eude

I would've thought a nice 1x12 would've been a sensible option, the 500W head and 2 1x12s would be a sensible, modular setup. I actually asked if anything like that was in the post, but no, not for a while at least, the range is cooked and done. Eude

The issue is that manufacturers are happy to mislead us with their quoted wattage. The Class D Elf probably can put out about 200W, but only for milliseconds before the protection circuit kicks in to stop it melting. The proper old school Trace head will push out its quoted max volume and will be able to maintain it, for a whole gig, without overheating. There's been HUGE improvements in what Class D amps are capable of these days, and it will only get better, but if you want to keep up with 100W guitar amps, you need to be looking at the ones quoted as being 750/800/1000W. The mad thing is, a 300W old school solid state amp will easily keep up with the class D's quoted as being 2 if not 3 times as powerful. Eude

Looks to me like there might be a combo(s) on the horizon too? A 1x10 combo plus the 1x10 can would be a nice compact, modular setup. Eude

This actually has me tempted to part with my BDDI, no mean feat! Having the additional tube switch and a headphone out would be such a massive improvement, over the BDDI, plus I do like the idea of supporting an independent British company as you point out above. Eude

Warwick have some matching cabs on the way it would seem... https://shop.warwick.de/en/amplifier/bass-amps/bass-cabinets/29881/warwick-gnome-cab-2/8/4-compact-bass-cabinet-2x8-200-watt https://shop.warwick.de/en/amplifier/bass-amps/bass-cabinets/29882/warwick-gnome-cab-10/8-compact-bass-cabinet-1x10-150-watt I can't expect they'll be incredible, but for the money, I don't think they'll be half bad for home, rehearsal and smallish gigs, especially with the tony little Gnome head! Eude

I actually prefer the Ovankol in all the clips until you start suing the EQ, as soon as that's engaged, the Wenge sounds better. Thank you for sharing! Eude

It's even better in the flesh, I've been lucky enough to be able to give is a good spank on more than one occasion. It's a master class in, er, class 😉 Beautifully made and an equally beautiful sounding instrument. Eude

Most string manufacturers, including TI make sets specifically for different scale lengths. Faking 30" scale with a 34" scale set won't give very nice results as you've discovered. I have a 30.5" scale 4, which I popped some old 34" scale TI flats on, it was manageable, but I then bought a set designed for short scale basses and it was a whole world better. TI flats are very low tension and don't do too well when detuned. Sadly, TI only do their 4 string flats set in 30" scale flavour... Eude

Voodoo...

Wow, that is incredible!

I can see a sniff of it in Alan's Salace, but not significantly. The Salace is offset, the Plume is not. The upper horn of the Salace is straight, the Plume flicks up like and upturned thumb. The upper bout of the Salace is flat, more cut away and at a more extreme angle, the Plume is more organic and round, The lower horn of the Salace stretches away from the body and points outwards, wrapping around the leg, the Plume's does not. The lower bout of the Salace pushes out away from the body helping with balance, the Plume's is pushed inwards. Just my 2p, of course... Eude

Oh, here you go, Fodera anyone? http://smartyn.com/model.php?bass=Freedom They do a Dingwall too http://smartyn.com/model.php?bass=FluenceFanned Eude

It's certainly quite reminiscent isn't it... This happens a lot in Brazil, and South America in general. The import costs for anything being made elsewhere are staggering, and there is absolutely no chance whatsoever of fighting any sort of copyright infringement, especially if you're a one man band like many luthiers. I wouldn't call that a straight copy, but there's certainly a good whiff of Alan's original design in there for sure. You should see how many Brazil based luthiers make a living by building straight copies of Foderas, it's crazy, but there's nothing Fodera can really do about it. All you can do is take it as flattery... Eude

That sounds awesome, however Josh can pretty much make anything sound good, he's a hell of a bass player! Eude

That will be absolutely stunning! MORE than a little jealous... Eude

That is going to be one stunning bass my friend. Can't wait to see it come to life! Eude

That is one MASSIVE Pickup!

That is flipping stunning!

I had a couple of Shukers for my first custom basses, having been cursed by owning a Warwick Thumb, simpler Fender style basses just were not going to cut it for me ever again I had also played a 33" Fodera in Boston and knew I wanted a shorter scale, so I went ahead with a single cut 6er and then a modern Jazz Bass, both in 33" flavour. After these two basses, I met and spent some time with Alan at ACG Towers, chatting and playing some of his early work, way back in the mid 00's, but I knew from that point onwards there was going to be a few ACGs in my future and sold both the Shukers to fund this. I went ahead with several 33" commissions over a few years, until I figured out that 31.5" scale was a perfect fit for me, frustratingly, we had actually been talking about going that route for a compact 6 string bass way back in 2006, but I didn't actually pull the trigger on the concept till 2015! I've since moved on all the 33" basses, and have mainly 31.5", one 30.5" and a mad 26.6" one. They all serve different purposes and make quite different noises, all based on experiences I've had playing other basses over the years. To my ears the woods of a bass can have a significant impact on the sound, and I've settled on Limba or Ash for body woods on almost all of my builds. I've bought and sold custom basses as I've figured out what truly worked for me, but I can't imagine being without any of the current herd now. If I had to keep just one though, it would be this one, which is oddly very similar to my first ACG in some aspects, but with all the tweaks I've discovered along the way... Eude

I had a Black Walnut bodied Shuker Jazz and I just never got on with the sound of it, my mistake, not Jon's. It wasn't as aggressive as I had hoped, Ash and Limba seem to be more my bag. It was a wonderful bass, but I had to move it on sadly. Eude

Yup, that's exactly what they should've done. The little proper solid state WT amps were fantastic and ahead of their time, much like the original Mes Walkabout. If they'd just hung on and developed that idea I think they would still be here. Even better, if Marshall had used that idea and made a more compact, but equally powerful DBS, they might have something to offer bass players too. The battle for Class D dominance has sunk a lot of bass amp manufacturers, either by just not keeping up, or by racing to the bottom Eude

I can understand why Fender bought SWR, as they went on to make some pretty good amps using up all that skille and knowledge they acquired, and have kept going albeit in a very non SWR direction. Why Marshall bought Eden I really don't know. They didn't do anything to improve Marshall's bass offering and the Eden stuff seemed to kind of wither since the takeover. They clearly didn't really know what to do with them. Really sad 😭 Eude