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Club Alleva Coppolo (Part V)

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#81
This is an interesting discussion in that it somewhat correlates to the overstand issue discussed on the DB side...overstand being the distance between the fingerboard and the top plate and the angle at which the fingerboard points to the bridge. (not sure how it's measured).

Alot of people I've heard discuss overstand correlate it to increased acoustic power and volume.

I know electric players are more concerned with dialing in a low setup then driving the body (making it resonate). I'd imagine there's some sonic impact at the neck pocket...though it could be negligible.
 
#84
Andrew Jones said:
Not true,,,,Well true for some;)

There are allot of parallels.Trade offs, Playability vrs Tone. What works best for this particular bass given what it does well naturally. Ect....


AJ
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Well, to put it another way...most of the time you hear of people shimming necks in order to get the bottom of the neck closer to the strings as opposed to getting greater "overstand" on the top.
 
#85
Yes the electric players ,set up guys,don't use the same vocabulary.

Shimming the neck is parallel for Changing the neck angle. The shim is a wedge shape and is used to set the angle compared to the body.Then the bridge is adjusted to compensate.

The downward pressure itself is not the foremost desired effect (it would be driving the body as a whole "acoustic intrument" not just the neck pocket) like it is with double bass but all other results are. These are the playability things.

I'm agreeing with you, just putting it into my words for your consideration.

Aj
 
#86
FWIW...I recently had a Sadowsky in the house to audtion and with the same strings on it and my 83 Jazz 62 reissue, the tension on the Jazz was MUCH moreso then on the Sadowsky. Chalked it up to a higher setup on the Fender, but ... more than subtle, almost night and day.
 
#88
Gilsonite said:
Ok, I'm in....:cool:

IMG_1311.gif
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Nice! How's that Puma?!?
 
#89
mothra2 said:
FWIW...I recently had a Sadowsky in the house to audtion and with the same strings on it and my 83 Jazz 62 reissue, the tension on the Jazz was MUCH moreso then on the Sadowsky. Chalked it up to a higher setup on the Fender, but ... more than subtle, almost night and day.
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I again agree... if you have the strings way off the neck, you have to push them down more... giving the feeling of 'tighter tension' (i.e., having to strech the strings more prior to them hitting the fret). This can play total hell with intonation if taken to the extreme.
 
#91
KJung said:
I again agree... if you have the strings way off the neck, you have to push them down more... giving the feeling of 'tighter tension' (i.e., having to strech the strings more prior to them hitting the fret). This can play total hell with intonation if taken to the extreme.
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Yes, nothing that crazy though as to effect intonation.
I did lower the action on the Fender later, inspired by the Sadowsky setup, to the point where it was getting noisy on the frets (never prof. fret leveled, raised em back up a bit in the end), but the (apparent) tension sure was still there.
 
#93
Gilsonite said:
The Puma 1000 is just like my Glockenklang but in a small
form factor with double the power, and it sounds Amazing!!!!
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+1 I do hear quite a bit of the Glock tone and also the Epi502/902 tone in the Puma. I actually like it better, even if it wasn't so much smaller and lighter.

Are you running 1/2 of the 1000 into that S212 or bridging the whole 1000 watts into an 8ohm version?

K
 
#97
mothra2 said:
There ya go, yes. Undeniable on my right hand.
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I've come to the conclusion, after owning quite a few basses, and playing a LOT of others, that there is nothing quite as perfect as a flat sawn, stiff, 34" scale maple neck, whether it be a Fender or one of these wonderful boutiques (Alleva or Sadowsky in my case) for the perfect combination of stability, GREAT B string, and great 'feel'. I've owned Fodera, MTD, Drozd, FBass, Smith, etc., etc.... and 34" scale, 34 1/2" scale (talk about overthinking things on the luthier's part:smug:) and 35" scale, and nothing seems as tight, stable, and resonant as the classic 34" scale flat sawn maple formula. Maybe Leo was a genius!

My Sadowsky and Alleva's are just tight as heck feeling. I feel the same way about most Fender 4's I've played, but still can't figure out why Fender has such trouble with the B string:rollno: on virtually every Fender 5 I've personally played (maybe 20 or so).
 
#99
KJung said:
I've come to the conclusion, after owning quite a few basses, and playing a LOT of others, that there is nothing quite as perfect as a flat sawn, stiff, 34" scale maple neck, whether it be a Fender or one of these wonderful boutiques (Alleva or Sadowsky in my case) for the perfect combination of stability, GREAT B string, and great 'feel'. I've owned Fodera, MTD, Drozd, FBass, Smith, etc., etc.... and 34" scale, 34 1/2" scale (talk about overthinking things on the luthier's part:smug:) and 35" scale, and nothing seems as tight, stable, and resonant as the classic 34" scale flat sawn maple formula. Maybe Leo was a genius!

My Sadowsky and Alleva's are just tight as heck feeling. I feel the same way about most Fender 4's I've played, but still can't figure out why Fender has such trouble with the B string:rollno: on virtually every Fender 5 I've personally played (maybe 20 or so).
Click to expand...


+1

That Sadowsky let you fly with that setup and feel.
 
#100
KJung said:
+1 I do hear quite a bit of the Glock tone and also the Epi502/902 tone in the Puma. I actually like it better, even if it wasn't so much smaller and lighter.

Are you running 1/2 of the 1000 into that S212 or bridging the whole 1000 watts into an 8ohm version?

K
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Hey Ken, I am running it 4ohms right now, when my s210(4ohm) comes in I am going to be running 500 watts per side
which is essentially the same as bridging the amp into 8ohms.
2x500 watts into 2 separate cabs is a lot more flexible than running into a 410 8ohm cab, either way its still utilizing the
1000 watts. :bassist:
 
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