Author Topic: Why did Phil Lesh stop playing Alembics? (Read 420 times)

llobsterbass · « **on:** July 20, 2007, 10:01:30 AM »

Does anyone know why he abandoned the Godfather and Mission Control basses circa 1980 for the Doug Irwin, which I never thought sounded that great, then Fender Jazz? I know why he eventually picked up the Modulus 6-string, but particularly since I acquired a vintage Series I, which has tone like the voice of God, I've really wondered why he changed.

Is there a good story there?

keavin · « **Reply #1 on:** July 20, 2007, 10:24:43 AM »

(Message edited by keavin on July 20, 2007)

keavin · « **Reply #2 on:** July 20, 2007, 10:26:27 AM »

Because alembic don't pay you to play their basses.........either you like em or you don't!......alembic aint sell outs!

David Houck · « **Reply #3 on:** July 20, 2007, 10:41:47 AM »

I can't remember at the moment, but I think it had to do with weight. I think this has been discussed around here somewhere before. There may be a link to an interview where he talks about why he went with Modulus. I think his Alembics were probably quite heavy; there are some pictures where he's using a very heavily padded strap. And Dead shows were very long; and there were a lot of 'em.

jseitang · « **Reply #4 on:** July 20, 2007, 10:53:00 AM »

i also feel phil got real into the whole graphite neck thing...very NASA , space like, which as you know phil is very into astromy. it seemed that mission had problems with intonation, and was thus abandoned...i think the whole six string set up appealed to him, as it allowed him to play runs in the same postion without big shifts up and down the neck.

lbpesq · « **Reply #5 on:** July 20, 2007, 11:07:40 AM »

Keavin:

The Dead never used Alembic equipment because they were paid. Alembic started life as a Grateful Dead spinoff. Alembic was part of the maelstrom of the San Francisco sound of the 60's, supplying instruments and sound services to not only the Dead, but the Airplane (Jack had Alembic #1), and the New Riders of the Purple Sage among others. David Crosby, a part of the 60's psychedelic family played one of the first, if not the first, instrument customized by Alembic - a Guild Starfire 12 string made of Brazilian Rosewood. I had the honor of playing it at the factory a couple of years ago when it was in for a tune-up.

Bill, tgo

llobsterbass · « **Reply #6 on:** July 23, 2007, 12:55:10 PM »

Thanks everyone. I have read a lot about why Phil decided to go with the Modulus and graphite necks. But he stopped playing his Alembic basses at least a few years prior to going with Modulus...that's what I'm curious about.

I wonder how heavy the Godfather/Big Brown really is? Granted, Starfires have a pretty big headstock, but they're hollow and even loaded with all that Alembic & George Mundy circuitry, I'd be surprised if it weighed a ton...

88persuader · « **Reply #7 on:** July 23, 2007, 04:29:03 PM »

I personally have no idea why he changed but also being a Modulus player I have to 2nd the Graphite neck thing. I love my SC Standard but I'd change it for an Alembic with a graphite neck. I wish they still offerd one. Graphite necks are 100% solid and stable. More or less no tweaking required. I have a 5 string Modulus Quantum fretless and I'm able to have my action set REAL low because the neck is simply perfect. Over the years I tweak the neck of my Alembic about twice a year ... I've never touched the truss rod on the Modulus. Having an instrument that's bullet proof when you're a professional touring musician is a real plus. Don't get me wrong ... I LOVE my Alembic ... but live I prefer my Modulus because of the graphite neck. Someday I'll get a fretted Modulus and the two Modulus basses will be my LIVE basses. I'll usde my SC Alembic for recording and every now and then as a TREAT. But live ... bullet proof is very comforting. It doesn't care if it's hot, cold, wet or dry ... it stays in tune and stays stable! Again ... I wish Alembic would consider offering graphite necks again. They sound a little different but live ... let's be honest ... it doesn't make much difference. Anywho ... just my 2 cents.

jzias · « **Reply #8 on:** July 23, 2007, 05:41:21 PM »

The Dead and tone became an enigma to my ears. They were the Stradivari of amplified instrument sound by the early 70's, and after '77 or so their sound became relatively brittle and gadgety.

Phil still has great tone. I had the pleasure of rehearsing with him for 3 days back in 2000 when I was a candidate for his Band, and he pushes a hell of a lot of air when you're playing next to him.

I still like his tone from 69-74 best though.

zappahead · « **Reply #9 on:** July 23, 2007, 06:00:37 PM »

Bob Weir was an investor in Modulus, maybe Phil is as well. Not sure but I know Bob uses them because he is (or at least was) in business with them.

glocke · « **Reply #10 on:** July 23, 2007, 06:40:09 PM »

The dead phenomena probably did more to advance the science and technology of live sound production than any other band before or since.

I wasnt old enough in the early 70's to catch live shows, but some of the recordings I have heard blow me away sonically in terms of the clarity of everything. Phils tone from those years (esp. 72), still blows my mind to this day.

terryc · « **Reply #11 on:** July 24, 2007, 02:09:40 AM »

Okay you lot have sympathy for me, I was just out of that psychodelic era..I was 9 years old when it all started happening and when I got into music I was listening to Deep Purple, Yes, Genesis etc before being woke up by Return To Forever and thus Stan the Man SO what Grateful Dead albums should I buy for this excellent sound that Mr Wickersham created.
I await your learned and excellent experience in this subject

glocke · « **Reply #12 on:** July 24, 2007, 03:54:40 AM »

Theres a bunch. For starters get Europe '72, it is live, and there are some overdubs, but that will give you an idea of what was going on with them sound wise. Another good one is the soundtrack from the grateful dead movie (heck, you should just get the movie, and the soundtrack .

cozmik_cowboy · « **Reply #13 on:** July 24, 2007, 04:26:03 AM »

For the full majesty of their improvisational genius, get Live/Dead. For exquisitely crafted studio songs, go with American Beauty and/or Workingman's Dead. If you can't make up your mind, Europe '72 has strong flavors of both. For the best bass tone, you want Grateful Dead (commonly referred to as Skeleton and Roses, from the cover art and to avoid confusion with The Grateful Dead, their debut). You can also go to the Deadlists webpage and listen to most of their concerts - a little skimpy in the 60s, but that was before the really good sound was developed anyway. Where possible, listen to the ones labeled SBD, for soundboard digital. The AUD ones are recorded by audience members, and the quality is, shall we say, uneven. (You can download the AUD ones - Weir has insisted they stop letting us download SBDs.) And by the time you done with these, you'll just go out and get everything

Peter

terryc · « **Reply #14 on:** July 24, 2007, 05:44:40 AM »

Thank you..keep 'em coming
I think that this type of music may not be my bag but what I want to hear is the sound created by the technology of that era and its magical quality that it possesses.
I know they are all availabe at very cheap prices on Amazon here in the UK so not to break the wallet