Lunch Report -- Wednesday, 9/1 (meet the family, part 2)

Happy September, GLeeks!

I think I'm hankering for a gyro and fries today. Not the best dietary decision I'll make all week, but what kind of life is it if you don't allow yourself something delicious and fattening now and then? There's a great little hole-in-wall-joint nearby that I think makes the best gyros in town. The proprietor has a demeanor that's just a notch or two below Seinfeld's soup Nazi character, but you can't argue with the flavor. Anyway, I enjoy the occasional surly service. Reminds me of a real diner.

Today's visual comes to us compliments of my beloved L-1000s (again, apologies for the less than optimal photo quality):



The model on the left is a 1980 hog/ebony with what is apparently a not so common clear red finish. It sports a fair amount of honest play wear and was less than ideally maintained until I got my mitts on it. The ebony board was pretty thirsty and had a couple of small hairline cracks that I remedied with some #20 black super glue from Stew-Mac (I didn't know this stuff existed until I consulted support to inquire what they'd recommend). Not a lightweight, but a genuine tone monster. This one has gotten a lot of love since I bought it a bit less than two years ago.

The ash model to the right is an '81 with the characteristic slot pole pieces. She sports what I'm about 95% sure is a Macassar ebony board. If it's rosewood, it's unlike any variety I've ever seen as it's extremely hard (no telltale round wound treads) and smooth with a very tight grain resembling that of her hog sister. This one is nice and light and, aside from some finish checking and wear to the chrome on the tuning pegs, in outstanding condition. This one is string with Chromes whereas the other wears D'Addario rounds, which provides a bit of tonal distinction between the two.

I think the L-1000 is my favorite of all bass models I've ever played. I think Leo set out with this design to create the ultimate P bass, and I think he succeeded with flying colors. I'm crazy about the separate (completely passive) treble and bass controls and the coil switching is absolutely to die for. In humbucker mode, they're nice and quiet, round and full. In the middle coil tap mode they can cop that 50s single coil P sound and the OMG (or single coil + bass boost) mode speaks for itself. I don't think there's a bigger sounding passive bass out there, or if there is, I have yet to run across it. I've confounded multiple bass player friends with the information that there's no active circuitry in these things. They have to be heard to be believed.

G&L related topic for the day: Of all the wood combinations past and present, which is your favorite? Seems that the hog/ebony match-up is pretty popular, but I wonder if part of that is due to the fact that these woods are also the most uncommon. For you hog/ebony lovers out there, is it the tone you love, or is it an aesthetic thing? For that matter, in general, are you drawn to a particular wood because of how it sounds/resonates or maybe just because you like the look? I'll confess, to me it's a bit of both because I don't put quite as much stock in the whole "tone woods" debate as some do. I tend to think the mass of the wood, which can vary a great deal even from stuff cut from the same tree, has more to do with it than species. But what do I know?

Non G&L discussion topic: At a recent gig I had the unprecedented experience of having an amp head die on me. It was probably the most jarring technical setback I've experienced in some 15 years of regular gigging. What's the worst technical SNAFU you've ever had to deal with and how did you overcome it? (In my case, we were gigging with some friends' band and the bassist was right there with his head to bail me out.) Do y'all typically drag a backup head/amp to the gig, or do you take your chances? I confess, I never figured it terribly necessary until this past gig, but now I'm reconsidering my cavalier attitude.

Until tomorrow,

Fats

G&L related topic for the day: Of all the wood combinations past and present, which is your favorite? Seems that the hog/ebony match-up is pretty popular, but I wonder if part of that is due to the fact that these woods are also the most uncommon. For you hog/ebony lovers out there, is it the tone you love, or is it an aesthetic thing? For that matter, in general, are you drawn to a particular wood because of how it sounds/resonates or maybe just because you like the look? I'll confess, to me it's a bit of both because I don't put quite as much stock in the whole "tone woods" debate as some do. I tend to think the mass of the wood, which can vary a great deal even from stuff cut from the same tree, has more to do with it than species. But what do I know?

I have a similar opinion to you about density being the real factor, not wood species. I also do not think wood is going to make much of a difference behind pickups and your playing style, and heaven forbid your amplifier. I generally pick a wood combination that compliments the colour scheme of the guitar. My red bass has an ebony board, my sunsetburst guitar a rosewood board, the blue and black guitar, ebony again. My incoming ASAT is orange and black with a maple board (an oddity by my standards but it is something I don't have, the black and maple is a throw back to original broadcasters I guess. Wish I could have gotten all black hardware from G&L though.

Non G&L discussion topic: At a recent gig I had the unprecedented experience of having an amp head die on me. It was probably the most jarring technical setback I've experienced in some 15 years of regular gigging. What's the worst technical SNAFU you've ever had to deal with and how did you overcome it? (In my case, we were gigging with some friends' band and the bassist was right there with his head to bail me out.) Do y'all typically drag a backup head/amp to the gig, or do you take your chances? I confess, I never figured it terribly necessary until this past gig, but now I'm reconsidering my cavalier attitude.

Never have had an issue playing out, however my amp 'died' on me recently. Took it apart, couldn't find anything. To my dismay the batteries had merely run out on my basses active module, it played fine in passive mode.

Wood is an interesting topic. I have some favorites, but for the most part it comes down to execution of the whole guitar; and then finding the right guitar for the song. Les Pauls with the maple-capped hog bodies are about as different as you can get from the maple-necked alder bodies of one of my Legacys, but both still work.

With the 150+ songs that I do in my band, there is only ONE that I have a clear-cut preference for an alder-body Legacy, as opposed to an ash body. The neck pickup on the alder Legacy has almost an acoustic guitar tone that works so well for that PARTICULAR song.

This may sound terribly shallow, but for the Legacy-bodied models, I'm probably more concerned about the overall LOOK of the guitar rather than any subtle tonal difference. Blasphemy, I know.

Though I do prefer blue-eyed brunettes to blondes! LOL!

Years ago, I had my SUNN Solos II get funky on me while I was doing a hotel bar gig in Eugene, Oregon. Got through the night using an all purpose bass/guitar amp I had along for backup. It was a simple matter of a 90 minute drive the next morning up to the SUNN factory in Portland, and they fixed it in about an hour under the Lifetime Warranty. Gave me the factory tour, and they were really great.

When I first moved to Portland in 2002, I found a great deal on a Boogie Mark III combo. Needed some new tubes, so I ordered a complete set of EH tubes from thetubestore.com. I had only an hour on the new tubes and took the amp to a local jam session where I'd never been before. Unfortunately, on my first (and ONLY!) song, the V1 preamp tube shorted out, dying a horrible death while moaning and shrieking like a possessed banshee. Half the people were going, "WTH?", while the other half thought it was psychedelic and part of the song. LOL!!! For the new guy in town, it was most horrifying and embarrassing. The only thing that was good was that thetubestore.com sent me a free replacement 12AX7.

And then there was this episode a month ago with the Farmer's Market gig we did, getting bad power to the stage that burned up my pedalboard and ruined 5 pieces in our PA gear rack, to the tune of $1,100.00. OUCH! Fortunately, we were able to get through the gig.

If I can, I like to take some kind of a backup amp; especially when I'm gigging out of town. And I carrry a set of 6L6s and a couple of 12AX7s in my gig luggage.

Boy Scout motto: BE PREPARED!

Bill

No big gig disaster stories. Haven't played out since the college Coffeehouse days.

I too love the L1K. Even though I'm not a bass player (nor much of a guitar player, truth be told), I can tell that this is a very special model. Leo's spirit resides in these things. Here's our very own Bassman playning mine (also ash/ebony '81 slot-pole) at one of his gigs a couple of months back:



Still, I can't tell you whether I like it better than my first style maple/maple SB-2. They are as different as night and day, and both equally amazing to my mind. - ed

Those are some very nice looking L-1000s. I'm sure they sound great.
I loved playing Ed's (Zapcosong's) L-1000. It was/is one of the cleanest L1ks that I have ever touched.

Wood combos - Traditional Ash body/maple neck is one of my favorite but a lot has to do with the individual pieces of wood. I have experienced basses that just don't sound good, even with the same pickups as other basses that rock.

Mahogany imparts a very warm tone to a bass, but it alone is not going to over ride what a pickup is doing.

Bass amps blowing up- It can happen without warning although usually you know when you are pushing an amp too far volume wise.

I never turn the volume on an amp past half way and at gigs I usually have a spare head in my car just in case.

I recently had a Monster cable short out in the middle of a gig but I had a spare cable on top of my amp, so it was no big deal. I did assume that the problem was the bass jack not liking the shape of the monster plug but it turned out to be the cable itself. Be careful making assumptions about equipment. It can often prove to be something simpler that is the real problem.

I recently had a Monster cable short out in the middle of a gig but I had a spare cable on top of my amp, so it was no big deal. I did assume that the problem was the bass jack not liking the shape of the monster plug but it turned out to be the cable itself. Be careful making assumptions about equipment. It can often prove to be something simpler that is the real problem.

Those plugs are quite the jack killers. Just another reason for me not to bother with them however, I won't pay for them. I have found if you buy quality wire lengths and your own ends (I use neutriks) you can make a cable just as good for less than 1/2 the price. I made 3 cables totalling 40' for 40$ (15 15 10). Then I rearranged my office/studio, and all the cables are too short!

As far as the 1ks go, I need a bridge pickup, That looks more akin to a neck pickup to me, and I use those far, far less.

Last edited by sirmyghin on Thu Sep 02, 2010 6:57 am, edited 1 time in total.

Like those L1Ks.

One of these days I'll take the plunge for one.

jamie

Those plugs are quite the jack killers. Just another reason for me not to bother with them however, I won't pay for them. I have found if you buy quality wire lengths and your own ends (I use neutriks) you can make a cable just as good for less than 1/2 the price. I made 3 cables totalling 40' for 40$ (15 15 10). Then I rearranged my office/studio, and all the cables are too short!

I am becoming more convinced of the same thing. I bought my monster cable about 7 years ago used for $17.00. The cord has worked fine with my L-2000s and all my basses. I don't know if the plug is "spreading" the ProCo jacks or not in my newer G&Ls, but I agree that a good cable should cost a lot less.
I tend to just use a Whilwind or whatever cable that I have handy. I don't hear a big difference in a live performance situation.

Those plugs are quite the jack killers. Just another reason for me not to bother with them however, I won't pay for them. I have found if you buy quality wire lengths and your own ends (I use neutriks) you can make a cable just as good for less than 1/2 the price. I made 3 cables totalling 40' for 40$ (15 15 10). Then I rearranged my office/studio, and all the cables are too short!

I am becoming more convinced of the same thing. I bought my monster cable about 7 years ago used for $17.00. The cord has worked fine with my L-2000s and all my basses. I don't know if the plug is "spreading" the ProCo jacks or not in my newer G&Ls, but I agree that a good cable should cost a lot less.
I tend to just use a Whilwind or whatever cable that I have handy. I don't hear a big difference in a live performance situation.

I made my latest batch of cables with Redco house brand wire, it looks a dead knockoff of the popular mogami wire (W2524) this. It had near nil on capicitance, and very very low resistance when I checked it (.001/.002 ohms across 15 ft or so), the multimeter is likely not even accurate at that point. Not as 'wide' as monster cable, but they are a company that tries to tell you you need bigger cables for basses than guitars.. They are overkill to begin with. Another cool thing is the one neutrik connector I got, it has a 'switch' which opens the circuit fully the second the plug isn't in. This means no humming hot plug end. Great for 'hot switches'.

I really think the market is running with seeing how much they can sell guitarists as far as cables go, granted my speaker cable is a planet waves (I needed one, hadn't thought far enough ahead to build my own at that point). The whole gold ends etc, while good for corrosion resistance, will likely only help conserve signal when paired with gold jacks. It is all about the weakest link.

Best cable I have ever owned is this. I received this cable for Christmas 9 years ago, and I have NEVER had to fix it. It has played out with me over the years when I was doing so, and traveled ridiculous amounts. Very flexible, no noise, clear, very solid ends. The packaging (still have it) actually has a 10 year guaranty on it.

The whole gold ends etc, while good for corrosion resistance, will likely only help conserve signal when paired with gold jacks. It is all about the weakest link.

Funny you mention this. Years ago I tried to tell a guitarist friend of mine that any benefit he was getting from his Monster Cable was likely nullified by the crappy, cheapo connector cables he was running between his effects pedals.

He didn't want to hear it, mostly because I'm sure he didn't want to run out and spend a fortune on Monster patch cords.

When it comes to cords, I go with whatever is reasonably priced and has standard size jacks (Neutirk, Switchcraft or George L are preferable). I really should just make my own, so I'll investigate that Redco link. Thanks for posting that. My soldering skills aren't great, but they're good enough for that job and I've repaired more than a few in my day.

The neutrik ends are tricky to solder, they have a cupped shield and center pole. The tech at the soils lab showed me some tricks though, and they have been rock solid. Now standard soldering is heating em both up and then letting it flow on, gets a nice hot joint. Touching solder to an iron gets a brittle cold joint. What this guy did, and which helped a tonne with these connectors was tin the wire, and effectively tin the jack with a pool of solder. The area is so small you can't really work these well. Then reheat the pool and jack while pushing the wire in lightly, when it all flows, jam in the wire, wait a second, and remove heat. This prevented need 4 freaking pairs of hands, and get rock solid joints, that are not cold. Wish I could find a picture of the inside, but think a small semicircle/drill hole with part removed, and a larger semicircle about 2mm outside the for a shield. I got my parts from redco, here in Canada even, fast shipping and great prices.

As I said that digiflex I have (tourflex) has done me very very well over the years. The fact any patch lasted 9 years is amazing in my books.

As for said guitarist, running tonnes of crap between monsters, what a dink. Then again running through a lot of pedals can increase your signal chain great lengths as is. When possible, I like to tailor my own patches for that, or if able, use direct male to male couplers. The less distance the better.