| Author | Message | ||
| billy_v
Junior Username: billy_v Post Number: 33 Registered: 9-2002 |
Thought you might enjoy seeing Gibson's limited-run take on the rosewood-top solidbody! This guitar's said to have been made in '75, one of only 60 said to have been built. I'd never heard of Gibson ever having built such a thing. Pretty cool!  | ||
| zappahead
Member Username: zappahead Post Number: 52 Registered: 10-2002 |
Yea if you look around a bit you can occasionally find a LP with an exotic top. Theres the Korina ones (never seen a Korina Alembic, they probably have made one though), some Koa ones too and now they have that smartwood series that has an exotic looking top that I havent seen in person. Thats a nice looking LP though. Would love to see it in person. | ||
| bigredbass
Intermediate Member Username: bigredbass Post Number: 182 Registered: 9-2002 |
In the early 70s, Gibson made a version called "The Les Paul" with wooden pickup rings, knobs, tuner buttons, etc. I'm sure pictures of this one are on the web somewhere. It was a very interesting take on this perennial. I find it interesting that after so many reissues, special editions, commemoratives, etc., that this particular style has never been repeated. J o e y | ||
| bigredbass
Intermediate Member Username: bigredbass Post Number: 183 Registered: 9-2002 |
In the early 70s, Gibson made a version called "The Les Paul" with wooden pickup rings, knobs, tuner buttons, etc. I'm sure pictures of this one are on the web somewhere. It was a very interesting take on this perennial. I find it interesting that after so many reissues, special editions, commemoratives, etc., that this particular style has never been repeated. Having worked there for 2 years, I have NO respect for Gibson, and I find it laughable that new LP Customs list for as much as most ALEMBICs. You've got to hand it to 'em. Not to mention they bought and killed Steinberger, Tobias, and Trace Elliott, among others. J o e y J o e y | ||
| zappahead
Member Username: zappahead Post Number: 56 Registered: 10-2002 |
Yea, Alembics prices seem high till you get a gander at the insulting prices for Gibson and Fenders "custom shop" guitars. | ||
| rami
Advanced Member Username: rami Post Number: 256 Registered: 6-2002 |
Hi Joey, Let's not forget about Epiphone - a one time small jazz guitar company that was known for their quality American handcrafted creations. Now existing in name only as Gibson's cheapo Korean subsidiary. Whatever Gibson and Fender touch turns to trash. A real shame. Rami | ||
| valvil
Moderator Username: valvil Post Number: 262 Registered: 7-2002 |
or it just dies...I was really bummed when Gibson bought Opcode and killed it in a MONTH! Made lots of my midi stuff obsolete almost overnight & had to learn a new sequencer, not to mention the expense involved...I always thought that if all they wanted out of it was a tax write-off (apparently that's what they did, bought the company, killed it and got a write-off), they could have bought a company that had nothing to do with the music business and that would not be missed by anyone; as it was, Gibson lost many many brownie points from me when they did that... Valentino | ||
| rami
Advanced Member Username: rami Post Number: 258 Registered: 6-2002 |
Ever wonder why old Gibsons and Fenders are worth so much? It has little to do with quality (my 60's Jazz basses sound like crap by today's standards). They were young companies started by visionaries and innovators. Les Paul's "Talking Guitar" and Leo Fender's "Precision Bass". Today they're just faceless corporations who eat up and spit out smaller companies who start making it. Mass production and poor quality geared towards profit. The pride and craftsmanship are lost. The next time someone complains about the cost of an Alembic, show them a Gibson or a Fender and they'll appreciate real value for the buck. | ||
| alembic76407
Advanced Member Username: alembic76407 Post Number: 209 Registered: 5-2002 |
I still say in this world you get what you pay for, and if you spend alot for a Gibson or a Fender, they saw you coming!!!!. the other night I was talking to a bass player about basses and he told me that he had the best bass in the world, my ears perked up, then he said he played a Fender jazz, not wanting to burst his bubble, I was happy for him, he has the bass of his dreams and thats what will keep him growing as a bass player, {besides the only players that don't want an Alembic are the one's that have never played an Alembic} and as for pride and craftsmanship goes. it's still alive and well in Santa Rosa. David T (Message edited by alembic76407 on November 22, 2003) | ||
| davehouck
Advanced Member Username: davehouck Post Number: 212 Registered: 5-2002 |
David, although I agree with your statement that you get what you pay for, your additional statement that "the only players that don't want an Alembic are the one's that have never played an Alembic", while an understandable sentiment, is probably not accurate. The three Alembics that I have bought used came from people who preferred other instruments; they played Alembics and decided that Alembic wasn't for them. Personally, I love the sound of my Alembics; but I can understand that others may prefer the sound of a Fender Jazz or some other bass. We each follow our own path; mine seems to run through Santa Rosa <g>. | ||
| rogertvr
Intermediate Member Username: rogertvr Post Number: 170 Registered: 1-2003 |
I wanted an Alembic long before I played one! Rog | ||
| bigredbass
Intermediate Member Username: bigredbass Post Number: 184 Registered: 9-2002 |
I forgot to say one very important thing: I know many people who worked/still work at Gibson, and overall they are good people trapped in a very bad situation. THEY are certainly not party to the questionable business practices of the ownership. Do a websearch of the OpCode fiasco and you'll see a vendetta of dime-novel venality. Hartley Peavey always said that so many of his competitors had changed hands so many times that the brand names were highly diminished over time. Like a lot of his 100 proof observations, this is one more I lived to prove right. J o e y | ||
| davehouck
Advanced Member Username: davehouck Post Number: 214 Registered: 5-2002 |
Joey; thanks for the suggestion of a web search on OpCode. I read the article at http://stephengoldin.com/gibson/technohick01.html and found the story quite entertaining. | ||
| rami
Advanced Member Username: rami Post Number: 259 Registered: 6-2002 |
You know guys, I've got a few Jazz Basses that I really love. I can't imagine even comparing them to any of my Alembics, but what I love about them is their familiarity. The way they feel and the times they bring me back to. Seeing Jaco jumping up and down with that old beat up thing that looked like it was found in a dumpster. Our attatchment to old Basses is more about emotion and familiarity rather than sound or quality. My alembics capture that slim sleek Jazz Bass feel with the beauty and artistry of a handcrafted masterpiece. They just give it all: sound, feel and high end "Rolls Royce" quality. Worth every penny. Rami | ||
| dean_m
Advanced Member Username: dean_m Post Number: 217 Registered: 7-2002 |
I'm not sure if you guys know this yet but Fender now owns SWR Amplification. I'm curious to see how that goes in the next year or so. While I'm not a big fan of SWR, I hate to see ANY company get swallowed up by large coporations. I think one of the only companies to benefit from such a situation is Ampeg being bought by St. Louis Music. SLM really resurrected the name. Peace, Dino | ||
| alembic76407
Advanced Member Username: alembic76407 Post Number: 212 Registered: 5-2002 |
speaking of Fender, I saw a 1966 Precision today for only $4599, I hope they get it | ||
| mdrdvp
Member Username: mdrdvp Post Number: 72 Registered: 7-2002 |
Here's a nice one. http://www.tennessean.com/sii/00/05/28/gibson28.shtml Manfred | ||
| dean_m
Advanced Member Username: dean_m Post Number: 219 Registered: 7-2002 |
That's very interesting!!! He sounds like a very eccentric (for lack of a better word) individual. Not sure if I'd like to work for him. It is too bad what happened to Tobias, although the MTDs are beautiful instruments as well. I still see Tobias basses though from MusicYo. Anyone have any info on that situation. | ||
| bigredbass
Intermediate Member Username: bigredbass Post Number: 185 Registered: 9-2002 |
Dino The MusicYo basses are basically the original-pattern Tobias bass built in Korea. I've played a few and they are Ok for the price range. For serious work, you'd gut them and replace with all-Bartolini, as the routs are the same. I'd rate the quality as 'B' spec Samick, definitely not as good as Samick's current new offerings, and certainly not Yamaha/Aria/Ibanez Japan-spec build. Believe me, that TENNESSEAN article is just a taste of "the Henry"! Just to twist all this further: ---Supposedly Gibson is going to 'revive' American production of Tobias at the Baldwin Piano (ANOTHER acquisition) plant in Arkansas ---Supposedly Ned Stienberger is returning to update the old designs for the 'Steinberger Guitars' that is part of Gibson ---I played the couple of MusicYo Tobias' at VALLEY ARTS GUITAR (the old LA pro shop, formerly owned by Samick, now bought and transplanted to Nashville by Gibson, building their variations on Fenders!) Who needs fiction when real life gets this strange? Believe me, I could fill the Titans' stadium with people who USED to work for Gibson. J o e y | ||
| davehouck
Advanced Member Username: davehouck Post Number: 217 Registered: 5-2002 |
Interesting article Manfred; thanks. | ||
| dean_m
Advanced Member Username: dean_m Post Number: 221 Registered: 7-2002 |
You know, If they would just focus on doing one thing, and do it good. Man for what they charge for a Les Paul, they have to diversify. Here's a funny story for you. I worked for Gibson 1 year at the NAMM show in Anaheim. I was a "runner" for them. I would run badges out to endorsees at the gates so they could get in. I remember having to escort Les Paul, into the show with a "Ben Dover" name tag because they gave his badge to Slash from Guns & Roses. How's that for respect for the man that put them on the map. That's my "stupid" Gibson story. I"m sure you've got plenty. Thanks for the info on the MusicYo thing!!! Dino | ||
| xlrogue6
Junior Username: xlrogue6 Post Number: 38 Registered: 8-2002 |
I'm probably just too slow to appreciate Henry's brilliance, but if he's as smart as they say, why does he keep buying companies and then (micro)managing them in such a way that they lose money and die? (Acquisitions? That's down the hall--it's Being Hit On The Head lessons in here.) | ||
| jake
Junior Username: jake Post Number: 45 Registered: 3-2003 |
i have a gibson. not a nice one, but to me they're all the same. I've played vintage les pauls worth tens of thousands and they sound only marginally different, and the craftsmanship is borderline on every single gibson i have ever played. the only vintage guitar that ever inspired me was a 1954 strat, asking price $7500. The guitar sounded much better than new fenders, and there was just something about it that made me feel like I was meant to play it. But, nowhere near enough money, so oh well. But these days, theres almost nothing i would put down the asking price for. Henry, as some has said he is brilliant, is in my opinion an absolute monster. He makes people like bob taylor look good. Bob's guitars are overpriced for a massproduced machine made instrument but at least they are well crafted and sound decent. Whenever Henry touches a company, the quality control goes straight to hell, as does the sound and its just a terrible situation. I would never ever consider buying a new baldwin piano, or a new gibson guitar at this point which is a damn shame because at least, at one point these great american instrument companies were worthy of some respect! I cannot respect a company that produces instruments with frets showing through the binding, electronics that crackle, and uneven finishes. And it's all because Henry has convinced those poor guitar-center going saps that simply owning something with the gibson name on it will turn you into a rock star. As a guitar maker, i have very strong opinions as you can definitely already tell. Guitar makers are a very opinionated group and generally love starting fights among eachother just to come out on top in the end. However the only thing that guitar makers as a whole ever agree on is gibson, and what a hyped up load of sh*t it is. And if anyone says paul reed smith, theyre just waitin for it... | ||
| bracheen
Junior Username: bracheen Post Number: 48 Registered: 11-2003 |
To add one more whack on a long dead horse, I don't have any Gibson experience but do have three Mexican Fenders that cost me less than half the price of their American cousins and I am very happy with them. Granted I'm not a pro and currently play at home for relaxation and stress relief but the inflated value of the made in USA sticker on the peg head makes me smile every time.  Sam | ||
| bigbadbill
Junior Username: bigbadbill Post Number: 37 Registered: 10-2003 |
Hoo, I may be in trouble here, but the Gibson Les Paul is my favourite 6 string guitar (with the possible exception of the Yamaha SG1000/2000).Although I agree they're overpriced (particularly anything above a Standard; how anybody can pay £3000+ for a new Les Paul is beyond me), I love the vibe and sound. Most of the so-called boutique guitars leave me a bit cold (eg Tom Anderson etc.); I guess what Rami says about familiarity has some bearing on this, although I don't agree with our attachment to old instruments not being about sound. Sound is ultimately a purely subjective thing; wasn't it Jaco who said he preferred the sound of his main Jazz's to anything else? If I had to keep one bass in the world it would be my 72 Rick, which is my favourite sounding of all the basses I've ever owned, and is totally unique (I've owned and played many Ricks and none sound like this one). I wouldn't get rid of that for anything,even if you offered me a 25th Anniversary in trade. I do agree the build quality of old guitars is generally not up to much by todays standards, but build quality does not necessarily a great instrument make. Of course your own personal playing style and the sound you're trying to achieve have a great bearing on this. | ||
| palembic
Senior Member Username: palembic Post Number: 819 Registered: 9-2002 |
Hmmmm ....1 admirer of the Yamaha SG 2000 over here! Forgot to say: one of the guitarplayers I work with has an old Yamaha SG 1500. Although he's a Strat and Gretsch player,he says it's one of the best in it's kind. (Message edited by palembic on December 14, 2003) | ||
| bigredbass
Advanced Member Username: bigredbass Post Number: 208 Registered: 9-2002 |
bbb- I worked in retail in the late 70s-early 80s, and believe me, the great overlooked GEM of that time is the SG2000. Over the years, Yamaha has rotated it in an out of their product line. They are once again for sale in Japan, and may be coming to the EU, as Yamaha fronts a different product mix there from the US. They are currently offering several new BB basses that are not sold in the US at this time. The original neck-thru SG2000s we sold at that time ROUTINELY had to have their action RAISED by us, as only the most sure-fingered of our customers could ride them successfully as we recieved them . . . while not ALEMBICs, they were surely the best 'production' solid-body guitars I ever saw, and are fortunately sold at reasonable prices in the vintage market. The SG, the better Ibanez Artists, and the Aria PEs are the three best Japanese electrics, where they took the original layout and added their own stamp and features to form their own identities. J o e y | ||
| zappahead
Member Username: zappahead Post Number: 63 Registered: 10-2002 |
I have a comic done by Tim Truman about Santana that features a low down on his guitar aresenal in the back of it with lots of pics. Some of the nicer ones in theres are Yamaha SG's. He claims to have worked with them on the guitars and improving the model with his input. There are some pictures of some incredibly inlayed Yamahas that he is very proud of and considers to be among his best instruments. | ||
| rami
Advanced Member Username: rami Post Number: 266 Registered: 6-2002 |
Comparing a passive bolt-on & shifting neck bass to an Alembic for sound is really comparing apples to oranges. Other than Alembic, I've never seen an active bass with Tone control. That's another major advantage of the Alembic sound. I can get Bass, treble and midrange from my amp. My best sounding passive Bass is my '72 Jazz. I grew up with it and found my voice through it. As great as it sounds, it wouldn't be fair to compare it to my Alembics. I agree that sound is subjective, but form a technical and construction stand point, the Alembics have all the right ingredients. There are no misses or hits with my Alembics - they ALL sound great. Some of my Jazz Basses sound great - some sound like garbage. Why did Jaco play the same Bass throughout his career? Because finding a great sounding Jazz Bass is pure luck. | ||
| rami
Advanced Member Username: rami Post Number: 267 Registered: 6-2002 |
(Message edited by rami on December 14, 2003) | ||
| bigbadbill
Junior Username: bigbadbill Post Number: 38 Registered: 10-2003 |
Hi guys I still haven't found a great sounding Jazz, 20 odd years on! Still, I think that's more to do with me than anything else; I've played/owned a few that sound great when other people play them, but not when I do! I just don't really get on with them; never have. I completely agree that the majority of Alembics sound great (in my experience) and that they are generally far more consistent than other basses; I suspect that the sustain block and the electronics have quite a bearing on this.The set necks I've played, without sustain blocks and with simpler electronics, seem to vary a great deal more, probably because of the greater impact of the differing woods on the sound of the bass.Interestingly of course the Yamaha SG also has a sustain block and they also seem fairly consistent soundwise in my experience. I've played many other fantastically built basses that I have no time for soundwise though. Still, not a problem as long as Alembic keep producing basses! One other thing, it looks like 72 was a good year Rami (my girlfriend was also born then so she'd agree!); strangely many of the nicest "older" instruments I've played were made in 72. Must've been something in the air...wierd! All the best Shaun | ||
| musikill
Junior Username: musikill Post Number: 26 Registered: 12-2003 |
I have to agree with Rami. I love my '72 highly modified P-bass turned low impedance Jazz bass with custom (and I mean custom) onboard active parametric eq. that bass plays wonderfully and the sound is as close to Alembic as I have ever heard. in fact with Q off the Alembic and my modified Fender sound frighteningly close. Interesting because the approach to the electronic design is totally different. I can expand on this if anyone is interested. I also own a very early G&L 2000 fretless. I called G&L about this bass when I bought it in 1989. I had the privilage of speaking to Leo Fender - you could actually get him on the phone at that time. He was very interested in my bass and after about 10 minutes he confirmed that it was a preproduction bass that he had personally supervised the production of. The bass is beautiful and wonderful to play as well. I am of the opinion that while Alembics are without doubt at the top of the pack, there are many fine basses made by pioneers that had they not come first there may not be an Alembic. I also agree with the common thought that both Fender and Gibson are now typical big business and buy companies just to destroy them. Unfortunate in light of what the early days of the music (and instrument) business represented. I disagree that Fender and Gibson are no longer making good instruments (as long as they are the US made models). I still find a Gibson Les Paul, SG, and Fender Strats and Jazz basses to be great guitars with great sound. I also think the Fenders coming out of their custom shop are very nice. With the discounts you can usually get in a music store, these are great buys for those that may not be able to afford an Alembic. I frankly never thought I would own an Alembic but I am getting close to 50 yrs old - and only now could make the purchase, and used at that. I would have a hard time justifying $6k - $8K for a new custom Alembic. So for many, the custom Fender is not a bad second choice. We need as many instrument makers as possible because there are that many different people playing - and we don't want to all sound the same now do we. Wouldn't you hate to see everyone with an Alembic? It would take the special aspect of owning one out of the picture. Just my thoughts for what it's worth, greg | ||
| palembic
Senior Member Username: palembic Post Number: 830 Registered: 9-2002 |
Brother Greg... and there are brothers who call ME eloquently ...wew ...brothers and sisters raise from stools, chairs, coaches and beds (yessir-indeed-sir-you-too) and give this man a warm applaus for these fine words. I say "amen" to that! Paul the bad one | ||
| musikill
Junior Username: musikill Post Number: 30 Registered: 12-2003 |
Thank you Brother Paul. I am thinking of starting a new career as a televangelist. Please send me $19.95 and I will see that you are well taken care of in the afterlife. Not that I'm suggesting you rush to get there but you should get your payment in early just in case. greg |
