The bass is at home, I am at the studio, so the exact serial number is pending -- it's a '79 though, and looks to me to have the ubiquitous mahogany core with walnut front and back; the outer wood is very dark in any case. The factory didn't have records for it; the original papers have been lost long ago...
The pickups have been replaced, pretty normal as the original epoxy was cracking and they were becoming microphonic; circuitry sounds great, it's the original board so is a bit buzzy on stages with poorly grounded digital signal flowing about; very few stages in any case, and no studios are like that that I've been in...
The fingerboard is ebony, and the frets will be newly crowned. There is a bit of a scar on the fingerboard, which in no way impinges upon the playability and in fact lends an air of zeitgeist once you hear why it's there...
Lacquer is in the expected condition, no significant body damage, strap pins in the normal places and solid ...
Standard point body, brass tarnished (maybe I'll clean it up!), original machine heads (fine), fairly beat up original hardshell case. I play in contra-cello tuning, so the nut and bridge accomodate a large string for the low C (.128), I have put normal 105s on it, and they are fine, no bzz.
I haven't mentioned the power supply because I have only the one... and don't really want to sell it... it belongs to my '78 ...
For now, the only photo online is on the main page of my band's website, up at the top left ...
http://www.sotw.ca/ It's rare, I have come to appreciate that. Not many graphite necks were made, and certainly not all of them are straight. For this one, an asking price is a challenge to evaluate. I am into hearing some offers, finding out what key some people might be interested in jamming on, so to speak...
One last note, the fingerboard is set higher from the body top than my '78 and the other wood Series basses I have seen, which of course puts the bridge a fair ways up on its mounting posts (screws), which gives a rather acute cut angle as the strings go down to the tailpiece, which means there is absolutely none of the mildly troubling buzz many of us experience with the slacker cut angle on the lower-set necks of the wood basses applying insufficient top-ward string force onto the bridge, leaving the string able to, well, buzz in the saddle.
Thanks for the responses,
Hugh
