JPJ

[quote name='OutToPlayJazz' post='262309' date='Aug 14 2008, 12:01 PM']Sausages sizzling, ready to become a sausage & egg sandwich with brown sauce! You did ask![/quote] mmmmmm now I am hungry

Airbourne - Runnin Wild, for those who don't know they are a bunch of young aussie rockers who sound cunningly like Bon era ACDC.

[quote name='OutToPlayJazz' post='262000' date='Aug 13 2008, 10:31 PM']JPJ, I've looked at the jazz in the same 3TS as yours on the Overwater website many, many times. Stunning looking basses. Glad you're happy with it [/quote] Cheers mate, Got to admit mine looks much better in the flesh than in that photo, less yellowy and more browns and red. In fact, the sides are more brown/maroon than black. Got to say that I am now a fan of 35" scale length for the 'B'. The B speaks with such authority and without the latency which is apparent on my other to 34" 5 scale fivers. As some may know, I am pretty old skool when it comes to tone, so I run the bass with a slight bias towards the bridge (I'm a fingers player) a miniscule mid-cut on the J-Retro with everything flat on my SWR750. Throught the combination of the golly & SoB its just a huge on stage sound, more than capable of filling the lower registers of a four piece classic rock band (drums, guitar, vox, bass). I know that Shuker seems to be the luthier of choice on Basschat, but for me, you'll have to go a very long way indeed to beat Overwater for playability, tone and sheer quality of build.

I recently picked this one up secondhand. Put simply, its the best bass I've ever owned/played. I've been an admirer of Chris May's work all the way back to the days of Chris and Andy's on High Bridge in Newcastle, but like many, have never had the money or patience to commission a custom build of my own. When this one came up on eBay with no takers, a swift exchange of emails and a trip to Cockermouth saw her become mine. Despite her being just eleven months old and just over half of the factory price, believe it or not, it was the spec that attracted me. The body is tulipwood (not one I have come across before as a tone wood) with a nicely flamed maple neck and rosewood fret board. Hardware is by Schaller with DiMarzio Ultra Jazz Pups and a J-Retro circuit. Three colour sunburst (which the photos dont do justice to) with a tort scratchplate. Colour matched headstock. Plays like an absolute dream and the low B speaks so well you find yourself looking for excuses to use it. Scale length is 35" and I had no problem adjusting. I have just finished my first run of gigs with this baby and I am so pleased with her. She balances excellently on the strap. In a four piece she cuts through the mix nicely, really filling / rounding out the lower mid range and bass enc of things. For the first time in my life, I have such an even string response that i can actually hear the little fills and widdles etc on stage, oh and chords just ring out so cleanly. She's so good, I havent been back on eBay since I bought her.

After lusting after an Overwater J series for a long long time, I finally managed to bag one earlier this year. Mine is a 35" scale 5 string bolt on J series with the John East J-Retro. Comparing this with my Fender Jazz V also with the J-retro is like comparing chalk and cheese. The Overwater positively sings and is so playable its almost unbelievable. Chords sound great, little fills and runs leap out of your speakers and the response is so even across all five strings. What does it sound like, well it sounds like a classic jazz bass on steroids. Buy one, you will not be disappointed.

[quote name='silverfoxnik' post='221835' date='Jun 18 2008, 11:56 PM']+1 I though that the diference was more apparent in the way the bass sustains, as opposed to a change in tonal characteristics..[/quote] Well imho, I am not convinced that it adds a great deal to the sustain. I have two basses with through bridge stringing and one without. My MIA Jazz V DLX (with J-Retro) has a stock fender bridge and is strung through the body and has the shortest sustain of all three. My self built P five string has a Badass and is strung through the body and sings like a singing thing singing for all its worth. My latest acquisition, an Overwater J V has a conventional Hipshot bridge (no thru body stringing) and it sings like a choir of singing things singing for all they are worth. My conclusion is that the resonance of the body wood has a lot more to do with sustain and tone than whether the strings are strung thru or not. I believe that stringing thru the body does add something, but that that something is probably only one or two percent of the whole. Its far more important to have carefully selected tone woods for the body than worrying about whether to string thru or conventional. Then again, with my ears that could all be total bollocks, still one man's tone is another man's nightmare!

Hi all, Another geordie signing in on this thread. How about a stottie export business, I mean Craster Kippers gan all ower the world in their little cardboard boxes DHL next day so why not stotties? I always think they taste better the day after anyway! Seems we've almost enough for a NE bash? Lots of bass, dog and stotties - can't think of a better afternoon's entertainment!

[quote name='warwickhunt' post='220199' date='Jun 16 2008, 08:33 PM']Surely the very reason that people are asking is because they want to know and are specifically asking people who may well be knowledgeable on the subject! Of course people experiment and pre t'internet, pretty much the only way to find out if something worked was 'suck it and see'. However there is a wealth of knowledge available (and being offered) on this forum; to deride, however mildly, someone for offering an educated insight is a bit narrow minded. We could have a sticky at the top of the thread that just says 'Don't bother asking... just do it.' However it would make for a pretty boring forum TBH it is 'almost' pointless asking anyone for an opinion on ANYTHING with regard to something as subjective as tone BUT science isn't subjective, so really that is the only advice that can mean a blasted thing.[/quote] For my mind, there are two camps here, and for my money, neither is correct in all cases. What Bill preaches is at the absolute pinnacle of audio engineering and there is no doubt that Bill knows his stuff and I enjoy reading his posts (and Alex C's too). But equally, I'm old skool and started gigging life with 2x15's and 4x12's. I now use a 4x10 + 1x15 setup that gives me the sound I want to hear. Sure, my cabs are less than efficient than they could be, but with the cost of amp heads in terms of £ per Watt at probably the best rate I've ever known, I am less worried about this than perhaps I should be. I'd like to try some of Bill's cabs to see how they shape up soundwise. But equally, I'd be concerned that I'd end up eq'ing the hell out of them to make them sound like my current setup which would rather defeat the object.

[quote name='wateroftyne' post='218771' date='Jun 14 2008, 11:24 AM']And now I SO have GAS for a [url="http://www.tecamp.de/?id=103"]TecAmp M212[/url]. GAAAAHHHH (again)[/quote] 20kgs ffs. Cheers WoT, I didn't have gas until I read this thread but now I bloody do! Never thought you'd move away from the Schroeder mind. We should probably A/B your real Schroeder with my Eminence equipped clone. Now my speakers are played in, its probably the creamiest but well defined cab I've ever heard and I still haven't figured out how to wire in the horn yet?

Readymade by RHCP (Stadium Arcadium disc 2) A real finger workout for both left and right hands

Hmm. I own two 'Fender' fives. The first is my DLX Jazz 5 '96 with the single pole pickups. She is extremely set-up sensitive, the 'B' string height from the pole piece is absolutely critical for an even 'B' sound. The reality is however, that unless your using really top end amps and cabs, the majority of the 'B' string sound will be lost beneath the mid hump in most off the shelf cabs. My other 'Fender' 5 isn't actually a Fender. Its a precision shaped body with a mighty mite neck and a pair of Bart J's and a Bart P. The Bart P gives a really fat even 'B' response, so much so that you can really use the additional string rather than just dropping in tasty bombs. Again though, the string height over the pickup is critical to obtaining a good 'B' sound.

[quote name='wateroftyne' post='180694' date='Apr 19 2008, 08:15 PM']Worry not.. I got mine for a very competetive price! I have to say, though... I'm tempted by that 15...[/quote] Word of warning, either hide the receipt better this time or prepare to sell one of your kidneys........

Quick, hide this thread before WaterofTyne see's it!

[quote name='BassistJonathan' post='149367' date='Mar 1 2008, 10:52 AM']Im 17 years aold and have been playing for about 7 years. I am a confident bass player with a good stage presecence and experience. I have a wide range of musical knowledge and can play other instruments aswell as bass. I read both music in treble and bass clef aswell as the usual tabs. I have no issues with commitment and although I prefer indie/rock I would be interested in any oppurtunity I am given. I am currently in a band but we are looking likely to split up[/quote] Hi mate, You might already know of this but check out the musicians wanted bit on riffs at [url="http://www.zen76308.zen.co.uk/Riffs/home.htm"]http://www.zen76308.zen.co.uk/Riffs/home.htm[/url]

[quote name='bassbloke' post='151185' date='Mar 4 2008, 05:43 PM']Any decent music shop should be able to knock one up for you. You could also see if Paul Arrow head can do one for you. He'd just need a trace from the existing plate with all screw holes, truss rod bit and pickup holes marked out.[/quote] There are two different types of Fender J 5 strings, each with a different pickguard. The DLX's are a different body shape and hence different pickguard from the regular 5 string. Be careful to get the right one.