Author Topic: Comparing Alembic to other "classic" basses, soundwise (Read 1140 times)

JuancarlinBass · « **on:** December 28, 2009, 01:11:39 PM »

Greets! I was wondering... since I own several basses already, and only one Alembic yet, and I think I have several basses covered (Maple neck Precision, Flatwounds/Rosewood Precision, Standard normal Rosewood Jazz, Bart pickups/Active rosewood Jazz -I am currently lacking a Maple neck Jazz-, 2-humbuckers bright/Slap sounding EMG loaded neck-thru, P/P Rare Neck-Thru 4, MM-Sounding-like headless Kramer Aluminum neck 4, Modern sounding 2 humbuckers bolt-on 5er, P/J 5er, 2 Humbucker - J- coil style soapbar EMGs- fretless 4, EAB, P/J Bart-loaded solidbody 4, and my beloved 96' Epic 5), and I use several of them in very specific situations, soundwise, depending on what I'm being called for.

Don't get me wrong. I drool when I play my Epic, but, as versatile as it can get, it is not a tool for all styles. And I don't believe in that neither, being so frequently in the need to fill several different shoes at once.

So I was wondering...

Which Alembic bass would you compare (or choose) to have a sound similar to, say, a Jazz Bass? Which one gets closer to a Precision Bass? Let's say you can choose to replace every bass in the arsenal (I have several distinct sounding basses for different sounds and purposes) with an Alembic... which one would you choose in each case, and why?

slammin · « **Reply #1 on:** December 28, 2009, 01:39:55 PM »

That is a good question, but my guess is the answer will be something along the line that since an Alembic sound is so distinctively 'Alembic', the better question, and my quest until actually owning one was always, what bass sounds most like an Alembic?.

I know this doesn't help you, but funny that my search began opposite of yours :-)

I will say that I can get very satisfying tones from my Persuader, to the point that I don't feel a need to pick up my Peavey, Warwick or Ibanez, but then again, I don't gig.

slammin · « **Reply #2 on:** December 28, 2009, 01:44:57 PM »

That is a good question, but my guess is the answer will be something along the line that since an Alembic sound is so distinctively 'Alembic', the better question, and my quest until actually owning one was always, what bass sounds most like an Alembic?.

I know this doesn't help you, but funny that my search began opposite of yours :-)

I will say that I can get very satisfying tones from my Persuader, to the point that I don't feel a need to pick up my Peavey, Warwick or Ibanez, but then again, I don't gig.

crobbins · « **Reply #3 on:** December 28, 2009, 03:15:04 PM »

As classic as all those other basses you mentioned sound. In my opinion the Alembic sound is far superior.

gregduboc · « **Reply #4 on:** December 28, 2009, 04:41:09 PM »

Honestly, I always managed to find a sound out of the Alembics with top electronics (Series I) that would fit in the band's style. With good equalization, I can almost mimic the sound of Fenders and others out of my Alembic. They will never sound the same, as each bass has it's own particular characteristics, but I can get fairly close.
But obviously, I always tend to run away from that, as the Alembic sound is my favorite by FAAAAAAAAR...

Greg

mike1762 · « **Reply #5 on:** December 28, 2009, 05:35:22 PM »

As versatile as Alembics are, I think you're hard pressed to make an active neck-through bass sound like a passive bolt-on bass. That's why I still have my Jazz.

the_jester · « **Reply #6 on:** December 28, 2009, 07:24:55 PM »

I never heard any bolt-on bass, sound like an Alembic and probably never will.

What's interesting, Alembics has a better foundation to match any bass outthere... (but, why would you want to do that anyway???)

dannobasso · « **Reply #7 on:** December 28, 2009, 08:55:56 PM »

Set neck Excel in answer to the question.

I'm a gear head, collector and player. After years of gigging, recording and having Alembic make some amazing dreams come true my thoughts are this: nobody really cares out in the audience apart from the anal retentive gear heads. The engineer will do things to your tone that would anger a Zen master. The amount of time, energy and passion spent talking, reading and arguing specs and opinions was not worth it in hindsight. I feel that as time goes by, the amount of individuals with a discerning ear is dwindling. Life is very short and precious. Enjoy the art of music in the making, sharing and savor the feelings it gives you.
If you need different tools to get the job done, then that is the path to go. But there is a general consensus here that you can't fake it on a Santa Rosa creation, no matter the model. If you can play clean on an Alembic, you can play on just about anything.

My name is Danno and I'm an Alemboholic. I'm a friend of Sue W. Takin' it one bass at a time......one bass at a time. I have way too much gear and ebay is not a good thing when you can't sleep.

elwoodblue · « **Reply #8 on:** December 28, 2009, 09:24:26 PM »

hehe...I've bought a few things at 2:30 am on ebay,
logic isn't always what it can be when your awake

Good advice on both the Excel and everything else.

oddmetersam · « **Reply #9 on:** December 28, 2009, 09:46:17 PM »

Danno, your observation about playing clean on an Alembic is right on the mark! I got my 35 scale MK Signature Deluxe last June and I'm still trying to find its most quintessential tone as it coincides with the sound in my own head. It is very unforgiving of sloppy technique; yet I also know it's gradually making me a better player as far as articulation and consistency of touch and nuance. When I switch to my Spector or Line 6 Variax, they already physically feel more like toys and I can get around on them much more nimbly than before. But even though I still like them on occasion, they just don't have quite the same richness or mojo.

Frankly, I wouldn't want my Alembic to sound like any other bass but what it already is. If I wanted to emulate my '72 Jazz...I'd use my '72 Jazz.

But I'll also say that after absorbing just a fraction of this wide-ranging forum I'm eager to try out as many models in the Alembic line as possible.

briant · « **Reply #10 on:** December 28, 2009, 10:42:05 PM »

Which Alembic bass would you compare (or choose) to have a sound similar to, say, a Jazz Bass? Which one gets closer to a Precision Bass? Let's say you can choose to replace every bass in the arsenal (I have several distinct sounding basses for different sounds and purposes) with an Alembic... which one would you choose in each case, and why?

I can get any of my Alembics to sound like a P or jazz bass. It's all about how you use the filters and pickup pan knob. Obviously they don't sound *exactly* like it - but I can get them close enough.

I personally prefer the Alembic sound. I'm in the process of selling 3 of the 4 other basses I currently own for the simple fact that I just don't play them anymore. My poor Stingray has been hanging on the wall untouched for well over a year now.

bigredbass · « **Reply #11 on:** December 28, 2009, 11:16:00 PM »

This is one of those 'no right answer/no wrong answer' questions.

Of course Alembic offers replacement pickups (the Alembic Activators) in Precision and Jazz shapes. Slap a pair of Jazz Activators into a Fender Jazz and it'll sound great, but . . . it won't exactly sound like the Jazz Bass tone you may be expecting.

And of course, Series pickups/electronics are their own planet: No one else builds a single coil/humcanceller/filter setup driven by a phantom power 48v offboard power supply.

The original Fender passive pickups (and their nine zillion succeeding versions, aftermarket replacements, etc.) were passive single coils. The Jazz activators are stacked, active pickups with a much higher quality tone network should you order the Alembic wiring harness/circuit to go with them. The PBass activators would sound different as well over their original Fender predecessor.

No way it would sound like my current fave Fender, the $349 Squier Vintage-Modified Jazz.

But I could live with both BECAUSE they're different, yet similar. Or the same bass with Lindy Fralin replacements. Or the same bass with Seymour's Quarter Pounders. Or EMG's or Barts. See where I'm going?

Plus you have to marry that with what YOU hear. This is all so very subjective, an aspect not to be overlooked.

I own a custom Elan Five with P and J Activators built with a very-Fenderish wood recipe, mostly maple and ash, by design to fit into the current style of the Sadowskys, Mike Lulls, etc. It's Fender-ish . . . but doesn't quite sound like any Fender I ever heard, which was the idea. The Alembic pickups/electronics are just a big step above stock Fender or EMG/Barts.

But if I wanted a real Jazz bass sound, I'd get that Squier and load it with Fralins and call it a day.

You just have to decide if you're like a session player in that the individual sound of each axe is that unique to your ears, or can you get most things you need done with one or two axes.

I have the Elan Five plus a Series-shaped Spoiler Five in maple over mahogany with FatBoy replacements over the original AXY's. So I have the Fender-ish tone in one, and the more MusicMan-ish, humbucking-like tone through the mahogany from the FatBoy Spoiler. Other guys I know can't live with out 10 or 20 different axes.

You just have to decide what works for you.

the_jester · « **Reply #12 on:** December 28, 2009, 11:26:21 PM »

I played a 70's Musicman Stingray over the holiday's, and almost laughed with a slight bit of disappointing anger. However, I had to stop myself, and understand Musicman basses were marketed to masses of people who never heard the sound of an Alembic bass, nor the variations of sounds it creates. So frankly, and sadly the users never was able to compare basses.

This honest question will continue for most (Have mercy on their sound...) But, until the red pill of Alembic salvation is taken, they'll never know what is really meant.

(Message edited by the_jester on December 28, 2009)

sonicus · « **Reply #13 on:** December 29, 2009, 02:08:42 AM »

There are occasions that one may encounter as a Musical Mercenary to comply to the customers requirements if you are hired as a studio musician . Such requirement might be to read and play a part exactly as it is written in the score and to provide the tonality as required by the producer. Believe it or not there are still Successful Engineers and Producers out there with GOLD & PLATINUM records hanging on their walls that STILL want the Bass track to be FENDER BASS. Not that long ago we had a thread in this forum that turned rather SOUR and somewhat potentially volatile that had postings by one such fellow. As I recall he seemed to have convinced himself that he favoured the sound of Vintage Fender Bass's of certain specifications in the MIX. As as result as there is the demand for that , some Studio Musicians might have such a Beast in their arsenal to meet such a demand if it means :getting the 'WELL PAID gig and paying the rent so to speak.

Personally of course I far prefer the ALEMBIC sound but there are times when one must have an alternative choice to make them happy even if they are completely obstinate and ill informed and not willing to explore another solution and just want to do everything 'THEIR way. SAD but it happens.

the_jester · « **Reply #14 on:** December 29, 2009, 03:41:38 AM »

Wolf,

I see no harm in getting paid for using a Non-Alembic bass.

Heck, Alembics have severe limitation -- in sounding like a bucket bass (made from a broomstick, strings and a hollow bucket).

So, if the studio's paying for the honest sounds of a bucket bass, make it happen, and simply get paid. In other words, this is just pure business on the basis of those who pay's the checks.

However, the facts remains, (with my Alembic) I can create the sound of any F-P, F-J, MM, Kramer, BCR, and Rick-B too. But, if the studio is paying me to use something else, and I need the money, (and they say: please...) It's Done!

(Message edited by the_jester on December 29, 2009)