neepheid

Humbuckers for me, because they're on all my favourite basses

[quote name='Stealth' timestamp='1401792596' post='2466831'] Is there any ? [/quote] No, there isn't any

G&L basses are great. The Tributes represent great value for money - especially second hand. I own or have owned a Tribute L-2000, an El Toro and a Tribute M-2000. Have played a USA L-2000 and an SB-2. All of them have played well, been well screwed together and had good finishes on them. Of course, you're only going to get a USA LB-100, no Tribute version of that is available. I've never had a USA G&L new out of the box before, but I can foresee few (if any) problems.

I set up a brand new account, it had the added bonus of creating a band email address.

Not really. I flit between all my basses equally. It's impossible to say which one is my favourite, so unless they're offering me about 12 signature models, forget it

What do you Fenderheads want (apart from a resurrected Leo Fender, [i]naturellement[/i])? You've got nothing to worry about - Gibson's been owned/run by nutters for decades and despite various attempts to torpedo the entire venture (it being run into the ground by absent beancounters and being months away from going under before the current owners took it over - then they buy dodgy hardwood and have the US Government swarming all over the factory, impounding this 'n' that while they systematically fail to get on top of QC issues - anecdotal evidence is cumulative, FYI Gibson - well done guys), they're still here - somehow. You lot are moaning about Bono/The Edge making some financial investment into the company? It's hardly a takeover, is it? Get some perspective And another thing - I also never got the fervently expressed U2 dislike - they've made some decent songs and have done nothing to disadvantage me directly so I really don't care what they do. If they decide to kidnap my wife, skin my cat or annex my back garden then I might change my tune.

I've always seen neck relief as a technical necessity to allow for string movement rather than something that affects the tone of the instrument, and it's like seasoning - just enough is enough, more than enough (or none) and you end up with unsatisfactory results (or even ruin the meal).

Some decent discussion here: [url="http://basschat.co.uk/topic/35505-advantages-of-an-18v-pre-amp/"]http://basschat.co.u...an-18v-pre-amp/[/url] I've got basses that (to me anyway) sound ridiculously boisterous running at 9V (The Gibson RD Artist for example) and ones that just sound cool but assured at 18V (G&L Tribute M-2000). I've never A/Bed an identical bass at 9V then 18V so I don't know, and to be blunt I don't care what effect it has. Despite my technical profession and scientific background, I'm quite happy to black box a preamp and just let it perform its voodoo magic. I'm just a fingerstyle plodder who is neither remarkable nor special, as such far from indispensable in a band context so I've much more important things to worry about (like playing sans mistakes as far as possible) than what voltage my preamp is running at EDIT - an 18V naysayer's retort: http://allthatjazzbass.blogspot.co.uk/2012/03/why-i-think-having-18v-in-your-bass-is.html - I do not know if what is said here is fact, fiction or half fact massaged in such a way as to favour his argument.

[quote name='Rumple' timestamp='1401376645' post='2462990'] One advantage of using a double battery box is that if you decide to stick with 9v you could always keep a spare battery in the other slot. [/quote] Or wire them in parallel for extra long life...

+1 for the Google calendar. In an ideal world, all the band members would have their own personal Google calendars and share them but that's just not going to happen, so I created one band calendar (and acquired a band email address in the process), then gave them all the details to be able to log in and fill it in. Works pretty well, but I do find I need to drum it into people to keep it up to date sometimes

[quote name='marlborored' timestamp='1401353382' post='2462639'] Opinions are funny things, the general consensus from the people I tend to be around is that Peavey are sh*t and should be avoided like the plague and anything more pricey such as Ampeg or Trace Elliot gear is automatically amazing. My mate has a peavey guitar amp though and considering how cheap it was it doesn't sound half bad, is that an example of the general opinion about peavey being wrong or is it that particular amp being an exception to the rule that most peaveys really are sh*te? (I also played through a very expensive Trace Elliot combo the other week, I was expecting to be blown away but I couldn't get a useable tone out of it, it just sounded so weak? So maybe I have a dodgy set of ears) [/quote] I wonder how many of these people who are telling you that Peavey stuff is rubbish have actually tried it. Ask 'em why Peavey stuff is crap and watch them struggle to provide anything conclusive Make up your own mind, carry salt with you at all times for when you need a pinch. Bottom line is - if you like it then it's good. All the other examples of that product might be crap, but that's pretty irrelevant when you have a good one sitting right there.

I seem to remember you don't have to disassemble the entire thing - just remove the hex screw (using the handy allen key which I hope they provided, as it's a weird imperial size which evades me at the moment), then pull the button and worm gear out. Put it in the other way round, replace the hex screw. Watch out for plastic washers.

http://shop.pedalparts.co.uk/ ?

[quote name='scalpy' timestamp='1401289521' post='2462093'] Flipped towards the volume! Not one for technical terms! [/quote] The middle switch, a two way? If so, that's the parallel/series switch. Whichever is "louder", "thicker" and "bassier" is series

[quote name='scalpy' timestamp='1401287754' post='2462068'] Hi and welcome to the G&L club! My ASAT serves me well for all occasions, anything from Ceilidhs to bass to the wall rock. It's always interesting reading how other people set up their bass but mine is always flat out with the volume/bass/treble, active, bass boost on and normally both pickups. Admittedly the gain on my amp is open by the smallest margin! It took me a while to get used to the sound of the bass but now my playing style has evolved. I have tried the m style pre on a student of mine's bass and it is more accessible, a nice modern take on the pickups, although it can overpower any amp if set up incorrectly. I'm too dyed in the wool to consider changing but for the money an m series has to be one of the best value basses out there, the 'tribute' logo has absolutely no detriment to the quality. [/quote] By "bass boost" do you mean "series"?

1 humbucker, 1 volume, 1 tone: http://www.seymourduncan.com/support/wiring-diagrams/schematics.php?schematic=1hum_1vol_1tone

For Seymour Duncan, simplest wiring is join red and white together. Green (and bare) is earth, black is hot. http://www.seymourduncan.com/support/wiring-diagrams/schematics.php?schematic=color_codes

[quote name='discreet' timestamp='1401116794' post='2460209'] Don't think I've ever mentioned it before, but there's something about a white bass... [/quote] ... with HUMBUCKERS, yes?

[quote name='Skybone' timestamp='1401264279' post='2461693'] Love the look and potential of these, just never had the opportunity to try one out. [/quote] Yeah, getting a shottie of one does seem to be a problem. The M series more so than the L. I'd say take the plunge on a second hand one - frequently seen going for £300-£350 and that's a hell of a lot of bass for the money. Don't like it? Flip it and you won't lose much money, if any, because that seems to be the price bracket they've settled into (and haven't moved much in a couple of years). The main caveat is that if you like a skinny neck, DO NOT get a Tribute L-2000 - half baseball bat springs to mind

I am happy with the price I got for the last bass I sold. I didn't sell it here.

You don't have to like "Happy", but surely anyone who knows anything about music (we all do here, right?) can grudgingly acknowledge that it has "ear worm" qualities, and a certain "why didn't I think of that, it's so simple?" about it. It has helped me to worry a bit less when I write - in my fledgeling songwriting "career" I have worried about things being too simple or repetitive, perhaps covering my inexperience up in layers of "stuff going on" (horns - fill that gap with something, keys - do a cool riff here, must use more than 3 chords). I wouldn't have been confident enough to put out something as (on the face of it) simple and stripped back as that. EDIT: I realise I've gone off topic a bit here now, but I like what I wrote, so there. Regarding the particular performance the OP referenced, I haven't heard it, but if it's a bit fruity sounding then that's a bit poor. You would think you'd have your chops together if you were performing it on national radio.

[quote name='Hank Scorpio' timestamp='1401219308' post='2461429'] [attachment=163762:l2000.jpg] Picked up this over the weekend, my first G&L and my first bass with an active option. Roughly 9lbs, big neck but very comfortable to play, BIG output from the humbuckers, a lot of variety in tones from the various knobs & switches as I'm sure most people know. This bass has already drastically changed the way I look at dialling in a sound. With my passive basses, it's very rare that I don't have volume & tone wide open - I learnt very quickly that way of thinking wouldn't work with this bass! The series/parallel option makes a huge difference, the tone knobs have a wide sweep in active and passive modes, and the pickups sound massive solo'd (I'm not getting quite as good a sound with both on, but haven't experimented with that a lot). I'm guessing a few people have L2000/ASAT basses - what sort of bass settings are you favouring? Any tips for getting the best out of the instrument? [/quote] Remember that it's not active EQ. Both the bass and treble controls are passive, cut only. The active thing is simply a line boost, with or without the treble boost. I tended to have mine with the bass and treble starting at around 80%, that gives some room for more if you need it. I had mine modified to give series/single coil (inner coils)/parallel and my favourite setting was both pickups, single coil. Was kind of like having a parallel humbucker in a middle position. Of course that ups the total combination of switch positions to 27 instead of the stock 18, but I didn't muck about with it much. Always had it on passive, didn't really bother with the active and to be honest I found the treble boost rather harsh and scratchy.

[quote name='Mr.T' timestamp='1401128696' post='2460388'] I am just thinking out loud here, It has only just dawned on me.... Since using my MarkBass and TC amps, I tend to tweak my EQ settings pretty much every gig. However, when I had my Trace SMX and 1x15 + 2x10, I rarely ever touched (or needed to touch) my EQ settings! Does anyone else have a similar experience? [/quote] Not really, I've got the settings which I like on my amp and I rarely change them. Always been that way (not that I chew through amps - only on my second ever amp/head). Different story in the rehearsal rooms of course - sometimes when I arrive, I look at the amp settings the player before me left and think "WTF?" to myself

They are powder coated.

[quote name='Roland Rock' timestamp='1401104409' post='2460033'] Ah, that's different. Display area basses are all great. I remember your build diary for this - cool little space [/quote] It was the main advantage of going to a combi boiler for me - the space freed up by the removal of the water tanks. The fuel efficiency? Irrelevant! I don't have basses tucked away in cupboards, in cases, under beds etc. Any which I have owned which I no longer wish to play get sold. End of.