G&L L2000 tone. Best cut-through set-up?

[scalpy]

[quote name='solo4652' timestamp='1322570153' post='1452720']
Just to add further confusion, I have a USA L2000. In the past I've owned 2 Tributes and the USA model sounds darker and richer to me. It may be that settings that work on maple-boarded Tributes don't work so well on a rosewood-boarded USA model. Just a thought.
[/quote]

The tributes do sound different. A student of mine had one and A/Bing them it was clear that it didn't have the big-ness of the ASAT. The lower quality pots and switches will contribute I suppose as much as the woods. I've re-read this thread and it is confusing, especially my posts (!), but it has struck me you're boosting mids on what is already a rich sound. Perhaps scooping some of those would retain some weight but allow the treble to give you that definition?

[krazy_olie]

[url="http://www.bassesbyleo.com/"]http://www.bassesbyleo.com/[/url]
has all sorts of stuff, including links to more stuff about the basses. the tribute pre amp does is slightly different to some of the usa models

[mcnach]

[quote name='solo4652' timestamp='1322561329' post='1452513']
So, to summarise the discussion so far:

To get my L2000 to cut through in a fairly noisy band mix, I'll need to:

Use front pickup. Or bridge. Or both
Select active. Or passive
Series (or parrallel) pick up switching for bass boost. Or not.
Start with tone knobs on zero and slowly dial up. Alternatively, have both on max. Or possibly one up and one down
Use either roundwound or halfwound strings


[/quote]


Ha ha

welcome to the wonders of internet forums!

Ask three bass players, get five answers!

[mcnach]

Since it was not confusing enough, let's add something else

Treble control:
I was just remembering how when you turn down the treble knob, you don't simply lose top end, it actually seems to do something to the mids. I remember using that not so much to cut treble (which it does, but I'd probably only use a fraction of a turn) but to "reshape" the tone and make it sound more mid rich, by turning it down a lot, even entirely. Yes, I know, passive, it does not add anything... I'm afraid I cannot explain scientifically what the effect on the tone is. Just try it. It did not sound very nice on its own, perhaps, but it was a good way to slightly make teh bass sit better in the mix and have a bit more definition.

[solo4652]

I have a headache now. I'm going to bed.

[jjay69]

I've played [url="http://www.flickr.com/photos/jjay69/6406505549/in/photostream"]this[/url] bass solidly for about 3-4 years, chosing it over my Fender P and Stingray mainly because of it's awesome range of sounds (and lovely playability). I started off with only using both pickups for a really smooth and toneful sound with plenty of oomph in the bass and crisp tops (always active), then moved onto only using the bridge pickup, active without the extra treble boost, both these settings were in parallel. I'll include a link to a recording done on this setting if you want to hear. My latest carnation of sound is finding the genius of using the bridge pickup in series mode, i used to think it was a bit old school, but wow with the treble rolled almost right off it's warm and punchy cutting through really well, dare i say almost jazzy esque but can still work in rock, our band is quite rock heavy.
Thing about L2000 is they have so much choice and most if it is very useable, the only one i don't use so much is the neck pickup alone, if i want a P bass sound i'll reach for my P bass.

I can't get the individual links to work but [url="http://www.myspace.com/vincentrrock/music/songs?filter=featured"]Ode to Bill[/url] and [url="http://www.myspace.com/vincentrrock/music/songs?filter=featured"]Ricoche[/url]t are good examples of the sort of sound you can get on these settings. Bridge pickup, Active, parallel, Full treble (rolled off a bit on the amp), full bass, hit em hard - Ode to Bill is fingers, Ricochet, pick.

[url="http://www.myspace.com/vincentrrock/music/songs?filter=featured"]http://www.myspace.com/vincentrrock/music/songs?filter=featured[/url]

[JohnFitzgerald]

Sometimes what you need to do to cut thorugh can be quite counter intuitive.

I'm a both pickups panned equal to centre sortova dude. Volume maxed, EQ flat.
This is on a Jazz five string active.

When forced to use an Ashdown ABM the other night, I found that I was forced to cut the bottom end quite substantially and wind on a good bit of bass to find my sound. Fat bottom end, prominent upper mid to slot in above the bass drum but unde the two guitars. If you listen to everyone else and identify where the gap is, that's where you'll want to be.

To me, it's about finding space in the spectrum and also in the timing. It's amoazing how good your sound is when you're not jostling for position in any of these areas.