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Got a good deal on a SB-2 Tribute (Korean) with about 2 hours playing time on it.
I tried is stock for a while but realised I need a tone control so wired the J vol pot as one. I've ordered a new pot, knob and a side jack plate so this might get a few more mods when the parts come unless I decide I like it just the way it is.
Gigged it tonight and really like it with just the P pickup but think I will add the J back in when the parts come. It seems a shame to have the pickup there and not be able to use it.
I tried is stock for a while but realised I need a tone control so wired the J vol pot as one. I've ordered a new pot, knob and a side jack plate so this might get a few more mods when the parts come unless I decide I like it just the way it is.
Gigged it tonight and really like it with just the P pickup but think I will add the J back in when the parts come. It seems a shame to have the pickup there and not be able to use it.
Stacked volumes (linear taper) and tone lets you avoid drilling out a side jack. That's what I'm doing to my Trib SB-2. Got everything in hand except a 0.047 microfarad cap. Must get out to get one...
Thanks guys, to answer you questions.
I'm sticking with my original plan of separate volume pots, much easier to operate on stage. I don't mind side entry jacks and have no fear of cutting a hole for one.
The colour is supposed to be butterscotch I believe and the the photo is pretty accurate except that the grain does not stand out very well. This could be my cheap camera and/or poor technique. I tried inside with flash and the colour was way off.
It performed very well, talk about a P bass on steroids. I played a P for 35 years (before discovering TB and GAS and building up a collection) so thought I knew what to expect but was not quite ready for what was in store.
Apart from the large output signal from the MFD, which I had anticipated, 2 things stood out.
1. The dynamic range of the pickup, the more I dug in the louder it got. The only limiting factor seemed to be how much my fingers would take. I've gigged a violin bass played with a pick for the last 18 months so my callouses are not what they used to be and I was mindful not to get blisters on the first gig back to fingers. Before that it was L-2500 and L-2000 so I was expecting something similar but the P pickup definitely has it's own character.
2. The bass (low frequency) output is HUGE from the P pickup (through a fEARful which is not what you would call shy in the low frequencies). I thought that the bass output from the L series was good but I spent half the night backing off the Bass and Low Mids trying to tame the low end. It did cross my mind to try the L series treble and bass cut control on it but that would mean either stacked pots or lose the J pickup.
Overall I am delighted with it, once I get it dialled in properly and adjust to it's peculiarities I can see us enjoying many gigs together. I needed something that fits the band image (60s) and an SB-2 looks like a P (well that's what I told our guitarist) so I was "allowed" to use it instead of the violin bass. I took the violin as a backup but it stayed in it's case all night.
I'm sticking with my original plan of separate volume pots, much easier to operate on stage. I don't mind side entry jacks and have no fear of cutting a hole for one.
The colour is supposed to be butterscotch I believe and the the photo is pretty accurate except that the grain does not stand out very well. This could be my cheap camera and/or poor technique. I tried inside with flash and the colour was way off.
It performed very well, talk about a P bass on steroids. I played a P for 35 years (before discovering TB and GAS and building up a collection) so thought I knew what to expect but was not quite ready for what was in store.
Apart from the large output signal from the MFD, which I had anticipated, 2 things stood out.
1. The dynamic range of the pickup, the more I dug in the louder it got. The only limiting factor seemed to be how much my fingers would take. I've gigged a violin bass played with a pick for the last 18 months so my callouses are not what they used to be and I was mindful not to get blisters on the first gig back to fingers. Before that it was L-2500 and L-2000 so I was expecting something similar but the P pickup definitely has it's own character.
2. The bass (low frequency) output is HUGE from the P pickup (through a fEARful which is not what you would call shy in the low frequencies). I thought that the bass output from the L series was good but I spent half the night backing off the Bass and Low Mids trying to tame the low end. It did cross my mind to try the L series treble and bass cut control on it but that would mean either stacked pots or lose the J pickup.
Overall I am delighted with it, once I get it dialled in properly and adjust to it's peculiarities I can see us enjoying many gigs together. I needed something that fits the band image (60s) and an SB-2 looks like a P (well that's what I told our guitarist) so I was "allowed" to use it instead of the violin bass. I took the violin as a backup but it stayed in it's case all night.
Good man, glad it went so well, now haw about that L1500 as a back up...?!;-)
Hi guys, just a quick question...
Whenever I see "G&L ASAT bass", there never seems to be an explanation of what ASAT means,and it's starting to bug me. Anyone able to help? Thanks in advance.
Whenever I see "G&L ASAT bass", there never seems to be an explanation of what ASAT means,and it's starting to bug me. Anyone able to help? Thanks in advance.
Would love to but have a pretty big car repair bill looming and the GAS fund is much depleted.
I already have an L-2000 (that only gets played on sub gigs) how far is the L-1500 from that?
Same electronics and pickups as L-2000 in a Tele style body.
I've never played an ASAT so cannot comment on the sound, @Cuzzie has 2 so may be able to add more.
ASAT is the abbreviation for anti satellite
Leo Fender and Dale Hyatt liked their tech and liked the image of a guitar shooting things down from space so the name stuck
Leo Fender and Dale Hyatt liked their tech and liked the image of a guitar shooting things down from space so the name stuck
Sound wise it will be similar to an L2000 but there is a solid and a semi hollow version.
Whilst essentially the same there is tonne anyway a slightly more old school vibe to it and the solid body has very deep lows compared to the semi, this of course will be accentuated by which neck and material you have.
My solid has a thick #7 neck and rosewood fingerboard and gives a very deep sound, much more classic 'P' but so much more with all the configurations, whereas my semi has an 8 neck, still rosewood but loads brighter, resonant.
Both are 3 bolt necks, both have same strings.
A lot is aesthetics but that extra bit of wood not there in it I am sure makes a difference which to my ears I prefer
Whilst essentially the same there is tonne anyway a slightly more old school vibe to it and the solid body has very deep lows compared to the semi, this of course will be accentuated by which neck and material you have.
My solid has a thick #7 neck and rosewood fingerboard and gives a very deep sound, much more classic 'P' but so much more with all the configurations, whereas my semi has an 8 neck, still rosewood but loads brighter, resonant.
Both are 3 bolt necks, both have same strings.
A lot is aesthetics but that extra bit of wood not there in it I am sure makes a difference which to my ears I prefer
The L1500 is quite a way from the L2000. That does not mean it's not quality, but a different beast.
If you are currently flying along the vintage line with your band, wanting more of a P sound,it will not be the bass for you.
This is more Stingray having had a load of protein shakes and been to the gym for the summer holidays.
It is more aggressive and will want to put itself out to the front a bit more. As ever string choice really affects things, but in this there was a massive difference.
As an example, when I got it it had Ernie ball hybrids and it was very zingy, almost sharp like when you scratch your finger nails down a blackboard, but with GHS Boomers medium weight, more controlled and fuller but still zingy.
It's a great bass, great balance, but I am just an ASAT man, and like my bass a bit more laid back horizontal!
If you are currently flying along the vintage line with your band, wanting more of a P sound,it will not be the bass for you.
This is more Stingray having had a load of protein shakes and been to the gym for the summer holidays.
It is more aggressive and will want to put itself out to the front a bit more. As ever string choice really affects things, but in this there was a massive difference.
As an example, when I got it it had Ernie ball hybrids and it was very zingy, almost sharp like when you scratch your finger nails down a blackboard, but with GHS Boomers medium weight, more controlled and fuller but still zingy.
It's a great bass, great balance, but I am just an ASAT man, and like my bass a bit more laid back horizontal!
@delta7fred if the tribby has given you the sound you want, pump the money into the upgrade and tinkering I think, much as I would love to sell to a good guy
I'd love a USA G&L, for a long time that was top of my GAS list, but for the cramped stages we play (if you can call squashed into the corner of a bar a stage) the Tribute line is the best bet. Headstocks have a nasty habit of homing in on walls, TVs, light fittings, PA cabs etc and I am never far from a cymbal on my right side so finish (and elbow) damage is a constant threat.
Glad to hear you liked it. I used a cab sim or high pass filter to chop off the low lows before going FOH. I didn't know they made blonde SB-2s tribs! I'm not a fan of the two current available colors so will keep and eye out for others.
No FOH support, my signal chain was SB-2 > MB800 > fEARful 12/6 so any cutting had to be done with the amp controls. I had it under control mid way through set 2 (of 3). I don't think it was room resonance because we played there about a month ago and I didn't have problems with the violin bass (apples to oranges I know).
It was just on the lowest notes and being a 60s band I don't always get to go that low, unlike when I was in rock bands where I used the B string on an L-2500 to full advantage.
I haven't heard of anyone who has done it but that doesn't mean anything.
Looking at the the new G&L Kiloton that has the MFD humbucker pickup with a standard 250k pot and 0.047uF capacitor for the tone control - interesting!
