JPJ

They will make one to custom order 😎

Ive been an Overwater fan boi since the 70’s when Chris operated out of the back room of his shop “Chris & Andy’s” on High Bridge in Newcastle upon Tyne. I currently own three, all five string, a 36” original series with the Wal’alike filter pre, a Perception thats been defretted and refinished by ex-Overwater luthier David Wilson, and my main gigging electric bass, a J series fitted with DiMarzio Ultra Jazz pickups and a John East J-Retro preamp.

We use a lot of veneers adhered to aluminium for both stability and lightness in yacht construction. Personally I think a 3 - 5 mm think piece of wenge on its own would be prone to cracking, and you’d definitely need some additional backing under the pots. Of course an alternative could be to glue the scratch plate to the body and have rear access for the controls?

I would expect an experienced acoustic instrument luthier would be able to reattach the block without performing major surgery on the bass.

Would have liked to see a balanced input (XLR) as well, but obviously this is aimed at those of us using pedalboard preamps. As others have said, its a lot of wonga for a 1x10 combo but unless I’m mistaken its British made so that’s got to be worth something these days.

Yes I thought of that, but real estate is a bit of a factor.

Yes just a robust die-cast box is fine. I’ll pm you 😎

I did try that, and wrecked two kits with my soldering skills and lack of attention to detail. Hence when one became available on line, I went for it 😂

Looking for help from one of you DIY’ers with the necessary skills. So I have just snaffled a Yamaha Nathan East NE-1 parametric equaliser for a very reasonable price from FaceAche market place. I’ve owned at least two of these before, and foolishly sold them when I’ve gone through the ‘I don’t need fancy pedals anymore’ phase. Having now done a few amp’less gigs I can see this being more the case going forward, so I’d like to add the NE-1 to my pedal board, but to do that, I need a couple of modifications. 1) rehouse in a new enclosure that will allow the addition of a true bypass foot switch (hopefully with LED for pedal on). 2) add a 2.1mm 9V centre negative power socket. Is there any of you guys who would be willing to take this on for me (paid of course) as my electronic skills are sadly lacking and I don’t want to ruin the NE-1 with my ham-fisted soldering skills. Ideally, by rehousing the innards in a new enclosure, the mods would be relatively easily reversible if I wanted to in the future.

So the room was almost perfect with great acoustics, meaning i could easily monitor via the FoH, and the sound engineer was spot on getting me a great acoustic double bass tone. Turns out I was overthinking things again 🤷‍♂️😂

I like the look of the 44A - 3x10 that allegedly goes down to 45Hz. Could be a solution to my single box per side ambition. However, I don’t like the look of the price 😬

Just grabbed this from Facebook marketplace at a very reasonable price, the discontinued Yamaha Nathan East parametric eq box. Not truly an effect pedal as its always on, but i thought it fitted here best. Plans are to re home in a more standard pedal sized box with both a true bypass footswitch and a 9v supply socket (currently battery only). This is the third one of these I’ve owned over the years but the intention is that this one is a keeper.

This was such a persuasive argument that I’ve ordered the Coda variant 😎

Looks like your Yucca needs watering 😉

I’d say spend, it sounds to me that you have a cast iron reasoning behind keeping the bass, and as to the ‘do it yourself’ route, the cost of the book mentioned by @Beedster is almost 25% of your estimated cost to have the work done 😎

I’ve played a few venues with installed systems that double as nightclubs (often as soon as the gig has ended) and these systems are almost always ‘tuned’ for dance style music. That coupled with the house engineer’s need to run the rig flat out results in the bass and bass drum obliterating everything else, and the bass just sounding like mush. As the old adage goes, just because you can doesn’t mean you should.

Bit of a newbie question. Next weekend my little acoustic trio are opening the second stage on the third day of the Tyneside Americana festival. It will be my first double bass gig where someone else is responsible for the sound and only my second gig on acoustic double bass as against EUB, and I don’t know how experienced the engineer is with amplifying double bass. A conventional stage setup would have the monitors directly in front of you, but is this the best place for double bass? Would it be better to be off to one side or even behind me? I will be using an HPF on my bass signal, and I have F hole blockers to help control feedback. Or should I be a potential PITA and ditch monitors and request to use my IEM’S?

Just spotted this thread (I don’t lurk about the accessories sub-forum very often) and @Delberthot, if you are still in the market for a custom body, i can recommend James and the crew over at Guitar and Bass Builds UK I bought a 5 string Precision PJ bass body finished in clear from them a while ago and I’m very happy with the result.

About 25 years ago I had the chance to buy Rod Clements fretless Overwater original or ‘C’ bass. Unfortunately young children meant I didn’t go through with the purchase but in hindsight I wish I had.

I currently own four fretless basses. My no1 is my sunburst Fender Tony Franklin P bass (below). The others are a 1982 Ibanez RS940TV which I purchased new with money from my parents for my eighteenth birthday, a defretted Overwater Perception 5 string defretted and refinished by David Wilson, and a Warwick Rockbass Alien 5 string acoustic that i defretted myself. I have at no time ever had any of a pony, a pony tail, a tail, or a suede waistcoat nor do i have any association with Oxfordshire.

My two’penneth on the wired/wireless point. I went wireless for my bass connection probably 15 years ago, and whilst this gives you the freedom to move around, it is just as valid in those super tight pub gigs as you are not standing all over your cable all night. Same applies with wired vs wireless IEMs. On the mono/stereo debate, my Behringer XR18 has 6 aux outs, which means in a five piece band only one of us could have a stereo mix without going to the expense of Ultranet linked devices like @Bassmonkey2510 which would be an expensive upgrade with yet more gear/cables etc to setup/pack away at every gig. I’ve only ever known a mono mix in my IEMs so I can’t really comment on the benefits of stereo.

My experience is similarly positive. Like Warwickhunt, I found the KZ’s didn’t fit my ear shape (particularly the left ear for some reason). I’m also successfully using the Sennheiser 100’s coupled with the X-Vive U4 transmitter/receiver setup. As other have said, there is extensive information available on the IEM mega thread here, and I’ll add don’t expect to get your mix right first time out of the box. It takes time to get the eq right on your IEM feed, and the balance across all instruments. But stick with it, the benefits far outweigh the negatives. Playing on a big stage, the ability to wander around taking your mix with you is revelational, and playing small gigs where you are stood on top of your amp crammed in next to the drummer work equally well and you’ll love the lack of tinnitus post-gig. Currently resisting the urge to splash the cash on custom moulded in-ears and a UHF-based transmitter receiver setup, surely overkill for my needs but my gear sluttery and GAS are a strong persuasive force.

You know what they say, blondes are more fun 😉