Author Topic: A question I can't shake loose after some thought/Zut skipped a groove again...  (Read 447 times)

Zut8083

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Hi, folks,

It seems to me that Alembic is pretty darn on the ball when it comes to clever ideas in the building of monster basses, seriously clear pre-amp circuitry that is seriously clear, and sublime, aesthetic hardware, etc. that makes for a complete and completely unique instrument.  In short, from the more affordable models to the most ornate Series basses (re: P.C.L. and his three new babies on tour), Alembic is rather grand all around and is rather
 foresighted/farsighted with what it does in what I have seen.

But, I having been chewing on a single question sparked by seeing a review for a recently released Fender Custom Shop guitar built for the guy from Radiohead, and also thinking about how Lindsay Buckingham's Strat-Stratoblaster had a boosted output that ate Hiwatt output transformers for breakfast while he recorded "Rumors", according to RT.

The nascent question is "has there ever been a consumer demand for an improved Sustainer(TM)-like circuit, perhaps before the Sustainer(TM) system came to marked, that allows an Alembic bass to generate its own magnetic field to cause the strings to be resonated, and allowing for fretting techniques to be used as if the bass were being bowed, or for other neat effects, all without adjuvant gadgets or an eBow"?  Eek.

I have never, ever seen this in any of the Alembics I have seen up close or online, myself, but I wondered if it had ever been done, as it seems well within the intellectual purview of the wizardry at Alembic.  I also started to wonder how one could do that without messing up the function and fidelity of the low impedance pickups, or central hum-cancelling sensor in a Series instrument.  Could you even use the central sensor to facilitate the resonance and be used to cancel hum (my Spidersense and I am doubting this, and mean no offense by asking)?

As short background for this fever dream of an idea, I have been resting up after doing some housework on a place halfway down the state and being on a return commuter train accident en route from having worked on said house.  Instead of prepping the house to my satisfaction, I prepping the hell out of my IT band and the associated oblique, latissimi, lumborae, tendonized, and upper backular members of the Spanish Inquisition that cut painting short with a pain beyond description/prescription and OTC analgesics augmented by mild libation.  Approaching 40 is reminding me of every stupid weightlifting and physical/sleeping indiscretion that I've incurred since I could say, "But I know what I am doing, Mama!"

The muscle situation was a bit worrisome and needed immediate palliation to avoid another bout of rhabdomyolysis and renal insult if I didn't replace screaming with movement, immediate ongoing hydration to flush any muscle detriutus and recondition what is about 280 pounds of condemned veal.  I have been recommissioned, thankfully due to the swift action of legal, muscle relaxing drugs (GABA A agonists, nothing in the news, and I neither promote nor eschew the use of the modern pharmacopiae, merely, I acknowledge its use in en vogue medical odysseys), dilute alcohol, tap water, soda pop, and pizza before beginning my reciprocal return course.

After packing up as soon as I could and hoping an Amtrak to sleep on the way home two-three days ago, the train in question heading north T-boned a tractor trailer just south of Salinas, my station to change legs of the trip.  No one was hurt, thank Goodness, and the train showed no change in impulse on collision, but this event lead to a nine hour wait, sitting in a REAL uncomfortable chair, as the contempted "guest" of Amtrak.  I think, "Tragedy narrowly averted.", Bob Weir, 1980, Radio City Music Hall, describes it best as the train surgically shaved through the joint between trailers one and two.  But I ask you, who in their right damage-control mind serves peanuts three hours into a National Transit Safety Board imbroglio!?!  The peanuts should have been dispersed with soda pop the minute we cleared the dust cloud denoting the collision and engine's diesel tank destruction.  They literally could rain them down upon the collision like oxygen masks in an airplane to keep the passengers sated with their mouths full and not alerting the News or Federal Agencies via Twitter, all while possibly closing the outside vents to cut the diesel stink, cooling and recycling the inside atmosphere!  But, NOOOO.  It rapidly, and humorously turned into a fetid sauna.  HARUMPH!

However, in a truly decorous gestalt that has my faith in humanity someone inflated, I, like most of the passengers, were barely successful in containing our own inner Joan Crawfords after that FUBAR situation, and the resulting disruption of the standard 6-8 hours sleep cycle of all aboard (pun not intended, but still smirk-worthy). 

We all basically looked like Bobby Weir's eyes on that fateful Letterman show, and in my case, the disruption and the Keystone Cops routine on the part of Amtrak to resolve their loco-comotion may have caused these pink elephant fantasies/ideas that I am sharing to start to drift through my cortex while waiting for a new locomotive and conductor/engineer crew, plus the "go-ahead" from the NRCMA following a late HazMat vendor clean up.  This was a really interesting demonstration on what NOT to do and how NOT to structure an organization if you want to provide value rather than hold your clients hostage. 

At least the truck driver got to leave early, but I hate to think of his insurance premiums and the explosion of pallets strewn about the scene.  The Horror.  The Horror.  I guess my brain entertained itself with more of these asinine brain-teasers as presented above.  Thus, given the standard academic treatise presented herein, please enjoy the following artistic recounting of the event from a similar first hand perspective, all while being invited rolling your eyes at my verbiage.  I likely still need sleep, apparently.   :o


Regards,
Zut


pauldo

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If I understand your question correctly here is my short answer from where I sit:

I believe Alembic makes thing their way, and their way sustains their business and the customers who seek out an Alembic are more than satisfied with the results.

Zut8083

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I want to be clear that I am not trying to suggest anything negative about Alembic, their intellectual property, nor anything concerning their originality.  The point of the long post whose intent was to frame the question of a hypothetical feature having been toyed with long before another vendor released their version, phrased in some form of "humor" (that met an inglorious, combustive, and vexing end; my apologies, I will never speak of trains again) while involving the question of gain, trains, and automobiles (I lied), was whether Alembic had ever, in their constant attempt to replicate and then modify the purest sound attainable, and distill it in a live and/or recorded avenue, had concerned themselves with the concept of enhanced sustain to permit new sounds to be generated and manipulated.

To my limited understanding, the company had done this to a limited degree with their involvement with Geoff Gould and the initial graphite neck-through units, or with John McVie's stainless steel or aluminum fretboard bass used on "The Chain", or even the Stratoblaster drop-in circuit to modify their output and sound to perpetuate it in a pleasing, novel, overdriven, and more enduring manner.  I believe there is some slight precedent for my question of enhanced sustain being produced as a goal.

Again, to be clear, I simply had wondered if there was work done on paper, in a breadbox, or even towards a full prototype, that addressed the concept of a sustaining unit or a compressor to allow novel modes of playing to result from the avoidance of the consequences of the loss of string vibration. This being perhaps a different angle to the reproduction of clean and pure sound, it may never have been pursued in a serious manner, consistent with the lack of any mention manifestation that I have seen up to this point. 

I am not a black-belt Alembician, and so I do not put it past the wizardry at Alembic that this idea may have popped up once or twice in conversation or in thought far earlier than other companies may have introduced production models, not vice versa.  I am not insinuating that Alembic borrowed from Fernandes in anyway; it seems more likely, just as an idea, that Alembic may have pre-empted Fernandes by a fair bit, if they chose to do it for fun, if at all.  My question was "does anyone know if this happened?"  Likely the answer is "no", as I hope I mentioned initially, but I realize that Alembic builds what they want to, and to their own standards, improving and improvising new technology as they see it to be correct.

I assume, then, that the answer is "no".  Thank you for the clarification, and suppose no further discussion is need.  My apologies.

elwoodblue

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This comes to mind:
https://www.moogmusic.com/news/paul-vo-announces-vo-96-acoustic-synthesizer


There have been a few discussions of a "Series lll" package...perhaps adapting ideas from Phil's Godfatther...ideas about auto-shifting the filter resonant peak to match the fretted note,
or something like that IIRC.


 
 

Zut8083

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Series III?!  REALLY?!  COOL!

I didn't want to add too much more, but the Godfather/Mission Control and the Osage Orange "Original Eye of Ra" Bass, what with quad pickups and dynamic/modular sound placement, that Phil Lesh used and loved were sort of lumped in the wide sonic ground that has yielded great fruit, in my mind.  I guess, I wonder what is still in verdant soil waiting until the time is right to sprout or, again, what was planted in the first place. 

I am pretty sure whatever it is it would be amazing.

edwin

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I bet if you can think and want to pay for it, they can make it. It might require outsourcing, or maybe not. But my sense of it is that they have so much going on that it's more or less one foot in front of the other and doing what's required, rather than having the luxury of working on cool things just for the sake of cool things without a customer footing the bill. For the most part. Which makes sense.

In other words, if there's something you really want, get the funds together and make it happen. It's not like Phil's basses happened without him asking for them. He had ideas, they had ideas. They made it happen.

Zut8083

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Edwin,

That answer makes perfect sense to me.  I am becoming more and more appreciative of the technical and artistic acumen required to make these instruments and to cleanly manipulate sound with minimal bias. 

And then, with the progression of what the company has made itself in terms of instruments, electronics, and the reconfiguration and optimization of good existing products, e.g. the Fender Twin/Dual Showman Reverb circuit plus improvements-->the F-2B, there have to be some amazing ideas that have, and do, float around that we never get to hear, unless they are brought out in one of a kind instruments.  Or as the next development in the Alembic standard. 

I would absolutely love to see that catalogue of ideas and discussions, read more about them, or hear discourse from the people who design and make these great things.  Hence the unintended perhaps aggressive delivery that sounds better in my head than on the page to search out any of these bits of "what about this?"  It's less a directed, "Hey, you!", and more of an exuberant, "Hey, you guys!", a la the Goonies, and that may be lost.

I personally think it would be enthralling to learn more of the finer history of the development of these instruments, and some of their technical aspects, so long as they do not impinge upon Alembic's IP, trade secrets, or truly what absolutely does not concern anyone who doesn't need to know.   But, I also adhere to the edict that no one over 10 should put ketchup on hotdogs, so I get met with hostility anywhere outside of Chicago or Milwaukee.  At least that's the answer I have come up with for that phenomena.

Thanks to all,
-Zut

pauldo

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Zut no apologies required.  I was lamenting on how to reply without sounding 'snobbish', which was not my intent, just a personal observation of how I view Alembic as a musical instrument manufacturer.

Zut8083

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Hi, Pauldo,

No worries at all, I sort of figure that what I wrote was rather confusing.  I didn't want to say the wrong thing, myself, and then I kinda freaked out, thinking I had said something objectionable when I honestly never meant to. 

To be honest, y'all may be victims of experience, where I have spent a very long time around academics and in academic environments, and the things that I have seen therein that leave a lasting worry can result from a well-meant statement being possibly unexpectedly misconstrued, or have derisive consequences; in my experience, this is due to the high-strung nature of the endeavor of being purely scholarly and first to publish in research labs.  It's like Tom Wolfe's Ziggurat in "The Right Stuff" and the associated politcs.  This miscommunication seems worse when fewer words are used, when being direct, as there is less context that can fight any misconstrual.  Hence, trying to be generally goofy and by making points several times, while trying to stop short of being as annoying as Jim Varney's characters, leads to a strange mix that I am trying to refine. 

It doesn't help that I sort of suffer from chronic "Foot-in-Mouth Syndrome", and I have found what might be acceptable when spoken may not be such when written down, but usually only in hindsight.  Hence, my worry of miscommunication, and being a bit high strung myself in this regard can lead to awkwardness.

I absolutely agree Alembic is a manufacturer of amazing instruments, but what goes into those instruments astounds me the more I get into them, learn about the people behind them, and kibbitz with the people who love them.  I think that quality of these basses is also astounding to others, and I think what is so special is just the tip of the iceberg at Alembic compared to other luthiers and companies. 

The more time I spend hanging out here, seeing the acumen, talent, and experience of the Alembic Club Members, let alone learning about the history and abilities of Alembic, and their guitars and basses, the more excited I get while wondering about what lies below the water, so to speak.  Sorry for the confusion.  Cheers, and have a great Sunday.

-Zut