JPJ

So as I think I threatened earlier in this thread, today I’ve finally had a chance to reinstall the Overwater filter preamp in my Original series five string. I had removed this to install a John East Uni-pre as I felt I couldn’t get a tone I liked out of the bass in comparison to my John East J-Retro equipped five string Overwater Jazz. However, recently I’ve been playing a lot of passive bass (both fretted and fretless) and I’ve come to realise my tonal tastes are changing away from the deep dark bass I had tended to favour since first putting a J-Retro in a Fender Jazz five string many years ago. The preamp went back in without much of a fight, and initial impressions are that there is now a boat load of tones on offer. Control set is master volume, pickup pan, and two filters which work in parallel across both pickups. I’ve had a little play and I’m looking forward to giving it a good run through later. Oh and I’d forgotten how good a 36” scale low B sounds 😎

As Phil says, often easier just to replace the amp module completely. When one of my EV's blew the amp, I got the complete amp/dsp module for under £200.

I had my Overwater Perception defretted and refinished by David Wilson. The bass had an ebony fretboard so Dave used some ebony veneer to fill the slots and they are now hardly noticeable under stage lights.

I am in the fortunate position of using the Behringer XR18 desk with six aux outs meaning we can all have separate monitor feeds containing just what we want/need. I'm still in the experimental phase with IEM's and I've found that even with foam tips, the isolation isn't the best with loads of stage sound spill into my in-ears. So for my mix, I take 100% of the lead vocal, the backing vocals at about -3dB (if the lead vocal is at 0dB), a tickle of guitars (probably -4/-5dB) and my bass signal at 0dB. Given that I am normally stood in close proximity to the shed builder drummer, I do not have any drums in my IEM feed. Interestingly, I recently did a gig with FOH provided. The small stage is in the corner of the room, and is obviously a big empty box as it really resonates with bass drum and bass guitar frequencies. To keep things simple, I used my custom moulded ear plugs that have the 10dB filters in them (best compromise I've found between noise reduction and total isolation from the audience). I actually had a better 'mix' with the ear plugs than with my in-ears, and no ear fatigue after the gig either. As I said, I am still in the experimental stage with IEM's and I guess this shows I still have a way to go to achieve the best monitor mix for me. I'm also wondering whether IEM's are only really useful on silent stages or on much larger stages where physical separation is greater and hence stage noise spill is reduced?

Just to add to what Maude has already said, I find flatwounds work great on my two acoustics, and I particularly like the La Bella low tension flatwounds.

Our gig yesterday was a large'ish social club concert room with a proper stage. Our PA comprises two EV ZLX15 'tops' and two old Peavey 400w powered 15" bass bins. Nine and a half gigs out of ten I will place the bins under the tops simply because of space limitations. As I mix from the side of the stage (Behringer XR18) I also commit what some consider to be a cardinal sin in live sound and run a dBX Driverack. For yesterdays gig, I placed the bins on the floor in front of the stage on the centreline of the room (approximately) and side by side. The tops were on stands either side of us on stage. I had time to run the setup utility for the Driverack (pink noise anybody?) and save this new config for future use. What I noticed from this setup was: 1) bloody hell the bins were loud, and I was able to get some of that chest pumping kick drum from them (albeit) only over the first ten metres or so. 2) the overall mix was much better, with the vocals coming through loud and clear. 3) the Driverack was making much more use of the bins, with the level indicators on both the tops and the bins both regularly hitting four bars (with the normal subs under tops, the subs are lucky to see one bar). 4) Our nominal 1900w PA coped admirably with the room, yes we were not the loudest, but we were loud enough and I received several compliments on the sound. I must confess that I previously thought the gain from running this configuration would be marginal but actually it was significant. There is only one other regular gig where I could use this setup, but I definitely will be using it whenever I can.

Early evening gig at the local Billy Bootleggers bar. In-house PA and engineer (who knew what he was doing). This is normally a strange gig as it’s mainly passing trade, with the bar located in an up and coming suburb of Newcastle with several alternative venues all within a stones throw. Yesterday we had several groups of live music followers in from beginning to end which made us feel right at home. We played really well even if I say so myself, one of those tight loose kind of gigs and we all enjoyed ourselves. Just about to load the van for gig #2 of the weekend with my other band.

Hi Owen, This is the ad I bought from. I’ve just checked and he doesn’t have any other items listed at the minute https://www.ebay.co.uk/itm/225781255459?mkcid=16&mkevt=1&mkrid=711-127632-2357-0&ssspo=l125RuyxTwi&sssrc=4429486&ssuid=NlJhiuEZQNG&var=&widget_ver=artemis&media=COPY

Two gigs for me this coming weekend and with two different bands. Saturday 23rd September sees me at Billy Bootleggers in the Ouseburn Delta (Byker) just a short walk east of Newcastle city centre with Ten Bob Blind, a female fronted americana band where I get to slip slide away on fretless P bass and NS EUB. Kick off 17:00hrs, with music from the likes of Buddy & Julie Miller, Shawn Colvin, Lucinda Williams, Thea Gilmore, Steve Earl, Tom Petty and more. If you are coming along why not get yourselves along early and enjoy Bad Bob Bates solo set from 14:00. Sunday 24th September sees me at the legendary Hartlepool Steelies club with Southern Incorporated, our southern rock band. Kick off for this one is 17:30. Lots of Lynyrd Skynyrd, Blackberry Smoke, Whiskey Myers, and more…..😎

I’ve been concerned at placing my NS NXT in the back of the van in its flimsy gig bag, and no more so than when I arrived at a recent gig to find it lying almost at the other end of the van from where I’d put it. I priced up a custom flightcase from a few flightcase manufacturers but as I also transport my EUB in my car, I wasn’t really keen on the standard aluminium riveted ball cornered standard cases so started looking for an alternative. I came across the Peli Storm case range which includes one the right length (the iM3410) but was slightly put off by the eye watering price 😮 But a quick check on eBay showed a guy in Wales selling four of these cases brand new. Anyway, after some very friendly communications a deal was done for one at just over a quarter of the price of one online, and it arrived today. I’ve spent the last hour cutting the foam inserts to size and ended up with this. The case seems like it’ll be strong enough to handle life on the road, and I’ll feel a lot happier putting this in the back of the van.

Firstly, I should state I have an old motorcycling injury which affects my left thumb. My DB journey started with the Stagg, which is surprising good for the money, but a pain to play comfortably as I could never find the sweet spot of balance with that wire frame. I moved on to a KK Baby Bass which was obviously quite a step up in quality but despite the faux body, was no easier to balance and was a lot heavier on my left thumb as a result, causing hand problems after a very short period of playing standing up (I could balance it nicely sitting down, but the gig I bought it for was not a sitty down type of gig). I've now moved on to the NS NXT which is comfortable for me to play both on the stand, and and on the end pin with body rest. I can use my left arm weight to protect my thumb as I am no longer supporting the EUB whilst playing. Reading through this thread, it seems to me that the answer in your case may well be some sort of robust stand for the Stagg.

Another vote for the EBS Stanley Clarke preamp pedal. I double between NS NXT EUB and fretless Fender Tony Franklin P bass, and this handles both with ease.

Just been browsing the old t’internet and found to my surprise that Accugroove offer powered versions of all of their cabs.

I have a Micro Thumpinator last in my chain before my amp. Signal path is bass (or EUB) into EBS Stanley Clarke pre, Plethora X3 & Sansamp in the loop of the EBS, then EBS out to Micro Thumpinator, then on to my amp. I take the DI from the EBS to the PA, and when I’m mixing in both of my bands, I use the PEQ high pass to dial out the ultra low end in the PA. When I’m not mixing, the house engineer gets a full fat bass signal to do with as he likes.

I solved (reduced) this issue in my two bands by first, gating the mics, and then second educating the backing singers that they need to eat their mics to be heard. High pass certainly helps too, and we’ve never played anywhere large enough where I have needed to mic the cymbals, so some judicious eq cuts in the high end of the vocal mics also helps to dial down the cymbal sizzle.

The USP I can see is that its Allen & Heath. I've had my XR18 almost since launch in the UK and whilst the hardware has never let me down, there have been a couple of occasions where Behringer have failed to keep the app up to date with iOS updates. And before anyone says 'Mixing Station', I have it but I much prefer the UI and workflow/ease of use of the Behringer native app.

The one that always amazes me is the little TC Electronics BG250 208 - a 2 x 8” combo that just loves my NS NXT EUB. I’ve used mine for personal monitoring and for back line on ‘acoustic’ gigs and I am constantly amazed by how open and natural it makes the NS sound. They often pop up on here used for not a lot of money and are well worth the outlay. I have upgraded the speakers in mine to get the full 250W in a one hand lift small box.

I find myself strangely attracted to the idea of external ports, in a sort of bass cab “Lloyds of London” building type way - very steam punk but not very practical for life on the road. serious thought though, would top exiting ports help with hearing your bass when you’re crammed into the back corner of the “stage” at your local Dog & Duck?

Thanks for this Mike, and if you have got those paint names that would be fantastic

My general rule of thumb with nitro is 4 to 6 weeks, longer obviously better. Funnily enough, I’ve had a black nitro pass the fingernail test at three weeks, whereas a surf green took 8 weeks and was still softer than I would have liked when flatting and buffing. Mind once the nitro has stopped flashing off (i.e. doesn’t stink) I hang bodies and necks in the airing cupboard (much to Mrs JPJ’s disgust) as the heat helps with the curing.

So I have this crazy idea and I need to know the RAL code for the blue used by Acoustic Control Corporation on its bass amps and cabs. I’ve been a huge fan of the look of Acoustic amps and cabs since being a teenager and as they are no longer around, I’d like to pay a little homage to them with my Basschat 2x12 build. Any Basschatter’s out there able to help?

^ and this is the technical answer to why my NS EUB ‘sounds’ best through my TC BG250 208 combo.

Same as when Guitar Centre resurrected the Acoustic name.