Alembic Guitars Club
Alembic products => Alembic Basses & Guitars => Topic started by: Googe Endeveronte (goooge) on October 25, 2002, 04:29:04 AM
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I have always thought that alembics had 0 neck angle-but the featured construction Hotfudge looks like it has a neck angle (the joiner shot.)
trick of the eye?
anybody?
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Hey Googe,
am I seeing this good: you posted at 04:29 in the morning? Woooooooaaaaaah! It's afternoon here!
Can it be that I'm missing something in your message? Ought there to be a picture? Maybe I misinterpret the question. I'm not that fluent in english.
Paul
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Here's the picture (http://www3.alembic.com/img/hf_necksq1.jpg target=_blank) Googe is referring to. As far as I know we've almost always made our guitars and basses with a body draft angle. I've seen a few early examples and customs that didn't or used a smaller angle than we've been using for the last 25 years.
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I hate to be stupid-what is a body draft angle?
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It's the angle you're referring to - the difference between the plane of the fingerboard gluing surface and the top of the body. I think we're using 2 different terms to describe the same exact thing.
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thanks Mica-
is the angle severe like on a gibson?
I dont remember any angle on the few times I have played an alembic. (thus my question in the first place)
thanks!
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Googe E:
Alembics actually have three angles:
1) The 'neck angle' you mention (or 'draft angle'
term that Mica used) is a construction method
used to raise the string height at the bridge
2) ... so that the angle where the strings cross
from the bridge to the tailpiece is greater.
This tends to give greater sustain by creating
more 'downforce' (to use a racing term) on the
bridge. The separate tailpiece (and the brass
sustain block in some models) boosts sustain as
well.
3) The 'third' angle is the headstock pitched down
from the plane of the fingerboard. Again, this
makes more 'downforce' on the nut, adding
sustain. It also simplifies restringing as
this allows the builder to eliminate the string
trees used on Fender-style instruments. The
tree arrangement can't possibly deliver a
uniform loading to the nut. GOTOH has even
begun building staggered-height tuning keys to
attempt to compensate for this.
These construction methods are neither cheap or common in most basses. If you set out to build the very best, they are, however, the ONLY methods you would use.
Combine this with the laminated necks and slab ebony fingerboards, it's no wonder The BigRedBass seems to sustain forever, even at low volume.
I am continually delighted by the insight manifested in the construction of my bass.
Joey Wilson