• TalkBass has been independent since 1998. Add your voice.
    Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
    Join freeLog in
    Want zero display ads or expanded classifieds tools? Compare plans.

G&L Club Part 7

PXL_20210807_152859857.MP.jpg


:bassist: :bassist: :bassist:
 
Dude, the one with the blocks wins my vote for the prettiest SB2 in existence. It doesn't matter what you paid or what you had to do to get it...it was worth it.
It was just an incredible stroke of luck. I ordered it just before G&L opened the custom shop, so it was just a regular build to order with a $140 upcharge for the special top. G&L just happened to be shopping for wood a week or two after I placed the order, and grabbed that amazing piece of spalt.
 
The LB100 and SB are different animals. The SB series has a Jazz neck and the body is smaller and lighter than the LB100. I have one of each, but my SB-2T has the factory tone control. I had an SB-2 with no tone control and I really didn't miss it. I was able to do what I wanted by using the two tone controls.
I prefer my SB-2T because it is lighter and the neck is easier to play than my LB100.
I picked up a Fullerton Kiloton from a fellow TBer a couple of weeks ago. Physically, it's comparable to the SB2. It's very comfortable and have to admit, easier on my hands versus my trusty Jazz. That and the tonal possibilities of the MFD pick up.
 
I've often wondered why split Ps aren't all that way?

Many years ago when I was more ambitious and less lazy--well, maybe just more ambitious--I completely rebuilt and refinished the body of an Ibanez Roadstar II, putting a PJ set of pickups in it. I reversed the P because it just made more sense to me, and I really liked it. So I also wonder why all Ps aren't that way.
 
  • Like
Reactions: richwag