Munurmunuh

When I was trying to click on this notification I was taken to this screen, three times in a row. I'm guessing it's benign:

[REDACTED] sorry, but General Discussion is a publicly visible subforum

Now I'm daydreaming of the L2Ke Ped-mod .... a switch that puts the neck into OMG, but the bridge into single coil....

What combination makes the bridge soloed sound best?

To me that document reads like something produced by a non tech person who has diligently taken down verbal descriptions from tech people who aren't aware that they've used slightly different words to describe the same thing at different moments

Since the physical difference between series and OMG is just a capacitor, does that mean that the wiring for adding the single coil option is exactly the same for both L-2000 and L-2000E? (as if my knowledge of the practicalities of guitar wiring goes any further than knowing how to ruin the insides of a Weston Thunder guitar ) I do like how in the original G&L sheet you've given us ^^^^ the OMG mode is called single coil plus added bass boost. Describes the resulting sound, not how it's achieved.

All in one list Fallout – parallel / OMG / single L-1000 – parallel / OMG / single L-2000E – parallel / OMG L-2000 – parallel / series L2k K-mod – parallel / series / single Kiloton – parallel / series / single

I think CLF models aren't really reissues in that sense – the slim C neck profiles for example seem rooted in an outlier example back when neck production was more art than science, ie they found an old excuse for satisfying the current fashion. The CLF L-1000 is as you would expect – three-way switch offering parallel, single coil and OMG. The CLF L-2000 does not have your L-2000E wiring though – it's just the modern parallel/series two-way. But they do have the period correct knobs!

I notice * the reissue of the L-1000 and the short scale Fallout (which has the same position for its pickup) still have the OMG / single/ parallel option * the Kiloton, which has its one pickup almost as far back as the L-2000 bridge pickup, offers series / single / parallel — does that mean G&L think that bridge humbuckers benefit from having the option of a straightforward thick series tone? Since @ped you've got a bridge humbucker that's in the OMG wiring, and I'm just scratching my head, your thoughts would be worth a million of mine.....

Don't know why I keep banging my head against this wall, as it's of 0 importance to me – I guess I was curious as to how G&L went from one set up for the L-2000 to another. I know that the standard for a current L-2000 is a simple choice of each humbucker being wired either in parallel or in series Have I got this right for the original L-2000E wiring: (a) the choice is either parallel or OMG (b) the OMG is achieved by putting the coils in series, with a capacitor parallel with one coil? If so, then (either) the only difference in manufacture is that the capacitor has been removed from the original design (or I'm hopelessly lost)

I found this quote from John Page "Yes the Performer was one of my designs. Believe it or not, the Performer bass (designed before the guitar) was designed to be the Elite version of the Jazz Bass.. yes that's right... it was going to be the top version of the Jazz Bass... scary huh? The shape of the instrument is derivative of the back of the Strat Look at the waist cut on the back of the Strat and you'll see where the basic horn/body shape started. At the time (1982-3ish?) I was designing this, Fender was considered a pretty conservative instrument Kramer, Jackson & BC Rich were building these radically styled instruments, so we wanted to get into that market. In my original design, it used a Strat-style peg-head and the pickups were a double Strat hum-bucking setup. I also designed the Fender Logo On The Performer I can't say that that a good thing, but it was kinda cool to design a new Fender logo. We got some comments that it looked like the Peavey logo, which really whizzed me off. The guitar that was produced was different than the original that I designed. I initially designed it to be made in the US, but it ended up being made in Japan. When that transition happened, things were changed. The peg-head went from the Strat to the Swinger, for example, so I don't remember what pickup they actually went with. I angled the pickups to thicken up the top end a bit... and it looked cool. Well, at least to me, I like "off-line aesthetics". Why weren't they successful? Look, I was a designer in Fender R&D for years before I started the CS. I was always trying to design something new and different. When we started the CS, I tried to do the same. Reality is, the public wants Strats, Teles, P & J basses from Fender. So it's really tough to get them to accept any "new & different" designs in any great quantities. I'm afraid I have no idea how many were actually produced. I designed the five string version when I first came back to start the CS in '87. To the best of my knowledge there was only one prototype made by Fuji Gen Gakki It was kind of a pinkish color and had the same basic features of the 4 string Japanese model. When I initially designed both basses, the were modified Mustang coils, wound beefier and wired to be hum-bucking. When the four string version was released it used a single coil p/u under each cover. The original also was designed with a angular/massive/fine-tuning bridge, and a "lightning bolt" styled string tree. Both were prototyped but never released. I never heard of any instruments being destroyed for any legal issues... maybe another one of those "legends"? The idea behind the neck was simple, at the time a lot of bass players were guitar player converts. Bass playing style started to have more of a "lead guitar" approach, so the idea of a narrower neck was to help along those lines. The original proto went on the summer before it was released with the them "hottest" bands, Billy Idol (I don't remember his bass player's name) and The CARS bass player, Ben Orr. " From here

Wake

Before a Player gets to be a Performer, they need to be a Practiser, and later, before they're a Pro they're just a Part-timer. I would like to see the specs for the American Past-it Precision.

Something I like about this very modest one is that the three basic tones all sound like they're cut from the same cloth – the split is more bassy, the bridge more trebly, obviously, but beyond that the tone is remarkably consistent.

From 2'45" The neck is a copy of a 1962 Jazz and the pickups are all DiMarzios, but never mind

Whilst searching YouTube for decent videos of the BBP34 (or even just one) I came across this old one of James Lomenzo bigging up the laminated quartersawn neck of the BB2024. At one point he says "....most of your tone comes from the neck...." which would be an enjoyable bomb to drop into a TB tonewood squabble but he also makes a connection between neck stability and the immediacy of a note's tone

Watching random tosh as per YouTube's recommendations, and thought this moment worth screengrabbing for your entertainment

The progress of this thread reminds me of Tom Lehrer's line, life is like a sewer, what you get out of it depends very much on what you put into it.

In my experience of storing things in dry garages over the winter, damp gets in and doesn't get out. Years later I can still tell which of my belongings spent that winter there.

Should anyone care about the less charitable end of my opinion, which I doubt very much, then just imagine I've copied and pasted every single natural finish bass that's been posted here in 2021. Not just ugly, but perverse and immoral. Disgusting.

For some reason, just looking at that, I was expecting to be told it's about to be painted Shoreline Gold (or do I mean Pharaoh Gold Firemist?)

I just turned around and asked the BB sitting behind me if it wouldn't rather be a nice trans white rather tobacco sunburst, and it said pleeeeeeease. It's not just our own tastes we should be thinking about, we need to consider the poor basses. Decades stuck under a hapless targetburst, just longing for a nice solid metallic red finish..... Oh it's so sad

I got the vague impression that the current MII CVs have a more shallow neck profile than the CIC ones, but given the amount of very vague stuff I read trying to find out, that could be rubbish. I do know that the Fender website lists all three of CV Ps as having 1 11/16" nut and a "slim C" profile, whatever that is.

Sound great in this demo

If the user interfaces for the multieffects units bother him, the Headrush Gigboard has a touch screen so that building the patches is very intuitive. Furthermore the patches can be arranged into a set list, so that at the end of each song all he would need to do to tap the pedal to advance it to the next patch