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Overwater five-string Original Series fretless


Kees_SoS
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[quote name='rk7' timestamp='1375385862' post='2160688']
Looking good Kees!

Martin is cracking on with the build.

When are you coming over to collect it? We need to arrange a meet up.

R
[/quote]

Definitely! I'll PM you some details later so we can organise something.

Kees

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[quote name='Kees_SoS' timestamp='1375277921' post='2159149']
Thanks! Looking forward to seeing it.
[/quote]
Here we go; similar woods - walnut wings with flamed ash top.
Smooth as you like.. with black nylons this bass sounds kinda EUB!

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[quote name='eude' timestamp='1375617817' post='2163457']
Wow, this is going quickly!
Really excited for you mate, I love the Original Series Shape :)

Eude
[/quote]

Cheers! For me, it's timeless, classic, cool... so many things, all of them good. It also balances surprisingly well, with the neck just slightly up. I've literally wanted one for all of these years, but bottled out with my last custom order. Since then, I've had a couple more of them in my hands, and they're just ME!

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[quote name='hubrad' timestamp='1375656388' post='2164043']
Found it in the More Options bit!

[attachment=140765:blacksailJan2010.jpg]
[/quote]

It also took me a couple of goes to get the hang of it. The bass looks the business. I take it it sounds it, too?

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[quote name='hubrad' timestamp='1375655603' post='2164036']
Here we go; similar woods - walnut wings with flamed ash top.
Smooth as you like.. with black nylons this bass sounds kinda EUB!
[/quote]

I had a six-string Progress built from similar woods a couple of years ago, and they do work a treat on a fretless.
Does yours have a maple or wenge neck?

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[quote name='eude' timestamp='1375630288' post='2163630']
Geeky question here mate, but whats the "tonal goals" using this wood combo?

Eude
[/quote]

No problem. I love all that stuff myself, too, as you can probably tell.

With this kind of bass, I tend to favour a punchy, middly tone with plenty of 'honk' and some 'growl'. The wenge should enhance the latter characteristic in particular. Also, some luthiers believe wenge to offer greater stability and consistency than maple, which means that even with a 34" scale it should still have a killer B-string.
For the rest, I wanted the top to look spectacular, but wanted to limit the higher frequences I might have got with, say, maple, hence the flamed ash.

If I should need to add to or deviate from the tonal characteristics of the wood, the Scott Devine circuit should give me everything I need. The main thing I like about it is the mid sweep. Very few amps and onboard preamps offer the tonal possibilities I'm looking for in the high mid range, so I'd actually been looking for something of this nature for a while. The dual concentric knob makes it easy to find the 'sweet spot' and set it to the desired level. What's more, the circuit can be used passively by means of a push-pull switch, which, when in passive mode, also acts as a tone knob.

Edited by Kees_SoS
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[quote name='Kees_SoS' timestamp='1375696469' post='2164299']
No problem. I love all that stuff myself, too, as you can probably tell.

With this kind of bass, I tend to favour a punchy, middly tone with plenty of 'honk' and some 'growl'. The wenge should enhance the latter characteristic in particular. Also, some luthiers believe wenge to offer greater stability and consistency than maple, which means that even with a 34" scale it should still have a killer B-string.
For the rest, I wanted the top to look spectacular, but wanted to limit the higher frequences I might have got with, say, maple, henced the flamed ash.

If I should need to add to or deviate from the tonal characteristics of the wood, the Scott Devine circuit should give me everything I need. The main thing I like about it is the mid sweep. Very few amps and onboard preamps offer the tonal possibilities I'm looking for in the high mid range, so I'd actually been looking for something of this nature for a while. The dual concentric knob makes it easy to find the 'sweet spot' and set it to the desired level. What's more, the circuit can be used passively by means of a push-pull switch, which, when in passive mode, also acts as a tone knob.
[/quote]
[quote name='Kees_SoS' timestamp='1375740282' post='2165140']
Sorry, I only just realised it was you, Ewan ;-)
[/quote]

Thanks mate, for such a concise reply.
I didn't think you'd mind sharing the nitty gritty ;)
I may have another bass in the future, and I'm really drawn to your wood combo though, the flamed Ash over Walnut looks amazing!

And, yes, it is me :yarr:

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[quote name='BassBus' timestamp='1376151734' post='2170305']
Can I ask what made you decide on that particular pickup placement?
[/quote]

Of course. I've had various basses over the years, and I tend to prefer the neck pickup to be further back for several reasons. When the pickup is closer to the neck, I find it can cause string pull, leading to intonation and clarity issues with the B-string. It often also gives me more low end than I want or can successfully get rid of. In the past, I always dealt with it by screwing the neck pickup as far as I could into the body, which wasn't ideal. With this spacing, I'll still get all the 'honk' I want and be able to dial in some extra lows/warmth from the neck pickup where I need them, without things getting too 'woolly'.

Edited by Kees_SoS
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  • 2 weeks later...

Before and after and lacquering (see photos). The guys at Overwater also used a translucent stain to bring out the grain in the flamed ash. As you can see, it now looks really striking!

We decided on 15mm pickup spacing in the end, with the bridge pickup also 15mm from the bridge.
This symmetry gave the most aesthetically satisfying result, and will also give me what I'm looking for tonally.

Edited by Kees_SoS
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