Since the wood is the inspiration for the name, it seems as good
as any place to start discussing the features of this lovely bass. When we talk about "Superb Walnut" around here, this is the stuff
we mean. There's a wonderful alternating color-banding juxtaposed with an outrageous flame figure. It looks like the banded layers of rock
that line Waimea Canyon. The flamey figure brings to mind the numerous waterfalls that dance along the ridge of the canyon.
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When the wood is this special, you've got to make your own veneers for the peghead faces. We slice a thin
sheet from the same board on the bandsaw, then sand to the final thickness desired.
We've been told that it's amusing the wood, especially on the peghead, is so reminiscent of Koa, considering the Hawaiian name of the bass. |
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The warm colors of the Mahogany neck stream down the back view of Waimea.
Three Ebony neck laminates make the tone from this bass solid and rich in fundamental response. Mahogany as the main neck wood keeps the overall
tone round and full.
"I'm glad that I chose Mahogany instead of Maple in the neck," Paul reflected. "The notes on the G and D strings above the 12th fret have a real sweetness to them. Susan told me that about 80% of the 'Ebony effect' is accomplished with one stringer. I can hear that now. It's kind of bad that I hogged three of these rare stringers for Waimea's neck." Don't worry, Paul, nobody can blame you for that :) |
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We wanted Waimea to have an understated beauty, so the choice to
use blackened brass hardware was a natural one. An Alembic aficionado might note this hardware looks a tad more black than
usual. The company that does our black plating now offers a clear ultra-hard powder coating over the black
finish. It's still got a tinge of the steely gray color, but the result is a deeper, more black color.
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As a Series II bass, continuous wood backplates are a standard feature. Making
these little objets d'art is rather time consuming (like we ever take the easy road). Before gluing the body laminations together, the location for the
backplates is mapped out. Bob then uses his scroll saw and cuts the plates from the main bookmatch. Then, just like the peghead veneers, these
reserved parts get resawn to make the facing veneers for the plates.
Stacked up 5 thick, with the Walnut on the outside and inside, we glue the plates to form some of the most exotic plywood you'll ever find. The plates are then shaped and fit to the routing on the back of the bass. Side by side in the finish department, plates and bass alike are coated with our polyester finish for maximum beauty and protection. |
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Black Tahitian mother of pearl keeps the understated theme going and
matches with the fingerboard inlays.
"Thank you for bending over backwards to make Waimea. It's beauty beyond compare! You're the best!" Paul's wonderful ever-positive attitude made it possible for us to create this instrument. He continues to be an absolute joy to work with. We're confident that next time, together, we'll get everything "just right." |
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Text and photos of bass by Mica Wickersham Thomas, © 2010 Alembic, Inc. |
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