, but they use some of the same claims that snake oil audiophile cable makers. Copper cables are not directional, Also on one or more cables they have used heat-shrink over the end of one plug. There is no need to use heat-shrink on a decent plug. There are few cables that are really low loss (although the loss in HF is usually not crucial for Bass). These include Sommer Spirit LLX, Klotz AC110, Van Damme Silver Series Lo Cap all have very low capacitance hence low loss. The most expensive of these is the Van Damme at just short of £11 per metre. I cannot seem where the extra cost comes from, as they proudly say they do not use gold. Those must be some special jack plugs.

Well, I feel I am just chucking this out into the ether but I finally got round to doing the modifications to the Acinonyx that I described in my last post. It turned out to be quite challenging for me and Tony (the luthier) but it is finally done. Yeh! The challenge for Tony was getting hold of blanks large enough to accommodate the Acinonyx scratchplate in one piece. It took a couple of passes on the CNC machine because a bit slipped and caused a gouge in one plate. Prior to that there had been a scaling issue with the CAD/CAM software that caused a perfect but scaled down version of the scratchplate to be cut: about 90% of the full sized plate. 4 blanks later we finally got the finished plate but in a slightly thinner material, although still 3ply. It took me quite a long time to get round to wiring it up and at that point I discovered that the control cavity wasn’t quite deep enough to accommodate the depth of the Oak-Grigsby 4 position Tele switch, or the varitone. Eek! The original cavity is 30mm deep and the body is 40mm thick. I needed about 3mm more depth but I also had to allow for a layer of copper tape shielding, plus insulating tape on top of that to prevent the possibility of anything shorting out in contact with the shielding. I very carefully created a 5mm trench along the centre of the control cavity with a very sharp chisel. One slip and I could have gone through the back. Fortunately I didn’t and there is no give in the back: phew! I slo had to scallop some of the bracing in the body route to accommodate the edge of the volume pot. Again a sharp chisel and a steady hand required. Once that was done I was able to squeeze everything into the control cavity and screw the plate down flush with the top. The first time round squeezing all the wiring in caused a wire to come away and only the front pickup to work but after re-soldering, I was more careful second time round. Anyway the final article is below. I think the perl plate looks much better than the original. The chicken head knob is for the varitone switch that has 6 positions ranging from 0.010 to 0.01 uf. I am toying with the idea of putting the OEM chicken head knob back on the volume control. I am also considering making up a circular plate to go round the varitone with position markings on it. I would use one of the prototype plates for the material. The Tele switch has 4 positions: 1 bridge pickup, 2 both pickups in parallel, 3 neck pickup, 4 both pickups in series (“all-in”). I am pleased with finished article: it is much easier to get the “all-in” setting than messing with the original buttons. The varitone has more tone variations than the original buttons and they are easier to select. There are no buttons in the way of my picking arm. If anybody is interested in getting a custom plate, now the outline has been digitised, Tony can do one to your specs. https://tonyedwardsguitars.co.uk.

Yep, the ‘very little info out there’ really suits him IMO. I don’t know him well at all, but I’ve had enough direct and indirect contact to know he’s a really lovely man, super passionate about guitars, and is a guitar encyclopaedia as well as master restorer (best not ever use the word refinish around him 😬). All the top dealers know him, and he’s always appeared to have tons of work so has no need to advertise I guess, building Dwight guitars, doing custom work, or restoring. I imagine he must be winding down at some point as I guess him to be at that age, but then again from chatting to him I can easily imagine him working as long as he can.

I’m unemployed and on holiday! It’s not the best time to splash out. This looks like something I’d be massively excited about for five minutes, never find a practical use for and leave it to live on the wall. A beautifully made wall ornament to admire and then take back to cash generators!

Dismantle it, that way it can be classifieds of "bass parts", and thus circumvents the rule. In all seriousness, in this case: make an exception, and keep the 'Ray. You don't have to play it, you can lay it above a cupboard,...

Come on, Johnny. You said you wanted a little bass!

Still there!

Thanks guys! @AlexMUKInteresting. What was your goal in this change and how did it affect the tone, or did it?

Those little sliders on graphic eqs for acoustic instruments. Why do they always feel like they cost 5p and a fart from a mouse will knock them out of position? Arrrrrrgh.

That's strange. Must be a commission sale and the seller wants £2,000 for it.

Shouldn't this be on the "Guitars with faces" thread?

I have noticed his prices creep up and go down on certain items, the black Gibson Ripper was £2395 yesterday and £2595 today.

Or a compelte lack of earth. If a venue has different ring voltages on the earth, that's not good and implies a problem with the ring earth somewhere. The earths in a building should be common.

Heathen! you blasphemer i think we need a stoning

Bill's correct. I think the blue Ashdown drivers were Sicas, so were of reasonable quality. However, the BF is a far superior design and will certainly be more efficient (and therefore louder) than the Ashdown. I'd put the money towards a more powerful head, rather than throw it at another cab, no matter how cheap it is. 30w is really only adequate for home, studio or acoustic gig use for a bass. Guitar players can get away with 30w amps on gigs because they do not want clean sound or extended low frequencies, both of which need power.

I'd post this on the Sound On Sound forum and see what response you get there.

I believe there's "magic" in any bass from ANY era if the user believes there is rather than any intrinsic magic.It's all wood,magnets and screws with some strings attached ultimately.

After some fettlement… yup. Very happy to have an 1100s back in the fold. Wish I could remember where my old sunburst one went.