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Stewie

Bajos Alleva Coppolo

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Si, el clavijero es medio goma...pero en algun lado(que no recuerdo)el chabon decia que era para balancear el peso...algo asi...

 

Son bajos fabricados con los mismos materiales y tecnicas(en lo posible) que los Fenders mas clasicos:

 

Alder,Maple,Rosewood en los 60's

Ash,Maple y Alder Maple en los 70's

 

Nitro y Poly...

 

Ademas de sus propios microfonos y puentes el tipo hace un pre que está buenisimo,bastante parecido a los Aguilar...

 

Yo probé un bajo de 5 y me encantó.

 

Era de un Ash bastante liviano(seria swamp???)mango de maple,trastiera de maple...el mango super comodo,no trasteaba en ningun lado y la quinta cuerda era un piano!!!

 

Los U$ 3000 y pico mas tax me rompieron el corazon...

 

 

mi Daniels mas nuevo tiene una "marcada" inspiracion en los Alleva...entre otros...jajajajajaja

 

 

saludos

 

 

g

 

 

PD:un videito de Jamiroquai,Paul Turner UN GROSSO!!!!!

 

http://mediaweb.musicradio.com/Show.asx?Episode=1492

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Uy uy uy.. dónde los probaste?!?!?! Desde que Justin Meldal-Johsnen dijo que Sadowski perdió el primer puesto con Alleva Coppolo en "mejor jazz bass que el original" me morí de ganas de tocar uno.

Con respecto a las maderas, he leído que usan una rareza (al menos para mí) llamada Dalbergia negra que solo existe en Brasil , no así "Rosewood" como se lo conoce, que es un término aparentemente muy poco específico y mal utilizado. Les dejo un articulo que está en el foro de Alleva, está en inglés lamentablemente pero es muy revelador en cuanto a las maderas que usan estos bajos de p$&% madre.

 

"Rosewood (Dalbergia …who, what…)

 

Rosewood is one hell of a broad description. Over the years, I have heard all kinds of substances being referred to as Rosewood. Legally you can just about call anything Rosewood including your uncle. I have seen Bubinga being sold as African Rosewood, which is nonsense. Even though this is an exceedingly fine species, it is not even related. True Rosewood is always called a Dalbergia…something or other. For instance:

 

Honduras Rosewood.........Dalbergia Stevensonii

Brazilian Rosewood.............Dalbergia Negra

Cocobolo…...........................Dalbergia Retusa

East Indian Rosewood....... Dalbergia Latifolia

 

To further confuse you African Blackwood is really...Dalbergia Melanoxylon and there are many more.

All this sounds a little like a petty political correctness issue. However, I assure you that it is not.

The reason why the botanists have assigned these names to this family of wood is that they are all related. Even though they grow in different parts of the World, they are brothers, sisters, cousins, aunties and uncles to one another. They share certain and very specific properties that only exist within in the Dalbergia family of timber species. Despite their diverse appearance, the expert can clearly recognize the grain patterns and pore structures that constitute genuine Rosewood. From experience or with the aid of a simple magnifying glass, it is possible for us to distinguish true Rosewood from your uncle. However, the most important property that we are interested in is the sonic response that is unique to Dalbergias. That is because nothing sounds like Rosewood. True Rosewood has been for hundreds of years the ultimate choice for instrument builders/ luthiers.

Its uncanny ability to represent all the highs, midrange and bass frequencies in balance is well documented. Because of its inherent stiffness, it facilitates tons of projection. Furthermore, it is sensitive to the lightest touch. For the reason, the use of Brazilian Rosewood for instance elevates the worth of a good Guitar by the thousands. Through my work with string instruments, I have become well aware of its aptitudes. Nevertheless, I had some initial reservations about the use of such a pricey material in the construction of a snare drum as I feared that it would provide diminishing marginal returns, “this being only a " Drumâ€. A snare uses at least 3 times the amount of material that is required for a Guitar’s Back and Sides. That is frequently expensive, often protected/restricted, and difficult Material to obtain. To add to the fun, this wood is tricky and unpredictable to work with. To fabricate this instrument with genuine Rosewood to the same scantlings requires a good 15 hrs more than any other Lunar shell. The challenge is that the Wood is too stiff to bend at the preferred thickness that is required for the 4 piece lay up. If sized thinner, I end up with more layers. That would translate into highly undesirable higher glue to wood ratio with less solid meat to shape the instrument for response. Eventually, we worked out the details of laying this very stiff and brittle timber in the 4 piece lay up with out changing the physics of the Lunar shell construction. This required a lot of forethought, serious retooling, and the extra time, however the playability of this Snare drum is, in my opinion unsurpassed. This is a sonic powerhouse. The Snare is exceptionally crisp, sensitive, and articulate.

 

 

The Balance between highs, lows and midrange is amazing. In many ways, it shares the same acoustic properties that high-end Rosewood guitars are prized for. Only one of these snares exists presently, located in Hawaii and owned by the person that commissioned me to build it. The expense of the material and the added time were reflected in the price. Unfortunately, I am only able to provide a quote for the Rosewood Lunar shells on an individual bases. In part, because there are so many Rosewoods and the cost and availability varies amongst them. Despite the challenges, I look forward to building many more of them and will continue to take chances, seek, and learn. All of these woods produce distinctively different Snare Drums. Nonetheless, all of them share the Lunar concept of design, construction, and craftsmanship. What they also have in common is that they all speak clearly in their own voices. It would be unjust to deem one snare better or worse than another. Only the individual player can make those choices based on his or her preferences."

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El quia tenia un locar en Manhattan,donde arrancó.yo lo toqué ahi...ahora esta en California.

 

Lo otro:

 

hasta donde YO SE,dalbergia nigra es Brazilian Rosewood...el chabon lo usaba en trastieras,pero lei que no tiene mas...no se ,en talkbass dicen...

 

 

para mi son tremendos,igualmente este año me fui a lo de don Roger Sadowsky y probé unos ocho bajos,recien llegaba de la NAMM,tenian cuerdas nuevas y set-up recien hecho...man,es algo serio...

 

en eso pensé en el larguisimo topic de "Una grossa o varias medio pelo"...

hasta que no tocas un bajo asi,la referencia de lo que "es grosso" es bastante irreal...yo nunca toque bajos como esos.

Como toco bastante mas el contrabajo y ademas, lo que toco y grabo con el eléctrico, es tan ecléctico se me hace dificil pensar en ser un hombre de un solo bajo...

 

pero esos 45 minutos que estuve ahi lo pensé...

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hola gente

 

lamentablemente no pude tocar con uno de estos bajos

 

pero si pude tocar un sadowski y puedo decir que son cosa seria

 

pero solo siendo acompañado de un equipo de su estirpe

 

lo compare mano a mano con un alembic y el sadowski perdio mal

 

(entiendan que era el sonido que yo tenia en la cabeza)

 

pero tengo que reconocer que el sadowski es mucho mas versatil

 

espero que haya sido util la informacion

 

ahh los dos bajos los probe con un eden cabezal y caja 4x10 y una de 1x15 (no es espectacular pero suena bien)

 

saludos!!!

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Rogelio:usted me deconcierta,el sparke gold del amigo Slowhand no lo convence...

 

y me aparece con la idea de un bajo floreado????? :D :D :D :D :D :D :D :D :D :D

 

 

abrazo

 

 

g

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Rogelio:usted me deconcierta,el sparke gold del amigo Slowhand no lo convence...

 

y me aparece con la idea de un bajo floreado????? :D :D :D :D :D :D :D :D :D :D

 

 

abrazo

 

 

g

 

Que puedo decir para defenderme? Me gusta mucho el Pailey Tele Bass tambien...

 

El sparkle tan tan furioso no me convence. Ademas, por mas que me guste lo vintage ese parecia muy decaido el color

 

Pero un Jazz asi con un pick tranparente y trastera de maple homer_drool.JPG

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Guest

Perdon mi ignorancia... estos bajos son los que hace Jimmy Coppolo?

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Seguramente Borro pueda confirmar lo que yo tengo entendido...

 

Jimmy Coppolo es el dueño de la marca Alleva-Coppolo,supo tener "Guitar and bass boutique",un local milimetrico en Av 9 donde hacia setups,vendia instrumentos y comenzó a fabricar...Ahora por la gran demanda de instrumentos(mas que nada bajos) se mudó a California a un lugar mas grande,compró una CNC y puede abastecer a sus clientes.

 

Se dice que trabajó con Roger Sadowsky(esto es lo que Borro debe saber!!!!)

 

Mucha gente trabaja o trabajó con Roger y ahora hace sus propios instrumentos...otro es Nino Valenti

 

http://www.valentibasses.com/

 

 

 

salutti a tutti

 

 

me pegó el italiano

 

 

 

g

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Guest

Correcto capo, a coppolo lo vi personalmente en NY con Suhr hace unos años,,,, me vendieron un pre de bajo igual al pensa que es terrible lo que suena....va sonaba porque lo vendi... no sabia que se fue a california.

 

 

Sdos

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