| Author | Message | ||
| effclef
Member Username: effclef Post Number: 58 Registered: 1-2004 |
<http://cgi.ebay.com/ws/ebayisapi.dll?viewitem&category=4713&item=3711424332> No bids previously at $8000 b-i-n and $6000 to open, so he's dropped both $500. This sure is a beaut. Whenever I wanted to email someone a link to what an Alembic in quilted maple looks like, this was the one I used. EffClef | ||
| s_wood
Member Username: s_wood Post Number: 80 Registered: 5-2002 |
Does anyone know how the string spacing differs from "standard" Alembic 5 spacing? | ||
| janriviere
Intermediate Member Username: janriviere Post Number: 125 Registered: 5-2002 |
For a moment the idea came up to replace my 2 signatures with this incredible Goldilocks. The stunning resemblance with my current series II made me email John Ovnik today. Here is his reply: "SN 00C12479 USA The fingerboard spacing at the nut is 4 cm from center of Low b string to center of g string. it is very comfortable. at the 24th fret it is 6 cm. it is 34" (long scale) I am the one and only owner. It comes with all the stuff (rack power supply and cord and case) No known defects or scratches. I believe the difference is the electronics for the most part. Series II sounds way better. I like them a lot more than the Series I. I am selling it because I have another Alembic Series II almost identical, that has been played more. I have several other basses and I don't have the need for two identical Alembics. I'm selling the one that is in new condition, because I thought it would command a higher price. Thanks for the questions.” So, If I compare his measurements with my comparable 6 string, which has the same spacing, I am pretty sure that his spacing is close that what Alembic calls “comfort fingerboard taper (wide)”. If you want to be sure, ask Val or Mica. I can definitely say that according to European Alembic secondhand price standards, this is a real bargain! I am curious who will catch it. Cheers Jan | ||
| effclef
Member Username: effclef Post Number: 63 Registered: 1-2004 |
Jan, I wonder what he means about "Series II sounds way better." I thought the only major difference was the II has the continuously variable Q control, as opposed to the three-way switches on the Series I. I am wondering, from the Series II owners out there, how much better is it to have the CVQ as opposed to the switch? Have you really found the three position switch to be a handicap as to finding the perfect sound, or is it just that the variable makes you happier? (I am in no way putting down the Series I!) This is such a wonderful looking bass. I imagine that 5A quilt looks absolutely stunning and 3-D. EffClef | ||
| poor_nigel
Member Username: poor_nigel Post Number: 84 Registered: 7-2003 |
Danger Will Robinson! More important to me than the variable Qs is the master volume control. As far as sound goes, I will not go along with Series II's sound way better, but you can get more subtle differences in tone - simple logic. But is more better? Logically, the switches would dial in the tone you want faster, especially in a dark room. Well, not really, once you know your bass, the Q knobs are easily read with your fingers in the dark. However, some people order Series II basses with Series I electronics, so . . . It has been a while since I had a Series I bass. Best answered by someone who currently has both. | ||
| janriviere
Intermediate Member Username: janriviere Post Number: 126 Registered: 5-2002 |
Andy, To my knowledge the differences between series I & II are - Continuously variable Q <-> 3 pos. switches - Master volume - Solid gold/plated hardware <-> chrome plated - Extra accent veneer in the body on a series II - book matched peghead on a series II - Standard with side LEDS on a series II - Extra neck laminates Sound wise, they don't differ that much I think. The most important thing for me is the extra master volume. So the statement "Series II sounds way better" is highly discussable. The electronics are almost the same, but you have a little bit more control with the cvq's. Indeed, 5A quilt is something that you must see in real life. It is such a difference with photos of the wood. Cheers Jan | ||
| janriviere
Intermediate Member Username: janriviere Post Number: 127 Registered: 5-2002 |
and I completely agree with Thomas :-) | ||
| poor_nigel
Member Username: poor_nigel Post Number: 85 Registered: 7-2003 |
I was just going to completely agree with you! | ||
| effclef
Member Username: effclef Post Number: 65 Registered: 1-2004 |
OK, so master volume is more important than the CVQ to some players. I am still a little curious about the volume on Alembics. With neck and bridge pickup you get, let's say, 0.5V out of each pickup. (This could be wrong but let's use it as an example.) So on a non-Series model, with pan control, having the volume fully up and panning all the way to the neck pickup gives you 0.5V. Panning all the way to the bridge gives you 0.5V. Panning in the middle gives you 0.25V from each pickup or 0.5V total. On a Series I, you get volume controls for each pickup. So my understanding here (and why people love it) is that with the pickup selector on the neck pickup and the neck's volume all the way up, you'd get 0.5V out. Same with the bridge. But when the pickup selector is in the middle, the outputs are summed rather than panned either-or, so it is additive and you get 1V out of the bass in mono mode for instance, where the pickups speak at the same time and the signals don't have negative interference. Is this why people like the Series, used this way? I would think the same exact effect would be had by ... simply turning up the amp when the pan control is in the center. Now with the Series II adding a master volume, I can see why this would be handy, in that you wouldn't have to walk over to the amp to turn the bass down (both pickups at the same time and by the same amount). But the same effect would happen with a Series I if you turned both pots down the same amount. I guess I wouldn't be so militant over whether the bass had a pan control, two volumes, or two volumes plus master volume. But then I've never been on stage looking for quick adjustments. ;-) Man that is such a beautiful piece of woodwork. Perhaps eighty of us could chip in $100 each and we could simply share it? EffClef | ||
| 811952
Intermediate Member Username: 811952 Post Number: 119 Registered: 10-2003 |
In '81 I ordered my Series I with a master volume instead of ordering a Series II. I saved a pile of money, am totally happy with the Q switches and use EQ at the amp for subtle tone shaping. I don't miss what I don't have. John | ||
| palembic
Senior Member Username: palembic Post Number: 1175 Registered: 9-2002 |
Some remarks! Brother Jan: Goldilocks would show nicely next to Marilyn in your musicroom (want to lenn a nylon stocking??? LOL). BTW , I THINK that Series II alos have standard a recessed logo???. About tone on a Series II the CVQ is more subtle but I cannot compare with a series I. The principle of ADDING a PU to the other PU is a completeley different approach in tone shaping. A PAN gives you "OR" a series (and the Anniversary electronics too I think) goves you "AND". Paul the bad one | ||
| poor_nigel
Member Username: poor_nigel Post Number: 87 Registered: 7-2003 |
81 ALEMBIC Series II Custom 5 EXOTIC Woods BASS w/Case I have been watching this auction with great interest, as I am kind of fond of the bass being sold. One of the most interesting events of it is that the guy selling the Goldilocks bass bid on this one. eBay entertaining? Some times . . . It seems like a dandy bass. I wonder why no one is discussing it on here? Could some of our brethren be considering adding this spiffy bass to their collection? I should shut up? OK . . . On the pickup front - Both my basses jump up in volume when the pickup selector switch is in the middle position (well, they are four-position switches, but you know what I mean). I am actually not fond of this, and I do use the master volume on the Series II to correct for this. If I am doing something wrong or not doing something right, please correct me. If I decide to order a new bass, it will definitely have a volume and a pan, and not three volumes. Just a personal preference. You know, you could use a rubber band in a figure eight, looped on the two volume controls set to their mid point. Then, when you turned one up, it would turn the other down. Rubber band pan! Why am I sooo poor when I have such a rich imagination?! | ||
| hollis
Member Username: hollis Post Number: 69 Registered: 11-2003 |
I can't even afford to pay attention....But Thomas, have you ever considered going into the better mouse trap business? | ||
| 811952
Intermediate Member Username: 811952 Post Number: 122 Registered: 10-2003 |
Thomas, I be you could have Ron W. install servos instead, so you don't have to use something as mundane as a rubber band. Another option would be to install simple levers on the knobs with a cross-linkage to perform the same function as the rubber band. Maybe you could have the device(s) made of cocobolo or ebony.. or sterling silver... :-) My volume increases, what, 6dB or something when I center the 4-way selector too. I find that I use the individual volumes to adjust my mix, pretty much ignoring the PU selector, and use the master volume for, well, master volume. A pan pot would be cool, but I find the 2 volume pots to be easier to read at a glance compared to the pan pot on another bass I play. Is a pan pot an option with Series electronics? I can hardly imagine it wouldn't be... John | ||
| effclef
Member Username: effclef Post Number: 68 Registered: 1-2004 |
John, my speculation is that if the neck pickup puts out X volts, and the bridge puts out X volts, then with the selector in the middle, the mono output should be 2X volts when the pickups are combined and additive (when parts of the waveforms along the string have what is called "constructive interference"). A doubling of power (2X) is a 3 dB gain, so you are close! <http://ourworld.compuserve.com/homepages/g_knott/elect347.htm> My guess would be that for those who use their Series bass with a stereo amp, each pickup getting their own channel, that having the selector in the middle simply turns both on at the same time and there's no perceived volume increase like with someone using the DS-5 mono output. (Yes, both speakers would be now speaking at once, in the stereo setup, so it IS a volume increase...but not quite the same effect as mono output + center switch position seems to be.) EffClef | ||
| poor_nigel
Member Username: poor_nigel Post Number: 90 Registered: 7-2003 |
I have seen a couple customs made with a volume and pan on their Series II electronics. Cuts the eight knobs down to only six, but you do lose the standby/mute position that way, by eliminating the pickup selector. However, simply turning the volume off has the same effect. For me, I would definitely go pan. (Message edited by poor_nigel on March 17, 2004) | ||
| effclef
Member Username: effclef Post Number: 79 Registered: 1-2004 |
<http://cgi.ebay.com/ws/ebayisapi.dll?viewitem&item=3711424332> Looks like it went for $5810. Bargain! EffClef | ||
| stoney
Advanced Member Username: stoney Post Number: 275 Registered: 7-2002 |
Back to that master volume control... I have a Brown Bass, not a Series Bass but it came with 2 volume/2 tone/2q switched. I recently had a master volume control added to the mix. The problem I have had working with the 2 volume control combination is that a quick change in volume is pretty much impossible without wrecking the tone you have. Perhaps you want to turn your bass up just a tad just before your solo or turn it down for a nice ballad and it is inconvenient to reach back and turn up your gain on your amp. Installing the master volume robbed me of a 6db according to Mica but my bass is now much more functional. | ||
| palembic
Senior Member Username: palembic Post Number: 1191 Registered: 9-2002 |
Brother Jonathan!!!! How good to have you back! You confirm my way of working with Bonnie (she's a Series I with Series II electronics as you know). I consider the two PU volumes more as additional "tone-controls" and the master volume is the "really" volume for me. Indeed I mostly play with that MV not "full open" to have a little "reserve on board". As was already explained in other posts ...that SII-thing is a ...well ...oh ...huh ...trick ...an attitude to shape tone. For some people it invites to endless fiddling around on stage and getting complete beserk in adjusting the tone forgetting one have some playing to do. Not for me ...it's a little searching in the start of the gig and ...hupsa! Tonewise ...well ...as I said before ...it's the difference between "choosing" between PU's and "adding" two PU's. That's all that there is to say. Paul the bad on |
