I've heard a lot of good about Musicman and especially G&L here at Talk Bass. So I was interested to see which Leo Fender influenced company earns your loyalty, and why it does. (Inspired by the Jazz vs P poll)
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G&L vs Fender vs Music Man
- Thread starter Mr Cheese
- Start date
You really need at least one of each. 
They are that distinct.
They are that distinct.
Went to buy a new 4 string around 1988 and liked the Jazz Bass but then tried a Stingray and that is what i got, 2 years later it was a Stingray 5, but I did get a MIM Jazz 5 as a backup in 1995. The Stingray 5 is still my main bass. Like the tone, narrow string spacing, though I have no problems with the Jazz 5 neck.
In the past I've used P, J, Performer, Mustang, Bronco, SCPB, Stingray, Sterling, L1K, and L2K models but right now, of the three my current favorite is Fender because of their recent Mustang bass development.
The other two have new shortscales but they do nothing for me.
The above is subject to change without notice.
The other two have new shortscales but they do nothing for me.
The above is subject to change without notice.
Music Man is very distinct from Fender. The G&L MFD pickup basses are very distinct too. There is a lot of overlap between G&L and Fender over many other models with G&L being more consistent in build quality, but with Fender offering some nice features like wider string spacing on five string models that G&L or Music Man doesn’t offer.You really need at least one of each.
They are that distinct.
- Jun 30, 2010
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- musician/artist/owner - Gildaxe
Each brand had a few different models but breaking it down to each ones basic concepts (Fender P and J, MM Stingray and Saber, and G&L L1000 and 2000) is where you see/hear their basic differences.
I had an L2K for about 20 years and it was the bass that turned me into a G&L dude. In saying that, I now play a fender jaco pastorius, but it wasn't for lack of trying to get hold of another L2K.
My L2K was an older model (a '99 I believe) with the old "bi-cut" neck design. That was the most stable amazing neck I've ever owned. It even went through a major ski-jump repair where I took a good half of the fingerboard off having to sand it flat again with a radius block and it still never changed relief, never warped and never went out of tune even after I turned into into about the thickness of a pencil afterwards.
The MFD pickups are the tactical nuclear weapon of bass pickups and they have no equal anywhere, even the music man PU.
Speaking of, I've never been a fan of the Music Man. It's very well made but it's just too huge - and the pickups have a little too much of the Fender "pinch" to their tone for my tastes.
And I'm only a recent convert to Fender, and my jaw dropped on my jaco pastorius when I got it about a month ago. And when one of the neck-hold down screws stripped out when I was setting it up, I was reminded that it also has the Leo Fender genius in its design - the stripped hole was easily fixed with toothpicks and super glue, and the bass has stayed put together and playing ever since.
But I think the G&L is the tops of Leo Fender's design. He said as much himself, and I definitely agree with him. Particularly the MFD pickups and the G&L bridge; neither really have a match in the current market...
L
My L2K was an older model (a '99 I believe) with the old "bi-cut" neck design. That was the most stable amazing neck I've ever owned. It even went through a major ski-jump repair where I took a good half of the fingerboard off having to sand it flat again with a radius block and it still never changed relief, never warped and never went out of tune even after I turned into into about the thickness of a pencil afterwards.
The MFD pickups are the tactical nuclear weapon of bass pickups and they have no equal anywhere, even the music man PU.
Speaking of, I've never been a fan of the Music Man. It's very well made but it's just too huge - and the pickups have a little too much of the Fender "pinch" to their tone for my tastes.
And I'm only a recent convert to Fender, and my jaw dropped on my jaco pastorius when I got it about a month ago. And when one of the neck-hold down screws stripped out when I was setting it up, I was reminded that it also has the Leo Fender genius in its design - the stripped hole was easily fixed with toothpicks and super glue, and the bass has stayed put together and playing ever since.
But I think the G&L is the tops of Leo Fender's design. He said as much himself, and I definitely agree with him. Particularly the MFD pickups and the G&L bridge; neither really have a match in the current market...
L
Whether that's a "nice feature" or not is a matter of preference. Some people like 19mm string-to-string spacing at the bridge on five-string basses, but I find it make the neck uncomfortably wide in the upper frets (even by about the 8th or 10th fret). I don't care much about string spacing on four-string models, but for fivers I prefer about 17.5mm at the bridge.
Everything is about preference; that’s why it is a nice feature to offer.
While it was probably done for marketing. Leo did say that G&L instruments were the best he ever made. I have to believe that he also thought it was true given the level of development he put into them.
What I like about them... MFDs, Saddle Lock Bridge, consistent construction quality (in my experience), L-series preamp flexibility (more instruments should offer passive bass controls; granted they would need pickups that could justify the control). I have also always found G&L neck profiles and string spacing to be extremely comfortable. I have yet to play a bass that reaches the sonic flexibility of the L2500. Fender Roscoe Beck is the closest I have found (I may eventually have to buy one).
For what it is worth, I originally wanted a Stingray 5 when I stumbled into and eventually purchased an L2500 (20 years ago; still have it). Purchased an L5000 in 2012 and a JB5 in 2018. I intend on keeping all three of them.
For full disclosure, one thing I have not liked about G&L is that other than my L5000, I have had to shield them to get rid of excess hum. I am sure G&L is not the only one making instruments at this price point that are not shielded, but it really is not that hard to do a decent job with shielding. I suspect the only reason the L5000 didn't need it is the metal pick guard.
What I like about them... MFDs, Saddle Lock Bridge, consistent construction quality (in my experience), L-series preamp flexibility (more instruments should offer passive bass controls; granted they would need pickups that could justify the control). I have also always found G&L neck profiles and string spacing to be extremely comfortable. I have yet to play a bass that reaches the sonic flexibility of the L2500. Fender Roscoe Beck is the closest I have found (I may eventually have to buy one).
For what it is worth, I originally wanted a Stingray 5 when I stumbled into and eventually purchased an L2500 (20 years ago; still have it). Purchased an L5000 in 2012 and a JB5 in 2018. I intend on keeping all three of them.
For full disclosure, one thing I have not liked about G&L is that other than my L5000, I have had to shield them to get rid of excess hum. I am sure G&L is not the only one making instruments at this price point that are not shielded, but it really is not that hard to do a decent job with shielding. I suspect the only reason the L5000 didn't need it is the metal pick guard.
Music Man by a mile. G&Ls are every bit their equals, but I personally prefer things that are a little different. Music Man instruments, to me, just look, feel, and sound a little more unique than G&Ls. I have a couple traditional Fender-style instruments, but I play them pretty rarely, just when I want the old-school P-Bass tones.
Some American Fenders approach the build quality of MM and G&L, but they're way too inconsistent for the money. Japanese ones (particularly '80s E-serial number instruments) are consistently excellent, but the electronics are generally pretty disappointing. Then again, I don't think I've ever heard factory Fender electronics that did much for me.
Some American Fenders approach the build quality of MM and G&L, but they're way too inconsistent for the money. Japanese ones (particularly '80s E-serial number instruments) are consistently excellent, but the electronics are generally pretty disappointing. Then again, I don't think I've ever heard factory Fender electronics that did much for me.
I'd wanna grab one of each to be honest. Already am a huge fan of Precisions and Stingrays (it's all I play), and now plan to add an L1000 or maaaaybe L2000, but I'm leaning more towards L1000. So, you should probably allow for multiple votes, as they're all a different flavor, not to mention all the different models from these companies.
That said, when people say "Leo said G&L were the best instruments he ever made" - well, did you really expect him to say something else while working at his final company? Did you really expect him to say "oh well, I made better instruments before, but.. yeah, here's G&L I guess?" He probably believed that too, but "best" is always subjective. Quality control is another thing, sure, but that's beside the point if you get a good specimen out of any of these companies.
That said, when people say "Leo said G&L were the best instruments he ever made" - well, did you really expect him to say something else while working at his final company? Did you really expect him to say "oh well, I made better instruments before, but.. yeah, here's G&L I guess?" He probably believed that too, but "best" is always subjective. Quality control is another thing, sure, but that's beside the point if you get a good specimen out of any of these companies.
Well...this is a hard one. I generally don't like the sound of dual humbucker basses like the L-2000 (even though that was my first bass) but I love single H basses. I love the sound of the Fender Jazz but not the P. I love the sound of single H basses. So I own several MusicMan single-H basses, a G&L Jazz Bass, and would love to own a G&L L-1000, which is in my mind G&L's answer to the P-bass.
Notice there's no Fender-branded basses in there, which has to do more with my opinion of FMIC's behavior in the marketplace than Fender designs. So go make sense of that, everybody.
Notice there's no Fender-branded basses in there, which has to do more with my opinion of FMIC's behavior in the marketplace than Fender designs. So go make sense of that, everybody.
My loyalty lies with Leo ! Your poll is like comparing sex with sex !
I have one of each lol... need a no loyalty option
As for as my loyalty lying somewhere: based upon numbers? It would be with Danelectro. Based on what I play the most? Gotta be my 4001 Rickenbacker. Why? Fits like a glove; plays like a dream; and, IMO, nothing sounds as good as an old Rick with flats...
As for the brands in question?
I have A Fender, and I have A G&L. They're both very nice basses... I like them (I wouldn't own them if I didn't), but I don't prefer either over every other bass I own, or even one over the other. They're just too different. On any criteria that you could compare them with, IMO weight and balance are the only things that aren't a tie. The P-Bass, at 11.1 lbs, has to lose to the ASAT's 9.3 lbs. And the ASAT's slight neck dive loses to the P-Bass (mine has none). The Music Man? I've wanted an HH model for longer than I'd care to admit. But - they never made it as a lefty. And, now that they are making a handful - finally? Sadly, they are, as my father used to say, "A day late and a dollar short". There is only one spot in my herd for "Active Bass", and that blue ASAT is filling it...very well, too. So, I have to say that, as far as those 3 basses are concerned? I like the 2 examples I have - a lot. But my loyalties (such as they are) lie elsewhere...
My Sabre is the most versatile bass I currently own. Some of my old Fenders have a little more cool factor but you can pull almost anything you want out of a Sabre.
I have a mental image of the Ball family sitting in a conference room explaining to their luthiers and crew that they need to discontinue the Sabre so they can launch the Bongo. Someone probably stood up and landed their balled fist on the table and said "this Sabre madness has to stop".
I have a mental image of the Ball family sitting in a conference room explaining to their luthiers and crew that they need to discontinue the Sabre so they can launch the Bongo. Someone probably stood up and landed their balled fist on the table and said "this Sabre madness has to stop".
I lean slightly (ok maybe not-so-slightly) toward Music Man. I bought a new Sabre in ‘79. Kept it for 20 years. Then after I sold it, started wishing I still had it. Now I do have another ‘79 Sabre and a ‘78 Ray, as well as a 2005 Fender AmDlx P5. I play the Fender more (B-string) but enjoy playing and hearing the Sabre more. Full disclosure....my experience with G&L is 10 minute bursts at various music stores. I’m not a good judge of G&L, other than they did not blow me away in any of those 10 minute bursts, whereas I can recall considering reaching for my credit card after 10 minutes with a Sandberg, and a Mayones Jabba5. Came to my senses both times.
I recently took the Sabre and one of my Alembics to a bass gathering. Some of the Detroit area’s 1st call players were there (leaving myself out of that group). So my Alembic was there, an MTD 535, a pair of Sadowskys, a Brubaker, and a few other really cool basses. The one that most of the top players wanted to take home? My Sabre.
I recently took the Sabre and one of my Alembics to a bass gathering. Some of the Detroit area’s 1st call players were there (leaving myself out of that group). So my Alembic was there, an MTD 535, a pair of Sadowskys, a Brubaker, and a few other really cool basses. The one that most of the top players wanted to take home? My Sabre.
MusicMan has absolutely set the bar recently. Look at it this way - Fender basses are a 50s design yet the "new" ones are pretty much unchanged. The Stingray is some 20 years younger (23?) yet EBMM decided they need to move on and really make a bass for the 21st century, so completely redesigned it. All aluminium hardware, 22 stainless frets, full contouring? I'd rather see that ANY DAY instead of "but we use the same fret press from the 50s!!". I don't want to downplay Fender as I do really enjoy their instruments BUT considering I was born 50 years after the P Bass came out, I want to see a bass designed with new technology and ergonomics ... And EBMM does just that with the Ray Special.
