eude

The Triple Shot Drive has different drive controls for the 3 frequencies, bass, middle and treble. It's a clever idea, but I feel I have seen that elsewhere first, perhaps some boutique Canadian company? I'm sure I've seen a pedal and amp with the same idea built in to the preamp, albeit in a little more complex manner. I agree the form factor for these is WAY better than the old pedals. The Dr. Green ones weren't bad, but sadly nobody seemed that interested in those. Eude

Olympus all the way 😎

Laaaavly bit of Ebony Veneer right there @Andyjr1515

That looks awesome @Andyjr1515, it's already looking like a REAL bass With regards to carbon, I don't think I've had a 6 string bass without it, bar the one I made, I know that not everyone uses them though, your call. Eude

Excellent @Andyjr1515, I noticed you'd drawn a newer, neater outline for the cavity, it'll be very cool with a plate held on by freakin' magnets! 😎 Eude

I guess you could potentially go through the body with ferrules to hold the strings from behind? I don't think that would save a massive amount of weight however, and although slimming the bass down a bit would be a "nice to have" it certainly wasn't on the original plan. I also really like the aesthetic of the Warwick 2 piece bridge, so I'll just get a wider strap and get on with it In my experience, heavier basses have a sound that appeals to me more than others YMMV Eude

Back up from the floor now, thankfully I have my own office, or that would've been weird... WOW, a shame there's no significant saving after all that work, but man alive, how heavy would this have been without it!? I'm amazed the Warwick bridge adds that much, it's the alloy one, they do a freakin' brass equivalent! I guess that's why Warwick basses are always so heavy. Sterling effort though @Andyjr1515, was it nerve wracking? That's exactly the type of tool set up that lead to that MASSIVE hole of a control cavity Eude

I remember talking to a luthier a while back who was saying that had Leo Fender been British we'd all be building guitars out of pine, oak, ash, sycamore etc, all our domestic species. The timbers Leo Fender used were local to him and relatively inexpensive, at least in the first instance... You're right though, we need to rethink. It's pretty clear that it's mainly the density and hardness of a wood that "probably " effect the tone, so why can't we use other less popular and abundant woods to do the same stuff if they line up spec wise with the sought after and nearly extinct ones? Eude

I did not know that. I wonder what might have prompted the change?...

You don't see many Pine instruments do you, which is a bit odd as proper old growth pine is incredibly dense and strong, I'm sure it would give any hard ash or maple a run for its money...

There is some pretty cool Walnut out there from the UK, but I mean REALLY dark like Ebony, Wenge, Katalox etcs.

I wonder why all the darker. sexier woods come from warmer and in some cases more humid climates, most UK species are lighter in colour... Eude

They put a 5 year warranty on everything the sell new, and they design and build with a view to keeping things going indefinitely, the amp heads in particular. I'm pretty sure they repair free of charge within the warranty period, but there's likely to be some fees once you get beyond there. I can't think of many, if any other manufacturers who can match that though. You can approach Ashdown directly which is great, as there's no middle men complicating things and trying to take a slice Eude

I'll let @Andyjr1515 answer that one, I love dark wood though, which I let Andy know about, so perhaps that drove the decision? Katalox is a very very dark wood once finished though, so even though it looked like there was some stark contrast on one side, it's likely it would've died back when finished anyway. Here's another lovely example of a Katalox topped bass for reference >>

I keep coming back to look at this picture! This is going to be amazing, thank you @Andyjr1515

That looks a darned good fit @Andyjr1515, and being a classy guy myself, I thoroughly approve of the use of a contrasting ebony veneer 😎 Eude

Wow, that is stunning!

That's awesome @Andyjr1515! Great way to keep those all important interesting details in the figuring too. Cheers, Eude

Not a problem at all @Merton, the amp wasn't much of a conversationalist on my 8.5 hour drive, but was good company regardless Great to meet you too @andy67! Wish I could've had more time to hang around and shoot the breeze! Just FYI, @Merton has give me 1st refusal, should he take leave of his senses any time soon Cheers, Eude

Looking great @Andyjr1515!

It's like I'm actually there, awesome updates @Andyjr1515, glad you approve of the join too, to be fair it was such a good piece of timber, there wasn't much effort required. "Olive Ash", apparently. It's certainly the most intensely dense Ash I've ever come across, what about you? Eude

I do prefer Warwick basses over Spectors though, but let's not get into that here Eude

That's a brilliant idea @Andyjr1515, a little like Fodera set neck they do but with bolts, the middle one in question I really like that idea and it'll really get away from the Fender Road Block too. Love the tribute headstock and the Katalox is gorgeous too isn't it! Eude

Can't wait!

I'm more than happy for Andy to do what he fancies with it, within reason I feel the curves could be more pronounced, or at least tweaked a little, the lower horn could be a little less chunky and if @Andyjr1515 fancies doing a tummy contour like on the Warwick basses, I'm sure that will come in handy as I settle into my 40's with the bass I know he's taking a good 10 - 15mm from the face of the bass as it is, so there will be very little evidence of any of the carving I did myself left, bar the back of the bass... Eude