Lunch Report, Friday 9/3

Well, I've made it to the end of another week and am looking forward to a 3-day weekend. The weather here in WI promises to be cool for a change. We've had some really hot and humid days this summer, which isn't unusual but is the sort of thing even the natives never really get used to. You might say we have the worst of both worlds here: high temps and humidity in summer and frigid temps and plenty of snow in the winter. Such extremes can be hell on guitars, especially acoustics. Fortunately, the G&Ls are built so solidly they usually hold up pretty well, with maybe a minor truss adjustment one or twice throughout the year. A couple of mine hold their optimal relief stoically, however, whatever the weather outside.

No pics to share today, I'm sorry to say. As I noted in a previous post, I do have a few other instruments in my collection, but it seems out of place somehow to show them off here. Was hoping the first generation SB-2 I snagged off eBay would be here in time for this report, but it looks like it will be a few more days. Will be sure to report on it when it arrives. I've always wanted one but have never actually had my hands on one. I'm told by many that I won't be disappointed, which I'm sure is true unless there turns out to be something functionally out of whack with the thing.

I've had a gas (not to be confused with GAS) geeking out for y'all this week. I'm not usually one to trot-out pictures of my gear online, but it was nice to have an excuse to do so. As one of our members noted elsewhere, the old (?) saying goes: no pic, no guitar/bass. Well, it's nice to finally bring the G&L members of the collection into the real world after the countless hours of joy they've brought me.

G&L related topic for the day: I was making some slight adjustments to one of the Wunkays last night (she was asking for a bit more neck relief) and got to thinking about the now extinct micro-tilt neck. Personally, whenever I've acquired a used G&L and gone though that initial string change/setup routine, I've always backed off the micro-tilt completely at first to see if I could get the action where I wanted it without applying the extra pressure to that point. I think it can be a great feature if you know how to use it (i.e. sparingly and without applying excessive torque to the neck screws after you've dialed it in), but right now I've got everything set up to my liking without it. How about you? Do you use the micro-tilt? Ever had any problems with it being overused or abused by a previous owner or a tech? Legend says it can contribute to the dreaded "ski jump" in the upper frets, but I've only ever had one G&L that suffered a slight hump toward the neck heel and I don't know for sure that it could be attributed to the micro-tilt since I've seen other guitars without this feature that were worse. In my case, the problem was easily resolved with a fret dress which that bass was needing anyway. I sometimes wonder if BBE abandoned the design because it was problematic, or if the new CNC production methods just rendered it effectively obsolete. Anyone know the true rationale?

Non G&L topic for the day: After the SB-2 arrives, my next instrument acquisition will be a piano. I have a friend who wants to unload a nice console model and all it will cost me is the price of having it moved (and tuned, obviously). It will be a great thing to have one for the kids to bang on (and maybe actually play seriously someday if they're so inclined). It will also be a constant reminder than I can't really play and wish my parents had been the sort to force lessons on me (though we never owned one which would have been an impediment right there). Is there an instrument you don't play that you wish you did, or are you content with the guitar and/or bass? Aside from piano, what I really wish I had learned is cello. I'd be a better bass player, I'm sure, if I'd tackled that one as a kid, but the school district in my hometown didn't have an orchestra, just band. I did play trombone in my school days which certainly helped with the transition to bass later in life since I could already read bass clef (not that I work from a chart most of the time). It seems I've always gravitated toward the lower-voiced instruments. Still have a 'bone, in fact (a rather nice vintage King Liberty 2B), but it doesn't get a lot of attention. Maybe some day when the kids are older and I've got a bit more time on my hands I'll dust it off and look for some jazz hacks to jam some combo stuff with. Maybe ...

Well ... see y'all in the funny papers, I guess. Still absent someone to fill next week's Lunch Reporter duties by the way, so if you haven't had the chance and would like to step up to the plate, speak now. Otherwise, what with Labor Day stuck in there, I suspect Webmaster Craig may let it lie fallow for a week.

- Fats

I sometimes wonder if BBE abandoned the design because it was problematic, or if the new CNC production methods just rendered it effectively obsolete. Anyone know the true rationale?
- Fats

The answer is in the G&L Knowledgebase, in the General G&L Questions subforum: When and why did G&L switch to a four-bolt neck?

Thanks for doing Lunch Reporter duties this week. This might just be the last Lunch Report, if no one steps up for next week.

What did you say you had for lunch today? ;+) - ed

So this may be the last Lunch report, huh?

Well- I'll volunteer to do it gratis if no one else steps up. I know I'm not eligible for a pedal. Not that I use them regularly anyway, but I'll do it as a Labor Day gift! LOL

Micro-Tilt is a great feature when applied sparingly, but its real easy to screw up a good set up if you don't understand how to use this great device.

I set up my basses without any tilt when I first get them and many times the set up is fine, but a Micro-tilt is the best when you have a problem neck and you need to make the bass or guitar playable.

I have a G&L with a bad truss rod. The rod is doing nothing because the nut or shaft of the rod is stripped. With the micro-tilt, I can make this neck playable. On a bass without a micro-tilt it would be impossible to get it in playing condition without a lot of trial and error with various shims.
That is an extreme example of what a micro-tilt can do.

I would like to see G&L bring back the micro-tilt on their 6 bolt necks.
Six bolts are a lot to take off in order to shim a neck. A Micro-tilt makes short work of that task by giving you a set screw to use to tilt the neck and optimize your bass neck's playing position.

Good luck with your piano aquisition. I would love to have a real acoustic piano but I make do with an electronic keyboard.

Other picts than G&L: I don't think its a real problem around here. Plenty of us own and play other manufacturer's instruments and AFAIK, Craig and Dave have no problem with us posting pictures of any axe, as long as its PG-13.
I posted a bunch of my project basses during one of my recent LR weeks.

Nice week of reports.
Lets hope the LR tradition doesn't die!

We do have a piano in the house. We started off with a Grand Piano that I scored from a County Club that was going under. When we lived in the big old rambling Victorian down in Mississippi we had plenty of space for it. But it seemed we kept living in smaller homes after that and so downsized to a nice little Baldwin console.

I also still a play a bit of fiddle and mandolin and can nail the sitar part on "Paint It Black" with a kazoo.

I sometimes wonder if BBE abandoned the design because it was problematic, or if the new CNC production methods just rendered it effectively obsolete. Anyone know the true rationale?

The answer is in the G&L Knowledgebase, in the General G&L Questions subforum: When and why did G&L switch to a four-bolt neck?

Thanks, Craig. Somehow I guess I missed that in my previous passes through that forum. Can't say the three-bolt design ever gave me any pause, but I can see, given the spotty quality control of the Fender plant in the 70s, that it might have undeservedly carried some of that stigma.

What did you say you had for lunch today? ;+) - ed

D'OH! Lunch today (just returned, in fact) was a chicken burrito from a local joint that's sort of a Tex Mex fusion-y sort of place. We have a number of great little taquerias in town but, sadly, none very close to where I work. But this place is passable if you know what to order. Actually, I think my biggest gripe is with their salsa. Their extra hot barely rates as mild on my scale, and I'm not just trying to be a big talker here.

Thanks for the catch, Ed. It's not so much a Lunch Report without some talk of lunch, huh?

Non G&L topic for the day: After the SB-2 arrives, my next instrument acquisition will be a piano. I have a friend who wants to unload a nice console model and all it will cost me is the price of having it moved (and tuned, obviously). It will be a great thing to have one for the kids to bang on (and maybe actually play seriously someday if they're so inclined). It will also be a constant reminder than I can't really play and wish my parents had been the sort to force lessons on me (though we never owned one which would have been an impediment right there). Is there an instrument you don't play that you wish you did, or are you content with the guitar and/or bass? Aside from piano, what I really wish I had learned is cello. I'd be a better bass player, I'm sure, if I'd tackled that one as a kid, but the school district in my hometown didn't have an orchestra, just band. I did play trombone in my school days which certainly helped with the transition to bass later in life since I could already read bass clef (not that I work from a chart most of the time). It seems I've always gravitated toward the lower-voiced instruments. Still have a 'bone, in fact (a rather nice vintage King Liberty 2B), but it doesn't get a lot of attention. Maybe some day when the kids are older and I've got a bit more time on my hands I'll dust it off and look for some jazz hacks to jam some combo stuff with. Maybe

Well there is that banjo I have in the closet, never could get the hand of the small string spacing so changing chords was too cramped. So I never stuck with that. I also tried to take up bagpipes, but starting on the chanter my fingers could never stay flat enough to close the holes properly. I would really like to learn to pipes.

All through high school I played tenor saxophone, I loved it and played in the band (classical, not so much jazz although I did get to play in the mood, that was a sax mosheen song). I really wish I could justify 3-4 k to buy a good one, but then it needs practice time. Practically I don't have room for another instrument. I practice guitar HARD, 1.5-2 hours daily, at least 1 hr of the is nothing but exercises, 15 minutes warmup. I will be able to shrapnel shred eventually, but I am not actually interested in the music, just the ability to do so to make everything else easier. I practice bass for 1-1.5 hrs 2-3 times a week also. My practices include the riffs from Dream Theatre songs I cannot play, I pick them out and compile them and practice them with a metronome/MIDI. As far as bass playing goes it gets practiced less, as this stuff is for all effective purposes the only finger style stuff that challenges me. I am not that into slap, but do play tap styles on both instruments. The thing is a lot of the exercises and stretches I do transfer from bass to guitar anyway, minus the finger style vs pick/hybrid style.

I have always wanted to play piano, but as I said above, I need to master the instruments I have before I worry about adding more, otherwise all 3 will suffer.