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Show me your Alembics

#322
I could not resist posting this:

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Holes getting drilled right now and than it's ready for the black paint :bassist:

Crazy Quitlts and awesome Koa in the posts above btw
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#324
Hey Fealach

That is one fantasitc 5 string. I like the wood. Personally I like the wider necks. To each his own I guess. My Rogue 5 probably has the same basic neck shape as yours I would think. I am starting to think I like the controls on the style you have better though. The treble/bass cut boost thing seems too much or not sometimes.

- Ziggy -
 
#325
bassclef112 said:
Wow! An Alembic Urge II!!!! That should be really interesting. Are getting a similar control scheme with all pickup combinations available?

And I have to ask - are you really going to cover that flame with black paint?:eek:
Click to expand...
Controls will be:

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JPJ pickups
Jazz pickups with pan control
P pickup with 4 way pickup selector
Three 3-position Q, one for each pickup
3 filter controls, one on each pickup
3 internal gain trimpots, one for each pickup
master volume
mono out

4 way pickup selector switch:
1. P only
2. P with J (from the bridge/neck pan)
3. J only (from the bridge/neck pan)
4. Standby

Finish will be see through black with the back of the neck left blank (High gloss, also Flamed Maple)

Something like this:

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(look closely and you'l see the flames)

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#334
gnasher1993 said:
That is absolutely beautiful. What are all those controls?

How much did that set you back? I doubt I can afford one but I can dream ;)
Click to expand...

You can do the math over on alembic.com-- they have a custom quote generator. It was expensive :D.

The controls are:

For each pickup:
Low pass filter 250-6500 Hz
Q 0-15dB
volume

It has a master volume, pickup selector, stereo/mono switch, and an LED on/off switch. It is a lot to get your head around, but it pays off.
 
#337
Definitely one of the nicest Alembics I have ever seen. I always thought this was one of the most graceful body shapes they ever designed. The cocabola top is awesome, what I particularly like is that the grain of the wood flows with the shape of the body so well and enhances the curves. If the top wood is too fancy and busy it can overwhelm the curves of an instrument. I like to see the shape of the instrument first and then be drawn into the beauty and character of the wood, some tops just scream at me too much for attention and I end up looking at the wood and not seeing the instrument.
 

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