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School me on Alembic

#81
I want to add to the chorus of praise for the people who craft these instruments.

My visiting buddy and I—both 19-year-old nobodies at the time—requested and received a tour of the Alembic facility shortly after I moved to the San Francisco Bay Area. We really had no business being there, but the people at Alembic didn’t act like it. Mica showed us around personally, let us play basses belonging to Lenny Kravitz and (according to my buddy’s memory) Stanley Clarke while they were in for maintenance, and solemnly informed us that Allen Woody had just died. I have told some version of this story at pretty much every opportunity since then. I figure it’s the least I can do, because while that buddy of mine could probably afford an Alembic and play it properly these days, they will likely remain out of my reach. Those with the requisite budget, though, would be hard pressed to do business with better people.
 
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#82
Bob Coldwell said:
[QUOTE="Eric Swaim, post: 26267418, member: Back in 1992 I had a 1980 Vermillian top and back and mahogany core Series 1 and a 1977 with Shedua (spelling?) Top and back. The 1977 sound like crap compared to the 1980. I called and before I could explain the Shedua bass sound, they told me it does sound as good as the Vermillian.
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I don't understand this point. Did you mean "does NOT sound as good"?[/QUOTE]
You figured it out
 
#84
I've owned a wide variety of basses from Squier to Fodera. To me, Alembic represents the final frontier (in quality and price). Unfortunately, the Alembics I've tried didn't impress that much. But I've heard clips that sounded amazing. As has been mentioned, I would really need to play one before buying. I do own an Alembic Superfilter rack preamp so there's that.
 
#85
I currently own a '95 Epic, which is regarded as the "low end" Alembic. It is the best bass I've ever owned, but more on why later. If you want to hear what it sounds like check out the RHCP One Hot Minute album where Flea used it on many of the tracks. And I understand why. It is a great studio bass where it is versitle in tone, low noise, and I've got no hot or dead spots on the fretboard. It's just really well behaved.

I found mine at a local Guitar Center. I went in to buy an amp, but I saw it sitting on the used rack and I about flipped out. I played it and I had to have it. So I traded in my 70's Ric 4001 and picked up the Epic used at a great price. The Ric was a hot mess, and I didn't want the hassle of a full restoration.

The pickups have little influence on the strings, which is what I'd expect from an active system. Some people complain of them being too good which I think is ridiculous. I threw on some Chromes and I can dial in some sweet sounds! Of all my basses this is the bass that gets it done with no fuss.

The craftsmanship is outstanding. They're all gorgeous. If I had the money to throw around I'd love to have a Stanley Clark model. Too much $$ for me since I'm just a casual player these days.

If I had to suggest any downsides, it is heavy. No neck dive though. And it keeps going up in value, so I can't just toss it around. I'll bring out my beater basses for that.
 
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#86
FishDub said:
Not to be negative but I had a Spoiler last year that I sold few months later(just wasnt my thing)..I bought it for 2k and sold it for the same..Fast forward to today, reverb has a few near 5k USED..C'mon man gimme a break..
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Used to be the cheapest model. I paid $1750 for a new one in 1981. Always regretted swapping it off for a Distillate Exploiter which I later sold off. Current one is an Essence 5 string which is terrific but after a decade+ with it, I would rather have a 4 string instead.
 
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#88
Killing Floor said:
They come shielded. You don’t need to pay for Plek or have a new nut made when you get it. The bridge doesn’t rattle. There’s no dime sized hole cut on top for no reason. It’s not 50-50 the neck is straight. John Entwistle.
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Ah, but John Entwistle went on the record in interviews that he struggled with controlling the Alembics' necks when on tour with The Who at times, sometimes spending up to a half hour pre-show adjusting them to get the neck as straight as he wanted. I've read similarly from others than Alembic bass necks are "alive" in that regard.
 
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#89
legalbass said:
Ah, but John Entwistle went on the record in interviews that he struggled with controlling the Alembics' necks when on tour with The Who at times, sometimes spending up to a half hour pre-show adjusting them to get the neck as straight as he wanted. I've read similarly from others than Alembic bass necks are "alive" in that regard.
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FWIW, Mica Wickersham described John’s preferred setup to me one time as so low that no one in the shop could even play it.
 
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#90
legalbass said:
Ah, but John Entwistle went on the record in interviews that he struggled with controlling the Alembics' necks when on tour with The Who at times, sometimes spending up to a half hour pre-show adjusting them to get the neck as straight as he wanted. I've read similarly from others than Alembic bass necks are "alive" in that regard.
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His beard got caught on the bridge. He just needed a longer strap.
 
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#92
Here’s my $0.019:

First, here is a thread about the Alembic bass, which I currently own:
An Alembic Story

My perspective on Alembic basses has changed a bit through the years. The main thing for me is that Ron Wickersham’s Series I and II onboard preamps remain the top shelf active system out there. This I find just a little baffling, because the IP ran out LOOOONG ago, and no competing makers have offered anything remotely in the same ballpark.

Now, that said, I’ve been mainly gigging with Pope and Sadowsky preamps for the past 2+ decades or something; mainly because the sounds in those circuits are more well suited to covering standard Fender-ish Top 40 material. The Alembic circuit is startling in it’s fidelity; but, IME, it also has a rather unique character, which is NOT a Top 40 mix tone. 3 or 4 decades ago, when musicians were focused on developing unique voices, Alembic basses were a thing. Sadly, that kind of gig opportunity has been much diminished.

Regarding ergonomics and weight, one has to take into account with used instruments that you are buying someone else’s specification. Alembic can produce lighter instruments; but, you have to ask (and pay) for it.

They are a small company, with wonderful and talented people. They still have a distinct high fidelity (not your normal pejorative meaning, the bass is truly overpowering) character to the instruments. They have their place, but are not for every gig and every player.
 
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#94
svlilioukalani said:
A brand that won't expose flaws like an Alembic is a Fender. Unless you have had an Alembic bass in you hands for a while you would have no idea of what I am talking about. Clearly the case here.

A Fender will never have the clarity and accuracy of an Alembic pickup. Unless you slap some Alembic electronics in your Fender. It's not about price. And I never said anything about tonal accuracy or locking in with a drummer. Which has nothing to do with what I am talking about.
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I have done quite a bit of sound with kids and very inexperience (with perhaps a little more enthusiasm than talent and skill) especially singers. I love Shure SM57ss and 58 because they sound ballsy and don't expose flaws like Shure Betas and other more expensive mics. On that reasoning a Fender or Ibanez is a better bass for me and probably the majority of players that an Alembic because we really don't need our weaknesses exposed. However, just as they say "what is developed in motor racing filters through and improves everyday cars", I'm sure elements of what Alembic (and a few other top end manufacturer artisans) develop eventually filters through to my beloved Ibby. That right there is very cool!
 
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#95
svlilioukalani said:
A brand that won't expose flaws like an Alembic is a Fender. Unless you have had an Alembic bass in you hands for a while you would have no idea of what I am talking about. Clearly the case here.

A Fender will never have the clarity and accuracy of an Alembic pickup. Unless you slap some Alembic electronics in your Fender. It's not about price. And I never said anything about tonal accuracy or locking in with a drummer. Which has nothing to do with what I am talking about.
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E2140174-3C81-4854-BFDB-D32266017121.jpeg
 
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#97
Lackey said:
Holy Schnikies I never thought I'd see an Alembic / Dave Pushic comparison.
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I had owned the Alembic for several years and wanted to add a custom built bass. I couldn't afford a new Alembic (totally worth their price but as a Dad of 5, I couldn't justify buying one) so, I contacted several Luthiers. I won't mention names, but all highly respected worldwide. Dave Pushic was the only one who took my ideas for an Alembic-esque type of bass and made it exactly as I had "pictured"....the only difference was the asymmetrical neck (which I absolutely love). The attention to detail and playability makes it my #2.
 
#98
So many wonderful stories here:

l’ll just say that as a vocalist who started to play bass at first in a band (because we just couldn’t FIND anyone lol) CHANGED MY LIFE; getting a teacher and lessons changed my life; going through most of the “big names” (e.g. Sadowsky, Smith, Fender, Pedulla,EBMM, and Fodera) changed my life…but playing a 1993 Alembic SC Custom during last year’s Christmas holidays changed everything for me.

The look of that bass’ particular top wasn’t for me but the sound was unreal: I could get Jazz and a P with the turn of a pan knob; I could hear all of my mistakes and was overjoyed! The boutique builders’ basses I have played were ALL fantastic, but Alembic GOT me!

I have only wanted to hear that sound again: I have wanted one of my own, and while I’m too busy at work to play in a band anymore (at least for now) I want to have a gorgeous and clean sounding instrument that will make me motivated every time I look at it, and make me sculpt and tweak sounds even if just for me. I am probably putting myself in the poor house with all of my buying and selling, but Alembic put me on a mission that I have never been so obsessed to follow. I hope you find what you want!
 
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#99
I have a '86 Spoiler (zebra wood/mahogany) that a bandmate called hi-fi bass. Perfect description of the sound. Very easy to dial in different tones, sounds good with almost any amp you choose. I was playing in an acoustic oriented (Celtic and Americana) band at the time and the Spoiler was a perfect match. When playing blues or rock it wasn't my go to bass. For those I really like my 5 string Warwick Streamer Stage 1, of course we all have a P-Bass with flats for when that's called for. But for jazz, Americana, Celtic, goofing around, I love the Spoiler - still do. Now it needs a little love and may go back to the creator for some work but it's a wonderful bass.
 
#100
I bought a set of Alembic jazz bass preamp and pups way back in the late 80's, it's still on my Fretless Frankenjazz. The only thing I've never really bonded with is the "Q" control. It just souds like a sort of fixed wah pedal with the extreme ends o the range kind of un-usable, so I leave it centered. the other downside is tyat the pots have very light turn resistance, and are easily knocked out of whack. Any tips on getting a good tone using the Q? Is it possible to replace stock Alembic pots with something a little stiffer to turn?
 

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