Author Topic: Alembic Series II Wanted (Read 1066 times)

j_gary · « **Reply #15 on:** June 17, 2005, 03:14:47 PM »

Hi David, sounds like you have heard me play. I like the look of a Epic, never played one. I thought you had to have a whole bunch of switches and dials on your bass to be a Big Dog. You know I have not had the chance to play a Series, heck I've never seen one in person, so what do I know. All those controls, the electronics, the craftsmenship makes one think this could be big fun. Stay Low, Gary.

ctjim · « **Reply #16 on:** June 17, 2005, 08:49:32 PM »

J. Gary,

Welcome to the club. Hope your hunt/prowl is short, and sweet.

James,

Not only do you have a great name, but a pair of super basses. To cool.
Ctjim

malthumb · « **Reply #17 on:** June 17, 2005, 10:43:20 PM »

Gary,

You asked how I came across these basses. First of all, the sick part is that I received them both the same week in June 2000.

I had owned (in order) an '83 Spoiler, an '87 SC, a '74 Series I, and a '79 Series II. All 4 stringers. I play in church and a 5 string comes in handy, so I hardly got to play any of them. I really liked the Series II, so I decided that what I really needed was a Series II 5 string. I specced out the Mark King Deluxe 5 string with Series II electronics and side LEDs. While it was in the process of being built, I found out that Stanley Clarke was liquidating a lot of his gear as part of a divorce settlement. I contacted his engineer and made an offer on the 4 string. As I mentioned, they arrived the same week. About two days apart. What a week!!

Peace,

James

j_gary · « **Reply #18 on:** June 18, 2005, 01:08:44 AM »

Hello Ctjim,I thank you sir for the kind sentiment. I fear this may be a life long journey and I'm beginning to realize how much I enjoy the whole process.

James, thank you for the info and the photo. After hearing about your unbelievable week in 2000, I'm thinking God is a bass player and you are on the short list of favorite house musicians.Very cool having a real Stanley Clarke. It appears you have flown enough different models to comment on your feelings of the pros and cons of short,medium and long scale necks. I'd also appreciate your thoughts on LEDS, front and side.
Stay Low, Gary

malthumb · « **Reply #19 on:** June 18, 2005, 05:51:38 AM »

Gary,

I'll leave any commentary on short scale to Micheal DeLaCerda, the attending physician in the short scale wing of this musical hospital.

As for medium and long scale, I've had two 32 scale mediums ('83 Spoiler & '79 Series II) and two 34 long scales (the two I still own). Can't say that I'm strongly biased either way. Just keep in mind that Alembic fretboards tend to start further out of the body than most basses you'll play, making the reach to the 1st position a little longer than on most instruments.

LEDs? Fronts are for the audience, Sides are for you. I will not order another Alembic without Side LEDs. Both my current basses have 'em. My '79 Series II also had 'em. Great in low light situations. I don't have the need for fronts, but if I picked up a used Alembic that had 'em, I'd be fine with that.

Peace,

James

j_gary · « **Reply #20 on:** June 18, 2005, 07:28:48 AM »

Hi James,thank you for the insightfull comments. These are things that would take one time and money aplenty to learn. This whole process is both daunting and fascinating. Are you sure you do not want to get rid of that old 4 string that some guy wrote all over? Any idea on what folks are paying for a decent new Series II and where they prefer to purchase from?
Stay Low, Gary.

kungfusheriff · « **Reply #21 on:** June 18, 2005, 12:45:44 PM »

If I may step in here,
Gary, if I were you I'd accept malthumb's offer to test-drive his basses, just to be sure an Alembic bass would work for you as a musical tool...not everybody gets along with them.
If the fit is right, Google, Google and Google some more. I had been lucky enough to own two Spoilers some years back and foolish enough to part with them, so I had a pretty good idea what to expect when I decided I wanted a short-scale Series about two years ago.
It took months of searching, but in time I was able to locate a mint '82 S2 the owner of a recording studio had bought and stashed under his bed many years ago before last year deciding to sell it for about half the going rate.
I'm happy with the bass all around, and wish you the same luck.

j_gary · « **Reply #22 on:** June 18, 2005, 02:57:03 PM »

Hello kungfusheriff, please feel free to step in any time. You make a good point as for the type of playing I do, small stinky bars with frightening large groups of inebriated people screaming for Led Zeppelin, would hardly require an Alembic. Honest to God, half the time my bass selection is based upon which one would best serve as a defensive weapon. I've been dragging around a large Trace rig and a Ken Smith for years to events where my equipment was worth more than the building. I'm often asked why I bother with the trouble and expense. Well there are moments, when I'm not trying to run the PA, or chasing the local drunk Elvis who has grabbed a mike, or dealing with the owner, or helping the guitarist back on the stage, there are moments where the band is on fire, the atmosphere electric, and the room is pulsating. At these moments the cream rises to the top and the weak are eaten, that is when it is all worth it. I've been running the above set up since 1989, and it has never left me wishing for more. I own a few Fenders, Ricks, and a Gibson. None has been able to make the starting team. Then I finally pony up for an Alembic, primarily due to its striking appearance, a quilted maple 99 SC with Europa electronics. Initially as you eluded to,I struggled with her. Once I understood how sensitive and varied the controls were I was hooked. Add the feel, quality, and an enthusiastic support system, you've got a keeper. I am so impressed with these instuments and the culture that I have to try their top offering. I deeply appreciate James kind offer and I just might take him up on the offer if he is still talking to me after all the questions I've bombarded him with. However at this point I do not trust my instincts or knowledge to make a confident decision about a Series II purchase, as I think it would take many hours of Alembic experience to make an intelligent call. Therein lies the beauty of this site. I feel as though I can get the benefit of years of experience in one place. There are some scary cats ( musician talk) hanging around this joint. Guys like James who has had more time on a Series and has owned more Series than I will probably ever see. These fellas can save one much time and sorrow by guiding you to where for the most part I am heading. My only job is to listen to these veterens and decipher whose style or thought process parallels mine. Their opinions will assist me as to where I want to end up in my selection process. One final thing( clapping & cheering) how is it that Zeppelin and Hendrix are still so popular? That stuff was hell to play 30 years ago nevermind now,jeeeze!
Stay Low, Gary

kungfusheriff · « **Reply #23 on:** June 18, 2005, 03:41:28 PM »

(slaps forehead)
It's been a few days since I first read your post, so I managed to completely forget you already own an Alembic.
In that case--the Series 2 package is reminiscent of other models in the Alembic line, but with the difference of being refined to the concept's logical conclusion. In conjunction with a suitable amplifier and strings it's capable of pretty much anything--last week I managed to nail the upright bass tone on Norah Jones' first album, and I'm running Thomastic flats on a fretted bass. Nice, eh?
Some people take years refining the vision of exactly what they want their custom Series to be, and I'm one of them. I can say with a measure of certainty that there will be a period of shock when you first play one, as it will be much better at its' job than you are at yours, i.e. playing it. But with the bar set that high, you will almost certainly improve.
And if you don't, I'll give it a good home (grin).

j_gary · « **Reply #24 on:** June 18, 2005, 05:52:54 PM »

Hey there slaps. Now that was funny. Heck with all the wind I've blown(easy,easy...)through this site I can't remember what I've said. I'm in the advanced stages of CRS disease. It somehow does not surprise me that one would be able to get an upright sound out of an Alembic. I understand about half of the controls on my SC and I am constantly falling into interesting tones. I'm not familiar with Thomastic flats but it sounds like a great tip,thank you sir.

kungfusheriff · « **Reply #25 on:** June 18, 2005, 10:39:04 PM »

Ah, the legendary Thomastic-Infeld Jazz Flats...the roundwound player's flat.
Sticky of texture and slinky of tension, possessed of an articulate tone, thumpy lows and complex midrange (but often plinky highs) their devotees are a strange and dangerous cult oft met with a hiss and the evil eye from players who grew up on LaBellas.
Like the Series 2, they're persnickety and require near-constant practice to yield anything resembling a decent tone, but they're not boring, which my German soul prizes.
Any time.

the_mule · « **Reply #26 on:** June 19, 2005, 04:08:44 AM »

KFS, thanks for giving me a good laugh, for I am a TI Jazz Flat devotee too, although I'm not using them on one of my Alembics...

Wilfred

David Houck · « **Reply #27 on:** June 19, 2005, 06:27:26 AM »

Helping the guitarist back on the stage

j_gary · « **Reply #28 on:** June 19, 2005, 07:52:59 AM »

Yea Dave I was afraid someone might ask. My good ole buddy Guy. Decent player, no big ego, pleasent personality, handles an old Gibson SG like a pro. He even helps lift all my big ass cabinets without complaint. But he is a walking beer commercial. It's amazing to watch him start the night as Clapton and finish doing a bad Kieth Richards. Usually it is a cord, mike stand, or an ant on the stage, hard to tell sometimes, that takes him down. The real problems begin at a couple of stink holes that require a bit of driving to get to. He is all tuned up before we start and I've really got to watch him. When he takes a header off the front of the stage he is often caught by our adoring fans, both of them. When no one is there to catch him it can be loud and ugly. One New Years as I was concentrating on a nice pair of....err...I mean a solo, and the guitar dropped out. I scanned the area, no Guy. Well this particular hall has a curtain along the back of stage hiding an area where they store extra chairs and tables. I found Guy on his hands and knees crawling along the floor. On the ground in front of him was a perfectly round dark shape item that initially I thought was a pizza. OK he just stopped for a snack? NO NO NO, it was a perfectly round collection of todays food and beer that decided to make a return appearance. I wanted to strangle him but the picture was both sad and hilarious. I was able to set him up on a chair for the rest of the evening and bless his heart he managed quite admirably. The drummer, Grant, was another story. He lives to watch poeple in agony and was calling everyone he could think of to come up and watch poor Guy. His main concern the rest of the night was bouncing anything he could find off the top of Guys head. Yes sir, I need a beautiful classy Alembic Series II for this clown show.

richbass939 · « **Reply #29 on:** June 19, 2005, 08:14:42 AM »

J. Gary,
Wow, and I thought I played some real dives with some real characters. I'm cracking up reading about your adventures. (So, you said you played with Buddy Guy?) One thing about that type of gig is that you don't get lulled to sleep. You have to be ready for anything.
Keep the stories coming. They're hilarious!
Rich