neepheid

You've done well to stay so open minded. Me, I hate Jazz basses, skinny necks, bridge pickups...

You'll figure it out eventually. You've already pinpointed a preference for satin neck finishes. Once you build up a few more positive preferences you'll start to focus in on basses which satisfy those criteria over others. It doesn't have to evolve into an outright dislike/hatred of certain basses either - a few simple preferences will steer you towards what you like over others.

My G&L Tribute LB-100 arrived with a laughable "shielding" job. This only became apparent when I took it to band rehearsal in our RF hellhole. As with ubit, geography playes a factor in how I respond. If it's fixable without too much hassle and I like the bass enough to keep it then I'll probably sigh and get on with doing what the manufacturer ought to have done in the first place. Regarding threshold of severity, it depends upon what it is. Roughly, if it a bad finish issue or anything structural, it's going back. Electronics I can do. A nut tidy up I can do. But it also depends upon the rarity of the instrument (how quickly/easily can I get a replacement), how expensive it is (I'm less likely to be tolerant of issues if I've spent over a grand vs. a few hundred), whether it's new or second hand (second hand I probably have no recourse or chance of a replacement so I just need to find a way to make it work). That got complicated quickly! Some examples: G&L Tribute LB-100 - special preorder so dunno how easily a replacement could be obtained, only cost a few hundred, issue relatively easy fix (apply copper tape) - result: fix it myself Gibson Grabber 3 70s Tribute - probably could get a replacement quickly, cost closer to a thousand than a hunder, structural issue (bottom strap button bashed into the wood to the point of depressing/cutting the fibres) - result: send it back A cheap thing from G4S that looked interesting - probably could get a replacement quickly, cost around £100, serious structural issue (fingerboard coming away from the neck), confidence shot by the experience - result: send it back Also, see phase of moon.

I appreciate that you took my post in the spirit it was intended - setting the record straight for the improvement of accuracy, rather than taking it as a personal put down or rabid fanboi "defence of the realm" type stuff. This is how it should be.

According to this I dug up (I can't confirm its origin, but it's written as if it was written to represent Spector) - use of the Spector "solid brass locking bridge design" as they describe it didn't start until 1984. https://2cw1d79cq4b2tsxk239w4ix1-wpengine.netdna-ssl.com/wp-content/uploads/2019/08/NS_BodyHistory.pdf Edit: it's offical, it's linked at the end of https://www.spectorbass.com/History/ G&L been using their Saddle-Lock bass bridge since the first L-1000 came out also in 1980. So whoever was first it must down to weeks or months difference. Anyway, clearly both exist and co-exist quite happily without the pair of them suing each other (unlike Spector vs. Warwick re: NS body shape), but G&L sure do like to bang on about how revolutionary their Saddle-Lock bridge is (https://glguitars.com/saddle-lock-bridge/) so I thought I'd do some digging.

What does the push/push do?

That screams Lace Helix bass to me Or am I missing something here?

You are entitled to your opinion and I thank you for pointing out that your contribution is an opinion. Can I offer some additional entries? I think that side to side adjustment built into saddles is a reasonable improvement - either by having the saddle on a thread like the Schaller 3D bridge or a sliding, lockable arrangement like the Hipshot A style. Also, G&L's Saddle Lock bridge is a good thing - set the saddles for intonation then lock them in place with the grub screw - kind of makes the grooves you speak of unnecessary. Also the rounded sides to that bridge make palm muting very comfortable. There are more "out there" ideas that I respect, like the "wedge" bridge on the Gibson Victory bass which instead of having two grub screws through the saddle for height adjustment had the saddle move against an opposing wedge shape - move the wedge back/forward and it lifts/lowers the saddle as it pushes against it or moves away from it. I always thought that was pretty clever.

Thanks Cap'n Obvious, how did we ever manage without you?

I've had a stellar January, I have to up the stakes in February. Visiting a guitar shop in a foreign country without incident is next on my list of achievements

Still some cracking deals out there for G&L Tribute basses, but the net's closing in and they'll soon be above your £400 threshold I reckon. Out of the ones which can be had for <£400 the SB-2 is my pick of the bunch followed by the Kiloton (Guitarguitar still doing both of them for £399). If you prefer Jazz basses then the JB-2 (think Jazz with a P body) can be had for £329 still at Andertons. I don't think these post Christmas sale prices will hang about much longer.

Oh, you'll be able to hear the differences, they won't be subtle! For reference I used to have a Tribute SB-2. One time I took it to a gig and the sound guy asked me if it was active. I highly doubt that would happen with an LB-100 (or a P bass for that matter)

Lucky to have stumbled upon the TC Electronic Mojomojo overdrive pedal. A guitar pedal, it was suggested in a few places that it played well with basses. I decided that assertion sounded so preposterous that it might just work. It did and it still does. My approach was not logical, I took a punt and it worked out.

That's a very eye-catching bass, lovely colour. Congrats.

It's Leo's progeny at the end of the day. I was considering turning my Tribute LB-100 into a quasi-SB-1 by putting a split MFD in, replacing the standard Alnico effort but since copper shielding it I'm starting to enjoy it for what it is so hopefully that GAS will subside. It helps that I don't have a Fender P to compare it to

Well it is basically a P bass. What did you expect or hope for from an LB-100 above and beyond a P bass?

Sorry, I don't have a definitive answer because I don't measure the action on my basses. I'm setting it up for me so I know what I like by feel and I pretty much lower it until fret buzz at the fingerboard extremities starts to become an issue then raise it back up slightly until that goes away.

January report - still in. Gear bought - 0 Basses sold - 1 Music shops visited without incident - 2 Bring on February

I think it's time to rename the thread, as it's no longer about the abstinence and become the Loopholes and Bargaining thread 2022

*rapid involuntary ejection of brewed beverage from mouth* £120? Bloody bargain - well done! I'd put up with the bridge pickup being there for £120...

I bought a G&L Tribute Lb-100 last month which sports a poplar body. Sounds great to me. Almost all of the sound of an electric bass comes from the pickup(s). The type of body wood is a structural and where visible through a clear or translucent finish, aesthetic choice.

I seem to recall gifts from other people are exempt?

Eminently feasible. I'm guessing it's a maple neck. The finish won't seep far into maple. You won't lose too much wood when removing the finish.

U ok hun?

I think the pickup in my LB-100 is OK actually. I'm a lot happier with it now that I've shielded it properly.