Author Topic: Difference in Series electronics and Signature (Read 653 times)

palembic · « **Reply #30 on:** February 07, 2006, 12:57:01 AM »

Hi Jazzyvee!

With all my respect for you as human and professional musician but I have to disagree here partially.

1. Assume my DREAM-ALEMBIC: that would be a six stringer with teeny mandoline frets, ebony laminates, neck through, 35,5 scale, bookmatched to center and bla-and bla-and bla BUT MOST IMPORTANT: just 1 PU and just 1 volume pot. I strongly believe that I can have A LOT of tones and sounds out of that bass by simply moving my fingers while plucking the strings (cfr. the Anthony Jackson Fodera Contrabassguitar ...I THINK someone in the club has one). SO in a way ...you don't need soundshaping devices on board AT ALL. Just a decent amp, combo or preamp, filters and a strong Poweramp combination.
2. You are absolutely right in circumstances that -being a profesional- you are on stage and how the sound is projected to the public is in the hands of PA profssionals (we hope) and they take care of your sound so that it is presented in whatever room to the audience in a way that you sound like ...huh ...you.
In that case you are absolutely right: if you find a sound that is you ...you will not easily change it. And -with some tweaking- that sound is THERE in a Series II.
3. I disagree with you in two points.
- If you play in a cover band that plays a wide range of sounds than you have to switch for instance from a typical reggae bass-sound (you know) to the whumpy 60 popsound to a funky khatchaaa extreme setting.
Solution: different presettings on your amp and/or change the settings on your bass where I assume that the Europa electronics will come in handier than the Series II. Logically: they are quicker to work with.
- Second: if you are a 1-type o'music band (like me in BLUE STUFF ...mainly Chicago and blues related stuff)I found the Series II electronics very handy to make small changings in my setting to get the THAT'S ME sound to match the divers small romms (bars-clubs) we are playing in. We have NO PA!!!!!! So depending on the space ...I make those small adjustments. As long you have a decent speaker system with wide range output you can even do this with a power-amp only and counting on the versatility of the Series II.
The situations I play in are SO divers that I even work with a SF-2 WITH Bonnie who has the Series II guts!!!
Overkill?
Maybe.
But I can assure you that I can produce with that set a decent bass sound for a public behind the corner in a bar complete in concrete in World War II blockhaus style or in an Irish pub with wooden walls and full of cosy kiss-,drink- and fumble corners.
Though I AGREE again that -once the setting found IN ADVANCE- I don't change it.
But (good ol'but) it is really fiddling and tweaking before you find it and YES it asks some time before you are there and that you master it but ...Well ...it IS rewarding.
Just my ideas.

Paul the bad one

PS: the SF-2 comes also very handy in that way when I want to play any other bass in that concrete bunker ...I even bet I will manage to have a decent sound there with Ol'Broomstick ...really true!

(Message edited by palembic on February 07, 2006)

keavin · « **Reply #31 on:** February 07, 2006, 02:56:47 AM »

very well said Mr Palembic!

dadabass2001 · « **Reply #32 on:** February 07, 2006, 04:58:28 AM »

Paul, TBO
I played in an Irish bar last year called Pint. Why didn't you warn me in advance about the kiss, drink, and fumble corners? I never found mine!

Boo hoo
Mike
(drinking in the center aisle with no one to kiss and fumble with)

jazzyvee · « **Reply #33 on:** February 07, 2006, 10:41:33 AM »

I Knew someone would box my ears lol. I'm in a rush at the moment so I will try to respond another time.

Jazzyvee

palembic · « **Reply #34 on:** February 07, 2006, 10:52:59 AM »

Heheheheeeee ..Brother Jazzy
no boxing intended.
I merely would say that there are two sides on having a bass with a complex tone circuit on board.

Paul TBO

jlpicard · « **Reply #35 on:** February 07, 2006, 11:16:37 AM »

Thanks to both Bobs for their response.
Bob#1: With regards to the 9 vs. 18 volt question, I don't believe any Alembic is deficient in headroom. If memory serves, I believe Bill Bartolini has stated that a properly designed 9 volt preamp can do the the job just fine but an 18 volt circuit can give you that extra headroom if and when you need it which is why he makes some of his preamps work either way. When it comes to the no compromise design of a series instrument, I can certainly see why 18 volt was the choice especially when using an outboard power supply. Ultimately I agree that it comes down to the pickup design that has the most influence.

bsee · « **Reply #36 on:** February 07, 2006, 08:35:30 PM »

Relative to the difference in pickups, I just ran across this description in the aptly named Must Reads section.

terryc · « **Reply #37 on:** February 13, 2006, 02:12:15 PM »

this is what I do.for palembic we have PA but for vocals only 'cos we play small venues. We do cheesy covers for functions and weddings..60's, 70's 80's.
Set neck pick up to bass tone use q switch for boost, set bridge pickup to treble tone use Q switch to boost. Control the whole lot using pan control, leave volume alone unless really necessary and use finger dynamics for quiet and loud sections.
If you do three or four songs in sucession you ain't got time to fiddle with loads of controls.
See my other thread about filters with Q's plus bass & treble controls.
I leave my amp setting at neutral..no cut or boost on high/low controls and graphic..I let the bass do the talking.
For the average non musician out there who we play to they wouldn't know the difference but alas as bass players we would!!