Most importantly, this "TONE CLOTH" was NOT acoustically transparent.

By featuring rubberized stripes, embedded in a fabric backing, it created a unique equalization filter that reconfigured the tone.


     "In fact, I refer to the Bluesbreaker-type cloths in particular as 'tone cloths,' because they are of such a heavy weave that they alter the sound." 

          - Michael Doyle, The History of Marshall

     "In addition to its unique look, this, pinstriped cloth also has a tonal effect, due to its density - rolling off certain high and low frequencies, resulting in a muscular sounding, musical midrange."

          - Marshall Amplification

     "...colors the amp's sound in a way that's unmistakeable to old Marshall Amps."

          - Vintage Guitar Magazine

     "What we were hearing was good. Real good...As in better -- more focused, yet at the same time a more ambient sound with a radiant quality that was smoother, rounder and less abrupt than we were accustomed to hearing."

          - ToneQuest Report


    "Just got done playing the Series 1 (Bluesbreaker Replica) at full rip! The tone is just incredible now! Amazing to think that such a thing as grill cloth can make an amp go from pretty friggin' good to amazing!  I think your cloth has everything to do with the final aspect of tone. Before I was like...Well, it sounds pretty good, but not as good as any original 1962 combo's I've played. Now, it'll hold its own against the best of them!" 

          - Don

    "About two weeks back I had 8 guys in the 14x14 demo room and we compared two '69 spec cabs side by side, both with the new M75 65w (Scumbacks), one with EC pinstripe, one with basketweave. The pinstripe cab had something a little extra going on in the mids/upper mids which worked well with the M75's, in fact I liked it better with them than the b/w cloth as did 7 out of 8 players in the room.

IMO it is superior to basketweave cloth for the vintage tone. In the future my personal cabs will have the pinstripe cloth on them." 

          - Jim 


EC Collins' "Bone-O-Matic" Bridge

Handmade Bone Saddles for Gibson ABR-1 Tune-O-Matic bridges.

    "In the course of 1960, bone saddles were used concurrently, albeit for a short period of time, and by 1961 white nylon saddles became the norm on all Gibson electrics."

         - A.R. Duchossoir, Gibson Electrics: The Classic Years 

    "The bridge is fantastic. Truly has a great tone to it. Sonically perfect."

         - Steve Stevens ( Billy Idol ) 

Gibson bone bridge saddles