| Author | Message | ||
| kmh364
Advanced Member Username: kmh364 Post Number: 381 Registered: 9-2003 |
Hi Mica, I don't remember having ever seen an Alembic of any type with a Maple fingerboard a la Fender. Have you ever done anything like that? Would you consider doing something like that? I've seen the Alembic J-Basses that went to Jolly Old England, but they had Ebony fingerboards. Cheers, Kevin | ||
| mica
Moderator Username: mica Post Number: 1876 Registered: 6-2000 |
We made one for John Lodge. We've made a few others. I don't like them at all, they look really gross after a short time of playing, like all Maple fingerboards do. Please don't ask me to do this to a poor little unsuspecting Alembic  Also, Ebony is superior in durability, there is no contest. | ||
| bsee
Advanced Member Username: bsee Post Number: 221 Registered: 3-2004 |
They have to get ugly if you oil them, and they eventually peel if you finish them with a poly coat. There is a certain tone you get from maple, though, especially on an old Fender, that's different from their other fretboard materials. The Zon fingerboard made from a composite material has a lot of similarity to the sound of maple without the downside in appearance. Would Alembic consider using this kind of composite material as a fingerboard for someone looking for maple-like tonal properties? Personally, I prefer the tone of ebony over all other fingerboard materials. | ||
| mica
Moderator Username: mica Post Number: 1879 Registered: 6-2000 |
I know it makes a difference on other makes, but I don't think there is any appreciable difference in tone with different fingerboards on an Alembic bass. Feel yes, look yes, tone no. On a fretless of course the fingerboard directly participates in the creation of the sound. | ||
| kmh364
Advanced Member Username: kmh364 Post Number: 383 Registered: 9-2003 |
Exactly. Fender's tone is what I'm thinking of...Gilmour's and Clapton's Maple Strats don't sound like Stevie Ray's or any of my rosewood fingerboard Strats do (all things being equal). Yes, I realise they all use different P/U's and amps. I had been thinking about a high-end David Gilmour Strat-style guitar with active electronics (but not EMG's), all highly-figured woods (including maple f/b), and possibly a neck-through body. I got the idea from a combo of two guitars I like: a) my buddy's neck-through Fender Custom Shop Tele with mahogany body/neck and AAA Quilt top w/triple tobacco sunburst finish (you can see one just like it on the SRV Austin City Limits DVD in the "little wing" video), and; b) the new G&L Comanche (the one with the figured triple-sunburst body, flamed maple neck, birdseye-maple fingerboard with a gun-oil tint lacquer finish). Why an Alembic Custom Guitar? Fender's quality and customer service, even their Custom Shop, leaves much to be desired. G&L is better quality, but the Comanche has those ill-looking "Z" pickups and an ugly headstock shape. On top of that, did you ever try re-selling a G&L in this part of the country (i.e., NYC Metro area)? If it don't say Fender or Gibson on it, it aint worth S**T here, LOL! Obviously, I want something you just can't walk in a store and buy...and I want Alembic's awesome quality and customer service. Just an idea. I see it went over like an uncontrolled gaseous eruption in a house of worship, LOL! | ||
| susan
Moderator Username: susan Post Number: 59 Registered: 5-2002 |
Just a short comment on Stevie Ray's guitars: 1 had an Activator set I sold him many years ago and 2 of them had Blastors in them from even longer ago in 70's. To my Knowledge he always kept them in the guitars. BTW- There are more Blastors in guitars out there than anyone might think. It's one of our oldest products and there are thousands of them out there in Fender Strats, many are internal only so you can't tell from looking at them. -susan | ||
| kmh364
Advanced Member Username: kmh364 Post Number: 385 Registered: 9-2003 |
Now that I've gotten my new Alembic bass, I'm jones'n for an Alembic guitar. I'm a huge Jerry fan, but everyone orders a Tribute, so it's hard to get one that is that different. I wouldn't mind either a Tele or Strat style guitar, but not a California Special. Maybe a Further? I'm sooooo confused...who's got ideas? I'd definitely like something different than everybody else orders from Alembic. | ||
| the_mule
Advanced Member Username: the_mule Post Number: 211 Registered: 1-2004 |
Kevin, what about a Further in a darker wood variety? I bet a M. Ebony, Supreme Walnut or Coco Bolo top on a Further, combined with purpleheart (or dare I say: Ebony!) neck laminates would be one killer axe soundwise, and VERY original in appearance! Wilfred | ||
| hollis
Advanced Member Username: hollis Post Number: 316 Registered: 11-2003 |
Ahhhhhh Kevin.......... I see it has begun...... Maybe a baritone Further? I know I have one somewhere between dreams and reality. | ||
| bsee
Advanced Member Username: bsee Post Number: 223 Registered: 3-2004 |
I would think an M. ebony tribute would be totally outrageous. | ||
| kmh364
Advanced Member Username: kmh364 Post Number: 386 Registered: 9-2003 |
Susan: Thanks for your input. It is always a pleasure to see a response from you as I value your opinion greatly. I certainly wouldn't mind having a blaster and/or activators in another Strat (or even in the Strats I already have), as long as it was internal. I'm just looking for something better than another run-of-the-mill production Strat or the overpriced underwhelming quality of the Fender Custom Shop version. BTW, I already have a SRV-like '62 Vintage Re-issue Strat (CBS '83 vintage) and a 80's-90's Clapton-esque CBS '82 Custom Color Strat (in Pewter, albeit with a gorgeous dark rosewood fingerboard). I certainly wouldn't mind a maple version with actives a la Gilmour, but the thought of spending a fortune with Fender, or making due with a crappy production version doesn't appeal to me at all. Foreign-made (i.e., non-USA made) stuff is taboo for me, as well. | ||
| cdf
Member Username: cdf Post Number: 80 Registered: 5-2003 |
I have noticed several settings on my Tribute yield very Gilmour-ish tone. In fact the versatility of the Tribute electronics is really quite remarkable, I still haven't discovered all they can do. I think you can have the Trib electronics package put in many different bodies. For example I remember seeing a Spectrum body shape with Spalted Maple as the top and back wood, that was spectacular looking and I bet it sound fantastic as well. Well just a suggestion. | ||
| kmh364
Advanced Member Username: kmh364 Post Number: 389 Registered: 9-2003 |
Thanks, Court. Your Tribute is awesome for sure: Jerry would be proud. If I don't go with three single coils a la Fender Strat, I felt I would probably end up with Tribute/Further electronics as opposed to Series electronics. While I'm sure that Ron's Series stuff is absolutely the most versatile out there, I don't like the idea of being tied to the rack-mount power supply and all those controls (and the price, LOL!) are daunting. As an Electrical Engineer, An Electric Code Inspector, a Construction Manager and as former Mechanic, I like the KISS principal (i.e., Keep It Simple, Stupid, LOL!). My new Orion 4 has, without a doubt, the most complicated control set-up I've ever used. Likewise my Eden WT-550 amp head. At least with the Eden you can usually leave it flat and adjust the Alembic to do what you want. My guitar stuff is the opposite. I have an old Tom Sholz Rockman IIB headphone amp and a 60's vintage Silvertone all-tube practice amp, an old silverface '79 130W Fender Twin Reverb for clean stuff (owned it since '81) and I'm having a Custom Harry Straub Cantus Head/Sultone 2x12" cab combo being fabbed as I write this for the dirty stuff. It's a 50W All tube, hand hardwired boutique head based on a Marshall Plexi but with a modern gain section as well. I think it has about as many knobs as my Alembic does, LOL! My electric guitars are all straightforward as well: Strats, Les Paul and a couple of Jacksons (active electronics, but only three knobs and three switches). Having said all that, I realize that to be versatile, it's gonna end-up with a lot of knobs and switches. Just like my Bass. Do I really need a Swiss Army Knife of Instruments? For the bass: yes. I only have one and I didn't want to have an army of basses just to get varied sounds. For guitar: not necessarily. I have the classic Strat and LP sounds. Yes, it is always nice to have all the desirable instrument sounds at hand on one guitar. If I wasn't talking about an Alembic, right now I'd use that old "Shop Smith" analogy here: a tool designed to do many jobs doesn't do any of them well, LOL! I imagine that unless I buy a Fender/G&L though, I'm gonna get a versatile instrument from Alembic with lots of knobs/switches whether I like it or not, so it might as well have most of the bells and whistles, LOL!. I just have to figure out what in the H**L it is that I really want, LOL! Choices, choices. | ||
| pace
Junior Username: pace Post Number: 35 Registered: 4-2004 |
>>>Having said all that, I realize that to be versatile, it's gonna end-up with a lot of knobs and switches<<<<< No matter what you go with, I would definitely consider incorporating the Tribute/Futher's TRS effects loop. All those knobs (can you say SF-2?!?!) will be off the guitar and on a rack. -Mike | ||
| kmh364
Advanced Member Username: kmh364 Post Number: 392 Registered: 9-2003 |
Du'oh!!! Now your talking outboard EFFECTS (more knobs and more cables)? LOL! I used to cringe when I saw Jerry with his Alembic "Doug Irwin"'s (Wolf, Rosebud, etc,) back in the day. His was stereo with the stereo effects loop so he had an UMBILICAL of bundled cables eminating from the guitar connecting it all. He stated in a '78 Guitar Player interview why he did it and claimed he didn't care if it was unweildy because he didn't move around much on stage. His guitar tech must have hated him, LOL! My god, I wonder if they'll make me an EMW electronics package tailored to guitar. At least that thing has less knobs and switches than a further/tribute. Can you have a free lunch with Alembic's guitars, i.e., good versatility in varied sounds WITHOUT a million knobs and switches? Jerry (and Phil) didn't mind all that added complexity, but I do. | ||
| bassman10096
Senior Member Username: bassman10096 Post Number: 563 Registered: 7-2003 |
Here's to simplicity! Having just bought S2 electronics, let me qualify that... I love my new bass because, between the S2's and SF-2 I have an infinite number of potential tweaks I can make. But when I order my next Alembic, I'm going for something much more user-friendly. Even if...I lose some versatility in the mix. I'll always have my S2 if I'm not satisfied and am convinced a better sound can be created with more electronics. Being an inveterate tweaker, I realize I could never go for something with more limits on potential adjustments until I owned the ultimate. But, for those of you who own SF-2s: Don't you feel like your tone shaping ability is limited only by the character and quality of what ever bass you hook up with, its preamp and pickups? I have nearly a love affair going on with an active Jbass whose sound does not impress me at all - until I feed it through my SF-2! Bill | ||
| kmh364
Advanced Member Username: kmh364 Post Number: 396 Registered: 9-2003 |
I'm with you, Bill. While I certainly respect Ron's lifetime work and think owning an S-II would be the ultimate statement of electric/electronic instrument technology, I just prefer simpler electronics. I looked at the Further/Tribute electronics and it seems pretty straightforward. I think I'm gonna have to discuss my options with Mica or Susan and see what they come up with. I have a feeling I'm gonna end up with some kind of bastardization of two or more electronics packages a la EMW, LOL! Hey, that's it....Alembic can call it the KMH electronics package! Actually, after dealing with me again, they may elect to call it the PITA electronics package, LOL! | ||
| bkbass
Member Username: bkbass Post Number: 57 Registered: 11-2003 |
Plain and simple?No but...just go for the pitch that's in your head as the center reference and branch out from there.You'll find some interesting tones in your search for your tone along the way.I'm dead serious about my next statement "always,always have a pad and pencil nearby when exploring tones and do it in fifteen minute slots always returning to your defacto settings"this simple equipment is just as important as the cables, amps,pres,and instruments in the grand scheme of things.Take many notes! | ||
| kmh364
Senior Member Username: kmh364 Post Number: 426 Registered: 9-2003 |
Understood. It seems like a lot of work, though, huh? LOL! I tend to be a little lazy when it comes to stuff like documentation (ask my bosses, LOL!). For those of you who have read my rather verbose ramblings on a variety of topics here on this site, you're probably shaking your head in disbelief at that last statement, LOL! Bottom line is I just have to figure out what I want and then go for it. Alembic offers virtually unlimited options, so just when you think you got it nailed, you think of something else or, worse yet, you see something on this site that someone else has done and all of a sudden ya gotta have it, LOL! I just have to (try to) keep it as simple as I can, electronics-wise anyway, while still getting as much versatility as I can. Unlike as it was for my other instruments, it's a little harder on a civil-servant's paycheck to buy multiple SPECIALIZED instruments from Alembic, so whatever I get has to be reasonably versatile. | ||
| bsee
Advanced Member Username: bsee Post Number: 243 Registered: 3-2004 |
EMW is a pretty versatile package. For the most part, it is the Europa package with pots for fine control of the bass/treble boost/cut instead of toggles. Personally, after a few months with a Persuader, I think seperate volume controls is very powerful for tone control. If you could add the toggle switches from a Europa to this package, it would get you in the ballpark for any tone you want. The fact is, you will find an awful lot of tone control in your hands beyond what you can do with the knobs on any package. I hope to play an S2 and a Brown Bass this week. I suspect that I won't realize the benefits of the S2 when I play it. I expect that takes a lot of hours to really appreciate the versatility and is most useful in a studio setting where you might be willing to spend the tweak time to get it perfect. I think I am really going to bond with the Brown Bass electronics package. I have really come to appreciate the separate pickup volumes, so this should feel like an extension of the Persuader package. Also, playing a few basses will do a lot more for the decision process than talking about it. Find out what the shops within range have, and go for a ride to try them out. Maybe even hook up with some other members in your area to touch and listen. | ||
| bassman10096
Senior Member Username: bassman10096 Post Number: 607 Registered: 7-2003 |
Hey Bob: I'm sure this will strike you after you work with both the anniversary and S2 controls and tone shaping: They are actually rather similar. Anniversary has: Neck pu - vol, filter, 2 pos'n Q switch Bridge - Same controls 4 pos'n pu selector (off, neck, bridge, both) Stereo/mono modes S2 has: Neck pu - vol, filter, cont variable Q Bridge - Same controls 4 pos'n pu selector (same options) Stereo/mono modes Master volume What I think about the differences: Having worked with a 2 position Q switch and the CVQ knobs, I don't find the difference too dramatic (others may disagree). But the master volume is a godsend for convenience and for keeping the pu volumes strictly as tone shapers. The only remaining difference would be the sound characteristics of the S2, single coil pu's and preamp vs. the anniversary humcancellers and preamp. I can only tell you subjectively that the single coils have a different kind of presence - particularly in the way they project high harmonics. My point is that both packages give you the same method of controlling tone. Their tweakability is, literally, similar (at least in principal). Susan and I discussed this at great length once when I was designing my bass. The point she made was that, for tone shaping capability, the critical jumping off point was for the electronics package to permit independent control of each pu. I believe that's why the Alembicians will generally say that anniversary electronics with fatboy pu's are the closest approximation for Series soundshaping. I guess what prompted me to write this was that you shouldn't undersell the capabilities of the Brown Bass's electronics. Nor should you necessarily assume they are significantly less complex or nuanced than the Series package. I'd welcome the comments of others with more hands-on experience with both anniversary and Series electronics, but this is what I can best deduce about the comparison. BTW: Sounds like you are in for loads of fun! Good luck with making choices and keep us posted. Bill | ||
| bsee
Advanced Member Username: bsee Post Number: 244 Registered: 3-2004 |
Bill- I am not so confident that I understand how the master volume works. Are you saying that even if you vary an individual pickup volume down, that the master will maintain the same overall volume passed to the preamp? And conversely, if you boost the volume of a pickup, it just changes the balance while maintaining constant output volume? If that's the case, then I would have to agree that it sounds like a very handy tool. I'd be interested to hear more about the technical details of what this control does. -Bob | ||
| bassman10096
Senior Member Username: bassman10096 Post Number: 609 Registered: 7-2003 |
No. The master volume just makes it easy to adjust the overall volume output of the bass. So, when you decrease the neck pu volume without changing or increasing the bridge pu volume, the master volume lets you adjust quickly to the overall volume you want. Without the master volume, tweaking pu volumes would most often change the overall bass output level. The master volume just gives you a single, convenient way to reset your bass volume without interfering with the tone you shaped when you set the pu levels. Hope that makes sense. BTW, Mica told me it's possible to add a master volume to an anniversary bass, but the pot is expensive. I think the cost on a new build (where all the routing to fit the added pot would already be done)was $250?? | ||
| bsee
Advanced Member Username: bsee Post Number: 245 Registered: 3-2004 |
Thanks, it makes sense but sounds like it might take some time to get used to keeping it in the middle of the range. I would guess you have to keep it up high enough to be strong without maxing it. I suspect that it's harder to live without once you've used it, but I do okay minus a master volume today. | ||
| bassman10096
Senior Member Username: bassman10096 Post Number: 610 Registered: 7-2003 |
I used to on former basses, too. It's all a matter of what you are used to using. Enjoy your visit with all them exotic instruments! | ||
| kmh364
Senior Member Username: kmh364 Post Number: 435 Registered: 9-2003 |
OK, now I'm really confused, LOL! Series THIS, Master Volume THAT, my head is spinning! I just wann get a cool one-of-a-kind custom guitar from Alembic that is versatile without being ridiculously complicated. Oh, yeah, it's gotta look great and not like everyone elses, LOL! OK? I need to hit the lottery, LOL! | ||
| kmh364
Senior Member Username: kmh364 Post Number: 436 Registered: 9-2003 |
OK, now I'm really confused, LOL! Series THIS, Master Volume THAT, my head is spinning! I just wanna get a cool one-of-a-kind custom guitar from Alembic that is versatile without being ridiculously complicated. Oh, yeah, it's gotta look great and not like everyone elses, LOL! OK? I need to hit the lottery, LOL! | ||
| flaxattack
Intermediate Member Username: flaxattack Post Number: 135 Registered: 4-2004 |
What you really need to do is hit the pipe | ||
| kmh364
Senior Member Username: kmh364 Post Number: 465 Registered: 9-2003 |
Oh Behaaaave! | ||
| kmh364
Senior Member Username: kmh364 Post Number: 530 Registered: 9-2003 |
Hmmmm...maybe a balance-K style like Jonathan's (not quite that small though) or a scaled down Dragon's Wing a la Roger style guitar....choices, choices, LOL! |
