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Educate a bassist that should know how to identify a quartersawn neck and why it's important. I think I used to know, but I don't anymore!
That BTO and CS option is (was
) named "Logo Delete" or "Model Logo Delete" Source : Upfront Guitars
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I wonder if there were more cases of early L series basses having ski jumps with dark wood fingerboards vs maple 1pc units. My '81 L2K with ebony had a very thin wiggly neck and ski jump whereas this '81 L1K maple seems rock solid and true.
I'm sure it has more to do with the fatness, hardness, and structure of the neck rather than the fingerboard material, but being 1pc probably doesn't hurt.
I'm sure it has more to do with the fatness, hardness, and structure of the neck rather than the fingerboard material, but being 1pc probably doesn't hurt.
The 3-bolt LB-100s said "LB-100 Bass" and the 6-bolts just said "LB-100." So yeah, makes sense that it's not a LB-100 neck.
As for the neck profiles, that was a time when they had 1.5", 1.625" and 1.75" widths available, as well as 7.5", 9.5" and 12" radius options for the fingerboard. I think the default L-2000 profile was 1.75" with 12" radius at that time. Not sure about the LB-100.
small sample size, but here goes
my 3 bolt rosewood 83 L2000 neck had a ski jump, whereas my 3 bolt maple 94 LB100 developed a twist, and my 3 bolt year unknown maple Lynx neck was perfect
my 2011 and later G&L basses have had no neck issues
My '80 L-1000 (pictured above) with an ebony board was very thin front to back. It did require some truss rod adjustments in its early years, but has been stable for the last 40 or so. It never had a hint of ski jump. I've owned 8 G&L basses over those years (I only have the L1K today). I never had a ski jump issue, or a "wiggly" neck except as noted. I did have an '06 SB-2 that had a " buried" truss rod end and required some painful surgery to gain access, but otherwise their necks have behaved very well. Of course my newest one was that '06, so a lot of things may have changed since then.
The thing about G&L's is the ease of getting great sound/tone. The L series and the M series are just so easy to get great tones through. Those humbuckers and 3 band EQs are the bomb. My favorites are the M series. 18v preamp and all active. So good I got me 3 of them.
My 40th Anniversary SB-1 came with such a 'model logo delete':That BTO and CS option is (was
This morning took my SB-1 to my local tech for its scheduled surgery. He showed me the Alpha stack -- it looked smaller than the G&L tone pot its going to replace! Yeah, no danger here
Crazy bass crazier:
So, to cover everything...
• SB-1 with all the electronics removed
• Fralin Split J in the correct J neck position
• Delano ceramic blade J in an approximation of the Ric Bridge position
• three-way toggle, stacked vol/tone and .047 cap
• 40-55-75-100 Chromes tuned to D Standard
Switching from J-neck to Ric-bridge just adds a useful bit of poke when the texture gets a bit swampy.
So, to cover everything...
• SB-1 with all the electronics removed
• Fralin Split J in the correct J neck position
• Delano ceramic blade J in an approximation of the Ric Bridge position
• three-way toggle, stacked vol/tone and .047 cap
• 40-55-75-100 Chromes tuned to D Standard
Switching from J-neck to Ric-bridge just adds a useful bit of poke when the texture gets a bit swampy.
I'm really enjoying these controls...
...feels like some early-80s Japanese oddity.
The middle position isn't completely useless - relative to the neck solo, it adds some brightness but without adding any poke, as it's not focused enough.
...feels like some early-80s Japanese oddity.
The middle position isn't completely useless - relative to the neck solo, it adds some brightness but without adding any poke, as it's not focused enough.
@Ricky Rioli - looking good! Is this by chance the one you had all the neck/truss issues with?
I ordered Chromes in the same gauge for balanced tension but haven't figured what bass I'll put 'em on.
All - what strings did G&L use in the early days when Leo was at the helm? I know GHS Brite Flats were stock for Leo era Music Man, and Fender used Squier flats until late '70s/early '80s (yes I'm aware he sold to CBS in mid-'60s).
And - here's George Porter with The Meters in '92 sporting what looks like an El Toro!
I ordered Chromes in the same gauge for balanced tension but haven't figured what bass I'll put 'em on.
All - what strings did G&L use in the early days when Leo was at the helm? I know GHS Brite Flats were stock for Leo era Music Man, and Fender used Squier flats until late '70s/early '80s (yes I'm aware he sold to CBS in mid-'60s).
And - here's George Porter with The Meters in '92 sporting what looks like an El Toro!
I don't have the whole story of what G&L was using for bass strings that first year of business when I bought my L-1000, but mine came with generic round wounds - couldn't say what brand. I think I recall no silks. I was playing 6 nights a week back then so whatever they were likely got changed pretty quickly.
Believe for strings they went…
G&L Hot Rounds (private label, made by GHS)
GHS Boomers
SIT Power Wound
D'Adarrio EXL
I used the SIT Power Wound strings for the first 15 years of owning my L2500. Do not see many people using them but I really liked them. They still make a G&L through body bridge spec version.
G&L Hot Rounds (private label, made by GHS)
GHS Boomers
SIT Power Wound
D'Adarrio EXL
I used the SIT Power Wound strings for the first 15 years of owning my L2500. Do not see many people using them but I really liked them. They still make a G&L through body bridge spec version.
I broke out my tribute M-2500. Haven't seen it for about 6 months. Never played it much when I got it. I got 2 other Fullerton M-2500s kinda at the same time. So the tribute got a setup and put away.
Smitten to say the least. First time hearing it through some amplification.
Extreme clarity. So surprised by the on-board electronics all the way to the pickups. These Basses are active. 100% of the time. And you would think there would be some similarity in tone. And there is but, each one has a sound. Hard to explain.
I also have a (usa) Fullerton L-2500.
Great Bass. It's much "tamer" sounding. And the neck doesn't seem as fast.
Just throwing smack at the wall and see what explodes.
With the loss of a great manufacture such as G&L the low end will suffer.
Well, the point of the post was how awesome my M-2500's are.. The L series seem to get the most love. I definitely dig the M series.
Smitten to say the least. First time hearing it through some amplification.
Extreme clarity. So surprised by the on-board electronics all the way to the pickups. These Basses are active. 100% of the time. And you would think there would be some similarity in tone. And there is but, each one has a sound. Hard to explain.
I also have a (usa) Fullerton L-2500.
Great Bass. It's much "tamer" sounding. And the neck doesn't seem as fast.
Just throwing smack at the wall and see what explodes.
With the loss of a great manufacture such as G&L the low end will suffer.
Well, the point of the post was how awesome my M-2500's are.. The L series seem to get the most love. I definitely dig the M series.
I have a Tribute M2000 and kept it over a similar L2500. I just felt it was easier to dial in what I wanted tonally. Fortunately enough G&L product has been built that they will continue to show up on the used market but maybe in fewer numbers now that new ones can no longer be had. It is a loss at least as far as the basses are concerned.
SB-1 has a more slender (at the waist) body shape and an MFD split coil P-type pickup. The LB100 is more of a Fenderish P-bass with a garden variety split pickup.
