Leo got it right the ____ time

[58kites]

One thing we can hopefully agree on is that the Name G&L does not carry the weight of the names Fender and Musicman. I pretty much doubt that in twenty years the G&L's are, from a collector's view, as sought after and highly priced as vintage Fenders and Musicmans.

^^^^^ Which I will never understand.
Some of the G&L pickups are really, really nice sounding, the design and quality of the G&L bridge is amazing, and the craftsmanship in their USA line is Fender Custom Shop good.....why their resale is so bad is beyond me.
I think Fender's split P-bass pickup design and exact placement in the body makes it the best, but I also like the single coil Precision pickup too, but not the hum.
I think the 63 Jazz neck was the one.
I think that the Jazz bass got very closely identified with the sound of Jaco and he is the reason that they are popular, and the reason that so much jazzy bass sound/style is the way it is today.
I think the G&L body shapes are the best Leo did.
I think the the Musicman Stingray phenomenon has everything to do with a musical genre/style that got coupled with that bass and has carried that bass to the stratosphere, I don't care for the sound of those basses, but if you are funky and slappy, that is the bass.

 

[Axstar]

Leo got it right the ____ time

Nobody ever really gets it "right"

I think people are want to forget that Leo Fender was an industrialist. He wanted the Fender squiggle to appear on the headstock of something in as many homes as possible. Fender were cranking out pedal steels, electric violins and mandolins at the same time as Strats and P basses. Leo designed great instruments, but he was also always coming up with schemes to reduce the quantity of off-cuts going to the bins and ways of speeding up the finishing process, as well as clearing out surplus stock and recycling parts and materials.

 

[twinjet]

I think people are want to forget that Leo Fender was an industrialist. He wanted the Fender squiggle to appear on the headstock of something in as many homes as possible. Fender were cranking out pedal steels, electric violins and mandolins at the same time as Strats and P basses. Leo designed great instruments, but he was also always coming up with schemes to reduce the quantity of off-cuts going to the bins and ways of speeding up the finishing process, as well as clearing out surplus stock and recycling parts and materials.

This is true. Even tried horns, keys, all sorts-a stuff.

 

[M.R. Ogle]

You know what I'm amazed by? Modern amplification.

We now have sooo much more choices in bass amps these days, lotsa hi-fidelity range and power options. And, still... a common Precision still sounds GREAT through MOST of them.

That's just a tribute to an excellent basic design formula.

 

[chadds]

He got it right every time.
These basses are musical instruments. Our opinion is subjective yet my experience shows me they do different things very well. They all do many things very well.

 

[zontar]

He got it right every time.
These basses are musical instruments. Our opinion is subjective yet my experience shows me they do different things very well. They all do many things very well.

Agreed--every time...

 

[mbell75]

1966, when he designed the Mustang bass. 34" scales are heavy, awkward and plagued with dead spots and other problems you dont get on a 30" scale.

 

[Showdown]

They are all great.