a little help with colors and radius please

[redrider]

I am going to have a new L2000 built for me. I pretty much know what I am looking for but would like some help with color and radius.

Does anyone have high resolution pictures of Pearl White or Spanish Copper Metalic?

I favor 7.5 radius on my guitar, can anyone give some feedback on the #6 neck and how it feels?

Thanks in advance.

[Flabass]

I have two L2000's, one with a #6 and one with a #7. I much prefer playing the #6 because it is more "jazz" like. But that is only my preference.

[bhen]

I think these pictures give a pretty good idea of what SCM looks like:

http://cgi.ebay.com/G-L-USA-JB2-BASS...3286.m20.l1116

To me it looks better on an instrument with a pickguard <cough>SB-2<cough>, maybe tortoise shell.

I haven't tried the #6 profile yet, but like most people I prefer the #8 neck profile because you can get a lower action.

[Madcity Fats]

Originally Posted by bhen

I haven't tried the #6 profile yet, but like most people I prefer the #8 neck profile because you can get a lower action.

As one who has set up both a G&L #6 and a #8 neck, I just have to say I don't believe this to be true.

True, a neck with a tighter radius may appear to have higher action as you're looking down at it, but it's really something of an optical illusion. Provided the nut is cut properly and the truss is functional, there's no reason you shouldn't be able to set the string height on a #6 the same as a #8.

I like both the #6 and #8 necks because I like the J-style taper. The two never felt terribly different to me, so if you're used to a 7.x" radius the #6 is probably a fine choice. I'd suggest you try to find a store where you can compare the two, but I'm not sure where you're located. Plus it seems the #6 is a rarer bird than the #8, so it can be hard to come by even if you're near a dealer.

[lug]

For me, the smaller the neck, the more curvature I like. But on something like my Carvin BB75 (19mm spaccing 5 string) I prefer a flatter profile.

[redrider]

Thanks for the info on the radius.

No one have any pictures of the colors?

I am open to a color suggestion, how about showing pictures of what you would choose.

[ljazz]

Originally Posted by Madcity Fats

As one who has set up both a G&L #6 and a #8 neck, I just have to say I don't believe this to be true.

True, a neck with a tighter radius may appear to have higher action as you're looking down at it, but it's really something of an optical illusion. Provided the nut is cut properly and the truss is functional, there's no reason you shouldn't be able to set the string height on a #6 the same as a #8.

I like both the #6 and #8 necks because I like the J-style taper. The two never felt terribly different to me, so if you're used to a 7.x" radius the #6 is probably a fine choice. I'd suggest you try to find a store where you can compare the two, but I'm not sure where you're located. Plus it seems the #6 is a rarer bird than the #8, so it can be hard to come by even if you're near a dealer.

The tighter radius brings the fingerboard/frets closer to the strings rotation, especially when initially plucked. The upward travel of the fingerboard is the culprit. A flatter neck reduces that. About the only way to avoid it is to pluck so that the string moves in a "best fit" parallel line to the fingerboard.... impossible. I've got a drawing we did on cad illustrating it somewhere.... I'll dig around and see if I can find it. About the best way to visualize it is to imagine it with the extremes..... a neck shaped like a 3" diamter pole, and one with a perfectly flat fingerboard..... which will interfere with the strings more when played?

Personally, from the feel perspective, the issue seems worse with 1 1/2 necks..... especially with big frets.


Ljazz

[Madcity Fats]

Originally Posted by ljazz

The tighter radius brings the fingerboard/frets closer to the strings rotation, especially when initially plucked. The upward travel of the fingerboard is the culprit. A flatter neck reduces that. About the only way to avoid it is to pluck so that the string moves in a "best fit" parallel line to the fingerboard.... impossible. I've got a drawing we did on cad illustrating it somewhere.... I'll dig around and see if I can find it. About the best way to visualize it is to imagine it with the extremes..... a neck shaped like a 3" diamter pole, and one with a perfectly flat fingerboard..... which will interfere with the strings more when played?

Makes perfect sense. Thanks for the explanation. I guess since I'm typically not aiming for the lowest action imaginable when I set up my basses, I've never really encountered this phenomenon.

Let me revise my advice to say I've been able to get the action on a #6 lower than I personally need it. And I set my action fairly low these days.