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Club Alleva Coppolo (Part V)

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Both bridges are plated Brass..IIRC but the saddles on the Bent plate are made of Stainless steel.. So they are not plated but they will resist rust until the end of time.
Aluminum would not accept chrome plate as well as it would most likely stress at that bend radius ..



EDIT.. oops sorry that was already answered.


.
 
Hey guys,

I just came back from the shop ... man, Jimmy is really putting his foot in it for the NAMM show this year.
I'm been swarn to secrecy, but the cat will be out of the bag in less than a week.
Also, Jimmy took in an early LG5 (#12) on trade from Tom Barney.
It's Burgandy Mist / Nitrocellulose paint.
The controls are vol/vol, treble, bass. It has Badass II bridge and an electro socket input jack.
You can also string the B through the body.
It's for sale immediately.
Enjoy the pics.

Please forgive my ignorance, but is this the Tom Barney of Dave Sanborn's group? And Jeff Lorber?

Having just read that this bridge type isn't the preferred one, what bridge would be?
 
I find the preferences for bent plate bridges fairly interesting. It's the only part on my AC that I dislike. I wanted a bass that pulls off vintage warmth and tone and I have the ultimate PBass version of that - theres no doubt about that. The bass itself and all other hardware is phenomenal.

The bridge is obviously authentic and I totally understand Jimmys thinking on having it on his basses. But in my opinion, it's modelled on the part most commonly replaced on Fender basses due to it being a bit cheap and crappy :)

I'm in the process of putting on a Badass II bridge. I'll let you know how it goes.
 
i think its just a matter of taste...the badass is a big piece of real estate if you dont get the Short version.....the 5 version comes in short and long versions.. .
I really didnt mind the tone i got when it was on my LG5. .it just had alot of sharp edges on the saddles and the screws sticking up.. At times (one song a gig) i may use a pick and palm mute and i cut myself a few times on the bad ass.. I was real happy when jimmy swapped mine to the newer Alleva/Hipshot.. its rounded and smooth with no sharp edges and its brass which really seems to work well on alot of bridge designs.. I have no idea what the Badass is made of. .I was told it is potted cast metal .

If i remember that bass that Jason posted above it is very sweet.. and the bad ass does sound badass on that thing... and a real rare finish too..
Having just read that this bridge type isn't the preferred one, what bridge would be?
 
i remember those days. .it was about 1976 when i replaced my fender bridge with a Badass1..

It now has the original on there and i prefer that.. its simple and sounds like an vintage fender. .but that is the tone that i am going for...



Please! I'm interested to know. (And good points about the bridge. I'd forgotten how everyone was replacing their bridges back in the day).
 
If i remember that bass that Jason posted above it is very sweet.. and the bad ass does sound badass on that thing... and a real rare finish too..
You read my mind about the bridge... that is exactly what I was wondering... would this bridge be good on this bass, or should I think about having it changed out while it is with Jimmy... assuming I bought it of course.
 
i remember those days. .it was about 1976 when i replaced my fender bridge with a Badass1..

It now has the original on there and i prefer that.. its simple and sounds like an vintage fender. .but that is the tone that i am going for...
It was 1976 when I bought my first bass. I was just a kid growing up in a small island fishing community in Alaska about 8 hours by boat from the nearest city. (I never saw a traffic light until I was 18 years old). We didn't have a music store, so I went to the nearest thing I could think of, a furniture store, and told them some friends of mine wanted to start a band and they wanted me to play bass, and I asked if they could sell me one. They said maybe and told me to come back next week.

Meanwhile, they called Seattle and a week later they were showing me magazine like pictures of basses and telling me prices. I gave them my savings from my paper route and chose a Fender Jazz with an ash body, maple fingerboard, white pick guard, blocks and binding. Why? I thought it looked cool and I liked jazz and thought if it had "jazz" in the name, I could use it for that too.

However, when it arrived, my friends made fun of me for ordering a bass named after a "car part."

I immediately had buyer's remorse.

They thought I should have bought a Gibson SG like the other bass player in our town had.

I shook it off immediately though. I didn't care though, the bass looked even better in person than it did in the picture, so I kept it. I have it still to this day in fact.

Anyway, although I read that others were replacing their bridges, I didn't do it. The only change I wanted to make to my bass was to remove the frets like Jaco! :hyper:

Anyway, I digress.

Thanks for the insights on Tom Barney's bass with this bridge.
 
You read my mind about the bridge... that is exactly what I was wondering... would this bridge be good on this bass, or should I think about having it changed out while it is with Jimmy... assuming I bought it of course.


The stock bridge works and sounds so good, I don't think I'd bother. The bent plate is very cool if you were spec'ing a very authentic LG type vibe, but for the LM's, that stock bridge looks great (not that huge, clunky Badass look), sounds great, and works great (no slipping of set screws, etc.).

I would probably not mess with a bridge that Jimmy chose as being the best fit for his instruments. IMO!
 
The stock bridge works and sounds so good, I don't think I'd bother. The bent plate is very cool if you were spec'ing a very authentic LG type vibe, but for the LM's, that stock bridge looks great (not that huge, clunky Badass look), sounds great, and works great (no slipping of set screws, etc.).

I would probably not mess with a bridge that Jimmy chose as being the best fit for his instruments. IMO!
Right, that's my thinking as well, but seeing has this is serial number 12, Jimmy has innovated since then and might have different recommendations now than he did then.

Probably the best thing to do is to contact him directly... if I can let that color grow on me a bit more! :smug:
 
Thanks, Dan. A new, NAMM 2009 Avella Coppolo would be the cat's meow... especially since Jason did such a great job of raising the suspense on Jimmy's new secrets for NAMM, but it is more than a little likely that it would be way over our budget.

I'll have to read back and see if I can find photos of your basses. It sounds like they are amazing.
 
Tom.. that is a great story..
I too was being pushed towards a Gibson SG style or EB0 back then by friends... but i went with a fender P bass.... Back then I remember seeing in local papers on Long Island , NY fender P and J basses for $150 - $175 ...were are talking about mid and early 60s fenders.. If i knew what i know now i would have bought a dozen of them and stowed them away til now.... still love the fender thing...and that is why i love Allevas.. they are like vintage fenders.. IMO.

In fact I just got a Dalbergia Negra RW neck from Jimmy for my KBP5.. It looks incredible.. I have not seen RW like that in bass that i own in over 30 years




It was 1976 when I bought my first bass. I was just a kid growing up in a small island fishing community in Alaska about 8 hours by boat from the nearest city. (I never saw a traffic light until I was 18 years old). We didn't have a music store, so I went to the nearest thing I could think of, a furniture store, and told them some friends of mine wanted to start a band and they wanted me to play bass, and I asked if they could sell me one. They said maybe and told me to come back next week.

Meanwhile, they called Seattle and a week later they were showing me magazine like pictures of basses and telling me prices. I gave them my savings from my paper route and chose a Fender Jazz with an ash body, maple fingerboard, white pick guard, blocks and binding. Why? I thought it looked cool and I liked jazz and thought if it had "jazz" in the name, I could use it for that too.

However, when it arrived, my friends made fun of me for ordering a bass named after a "car part."

I immediately had buyer's remorse.

They thought I should have bought a Gibson SG like the other bass player in our town had.

I shook it off immediately though. I didn't care though, the bass looked even better in person than it did in the picture, so I kept it. I have it still to this day in fact.

Anyway, although I read that others were replacing their bridges, I didn't do it. The only change I wanted to make to my bass was to remove the frets like Jaco! :hyper:

Anyway, I digress.

Thanks for the insights on Tom Barney's bass with this bridge.
 
+1


The stock bridge works and sounds so good, I don't think I'd bother. The bent plate is very cool if you were spec'ing a very authentic LG type vibe, but for the LM's, that stock bridge looks great (not that huge, clunky Badass look), sounds great, and works great (no slipping of set screws, etc.).

I would probably not mess with a bridge that Jimmy chose as being the best fit for his instruments. IMO!
 
Hey guys,

I just came back from the shop ... man, Jimmy is really putting his foot in it for the NAMM show this year.
I'm been swarn to secrecy, but the cat will be out of the bag in less than a week.
Also, Jimmy took in an early LG5 (#12) on trade from Tom Barney.
It's Burgandy Mist / Nitrocellulose paint.
The controls are vol/vol, treble, bass. It has Badass II bridge and an electro socket input jack.
You can also string the B through the body.
It's for sale immediately.
Enjoy the pics.



:) Hey Jason..you didnt happen to test out my RA hanging there beside it did you?
 
i hear ya.. i have not tried the new P5
pup yet.. some people love it and some love the original from what i have heard.. the original is warm and FAT...

It's NOT fat..... IT'S FRICKIN' HUGE!!!!!!!!!!!!!!!!!!!

I just love looking over at the director and seeing this big grin on his face - it sounds so good even the trumpets commented! (and we all know what they are like!).

FWIW, I usually play at a church with bass, 2 keys, drums, electric guitar (sometimes acoustic also), 2 percussionists, a bunch of strings and horns (35-50) and either a small vocal group (7-9) or choir (100+). Having basses that sound like the AC's is a real blessing.

Dan K.
 
:) Hey Jason..you didnt happen to test out my RA hanging there beside it did you?

Sorry Mitch ... i was too busy drooling over the NAMM goodies.
And, to tell the truth, i'm not really a maple board guy so i hardly noticed her.
If Jimmy had told me it was for you, i definitely would have played it & given you a review.
I'm assuming that I'm gonna see you this week, yes?
 
you are right.. HUGE is right.. my mistake...i gig/work with tim kimsey as an engineer fairly often.. the guy has a few grammys and ears of gold.. he is master.. he freaked over the old
pup.. i want to see what he says monday when i see him.. i also re-necked the bass with a dalbergia neck... i will post some pics later..
It's NOT fat..... IT'S FRICKIN' HUGE!!!!!!!!!!!!!!!!!!!

I just love looking over at the director and seeing this big grin on his face - it sounds so good even the trumpets commented! (and we all know what they are like!).

FWIW, I usually play at a church with bass, 2 keys, drums, electric guitar (sometimes acoustic also), 2 percussionists, a bunch of strings and horns (35-50) and either a small vocal group (7-9) or choir (100+). Having basses that sound like the AC's is a real blessing.

Dan K.
 
My Alleva P5 slightly worn in.With Dalbergia Negra fingerboard / Poly Piano Black alder body / Bent Plate bridge... today

IMG_4708.gif


IMG_4711.gif


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My LG has an Indian RW board
IMG_4721.gif


My dog Allie looks on
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