NGD - 1980 G&L L-1000

Greetings from Scotland!

Hi my name is Murray, and I'm a new G&L owner.

I'd like to thank all contributors to the discussion pages on here. I read through your posts extensively to research the early model L-1000 bass prior to making the seller of this one an offer...which he accepted!

It's already been on recordings and it'll definitely be out gigging in my home city of Aberdeen in the not too distant future. I'm a guitarist, but for our new band we settled on the format of a power trio so I needed a bass...and what a bass I've got!

It's a 1980 L-1000 in metallic blue (Lake Placid Blue?) over mahogany with the ebony fingerboard. She appears to be in mostly original condition, and came with the original G&G short hair case. Chrome bridge with B001877 serial, chrome control plate, manufacturers date codes on the pots of 8029/8022/7919, neck stamp 29 Aug 1980, skunk stripe on neck and Schaller stamped tuners. Overall its in great condition and I feel I've bought a vintage Fender instrument without the Pre-CBS price tag!

Other than showing it off, what I'd like to know is whether the body has been refinished. If it is a refin, it's been done some time ago, and is of professional quality. There's evidence of the four pickup leads onto the switch and volume pot being desoldered, and I've couldn't find a picture online of the base of a G&L L-1000 neck pocket that was painted over like this one. On some areas of the neck heel there is evidence of a cherry red colour which has 'bled' into the clear lacquer of the neck. The original colour perhaps? This is all hidden when neck and body are mated, but would suggest to me that either a) the blue colour (Lake Placid Blue?) isn't the factory original colour or b) the neck isn't original to the guitar. There's no problem whatsoever with either scenario, as it's a fantastic, responsive instrument, but I'd be very interested to hear any thoughts from the contributors here, particularly Fred Finisher or indeed any of you with knowledge of the finishes on these early L-1000's.

Many thanks in advance!

http://www.guitarsbyleo.com/GALLERY2/ma ... emId=11294
http://www.guitarsbyleo.com/GALLERY2/ma ... emId=11298
http://www.guitarsbyleo.com/GALLERY2/ma ... emId=11301
http://www.guitarsbyleo.com/GALLERY2/ma ... emId=11304
http://www.guitarsbyleo.com/GALLERY2/ma ... emId=11307
http://www.guitarsbyleo.com/GALLERY2/ma ... emId=11310
http://www.guitarsbyleo.com/GALLERY2/ma ... emId=11313
http://www.guitarsbyleo.com/GALLERY2/ma ... emId=11316

That's a great first bass to have!

My guess is that the bass was refinished, but refinished well. The neck pocket should be bare wood, with a date stamp. I don't think Lake Placid Blue was in the lineup in 1980, and generally a mahogany body would have had a clear or sunburst finish. Everything's possible with old G&Ls, though.

Most importantly, how does it sound? The treble cut (also called "OMG") switch should give you more bottom end than you'll find on any vintage P Bass.

Ken

Thanks for replying Ken.

I'm of the opinion that it's been refinished from what you've offered. I should mention there's a spot near the body's neck pocket where the blue finish has worn through (caused by the case from what I can tell!) that shows a white undercoat which feels impregnable. Any thoughts on whether the red marks on the neck could be from the original factory colour? May consider restoring it.

It sounds fantastic. Loud for a passive bass, it really gets the speakers moving air! With the switch towards the neck position, it has a pleasing type of growl, middle position gives classic single coil Precision sounds but with more punch, and towards the bridge the expected bass boost is all there with treble cut. On Sunday's rehearsal I found that I preferred the middle single coil and neck humbucker modes, with a preference for middle single coil. OMG was slightly lost in the mix despite its obvious power playing unaccompanied. Years of hearing a Precision bass have probably left me with preconceptions of what a good bass sounds like, so that may well change as I get more used to it.

Any thoughts on whether the red marks on the neck could be from the original factory colour? May consider restoring it.

Here's a clear red L-1000 body I recently sold for reference , and a link to the album for more pics below
if it helps.



Clear Red L-1000 body ,unloaded

I like the blue,
...and I know just what you mean about finding gear that parallels the pre-cbs fender offerings , pretty cool that we can
find these and still have dinner


elwood

Thanks Elwood! That's the colour of finish that's on the neck.

I like the blue also...had hoped it was original as the seller inherited it from a relative and didn't know, but was prepared to buy as a refin.

To me they ARE Fender basses...

My score today was an original HSC from an '80 or '81 L-1000. The bass was sold a couple of months ago by my local shop, but the buyer wanted a gig bag instead of the case for some reason. I have my '81 L-2000E in a non-original case, and also have a "rescue" '82 L-1000 in an OHSC that's about to fall apart. One or the other will get the new case. Where was I going with this? Oh yeah, your comment about being a "real Fender". I normally hate seeing stickers on cases, but this one has an original "The Real Ones" G&L bumper sticker on it. Those stickers said it all...

Regarding the refin, if the current finish looks as good in person as it does in the photos I would leave it alone. The one thing I would consider doing is gently sanding the neck pocket clean to give better coupling with the neck. It was a bit of a pain doing this to my rescue L-1000 (which had been spray painted purple and then put back together wet), but I was able to get good contact surfaces after about thirty minutes with a sanding block.

Red and Clear Red were definitely color choices for the early L-1000s. I haven't seen Clear Red over mahogany, and can't quite picture how it would have looked. The clears generally went over ash. It could have had a solid red finish, though.

Ken

Ken, there's an original L-1000 /2000 case on ebay if you need another...

Hello Murray,
This was definitely not done in the factory. The neck pocket is a dead give away. If you look at the picture Elwood posted, you will see the outline of the finishing handle we used for all bodies and necks. An original factory finish would have this outline and there would be no color under it because the handle is applied prior to finishing. It does look like it was done well so I wouldn't mess with it. Even if you put it back to one of the original colors, ( this was not an original color ) it still would be a refinish so I would leave well enough alone. It looks like you have a great bass, play it.
Fred

Hi Fred, many thanks for your definitive reply on the finish. I've read your postings and the most interesting report on the methods employed during your time in at CLF/G&L. I think its incredible to banter with the people that were directly involved with production of these instruments 30+ years ago!

I had suspected it had been refinished prior to purchase, and Ken, Elwood and yourself have now confirmed this for me beyond any doubt. I'll admit my hopes were dashed when I removed the neck and saw the fully painted neck pocket, but raised by confirmation of the mahogany as the body wood (I didn't want an ash body) and the 1980 neck stamp (it was advertised as a 1981 model).

These don't come up for sale that often in the UK hence I took a calculated risk on this one being all original. Those that have been for sale in the UK lately have all been ash with one piece maple necks, and I prefer the ebony veneer fingerboard. Over here they sell for similar figures to those I've seen advertised in the States. Currency conversion is achieved by simply changing the $ sign to £!!

Despite my earlier comment about possibly restoring it to the original colour, I don't feel inclined to do that now. I know from bitter experience that it would involve stripping off the hard undercoat with a heat gun, and then I'd never get it all off the cavities to my satisfaction without careful use of a router. That would be an unneccesarily traumatic experience for both myself and this old lady.

I may however, attempt to remove the finish on the base of the neck pocket as suggested by Ken. I'd be more confident using heat and a scraper to a sanding block though. Would welcome any thoughts from your vast experience.

I'm certainly playing it Fred...it's a phenomenal instrument.

I may however, attempt to remove the finish on the base of the neck pocket as suggested by Ken. I'd be more confident using heat and a scraper to a sanding block though.

I was dealing with a glob of purple sludge from a spray can. It would definitely have been harder with a real finish!

Ken, there's an original L-1000 /2000 case on ebay if you need another...

Thanks for letting me know!

I'll admit my hopes were dashed when I removed the neck and saw the fully painted neck pocket, but raised by confirmation of the mahogany as the body wood (I didn't want an ash body) and the 1980 neck stamp (it was advertised as a 1981 model).

Mahogany body, ebony board, OMG circuit and large hex pole pieces - IMO that was the ultimate bass. Maybe not for very technical playing, but nothing will give a stronger and fuller bottom end.

By the way, it looks from your first photo like you have large hex pole pieces. Even though you can't see the body date stamp, these place your bass very early on the G&L timeline. They were replaced by slotted pole pieces not too far into 1981.

Try a set of La Bella Deep Talkin' flats (or Original 1954s if you want a very heavy gauge). On your bass they should nail James Jamerson's Motown sound. The next challenge will be to find an amp that can do justice to that bass!

Ken

A very sharp kitchen knife, a hairdryer and the excess finish is gone. It's definitely a polyurethane/polyester type.

http://www.guitarsbyleo.com/GALLERY2/ma ... emId=11322

After a gentle warm up, using the knife as a scraper the blue tint and silver base coat came off easily. The white undercoat, however, was applied in two thick coats and was quite uneven on the edges of the pocket, especially the front edge. She had played well set up as per G&L instructions with the neck tilt set to 1/8" at the 21st fret, so there wasn't any point in removing the finish all the way to the back of the pocket. For asthetics I cleaned the paint off the tilt adjuster.

I was careful not to remove the any of the precious mahogany or the original router marks which are still visible. No date stamp was revealed, but that wasn't why I decided to do this.

The pocket is now smooth and level with the neck now a far better fit in the pocket. It also sits lower in the pocket, and the tilt adjuster isn't showing 3+ threads like it was previously to achieve the 1/8" setup. The location of the side position markers relative to the body is now in accordance with pictures of original finish basses I've seen.

Slightly concerned that the very thick white undercoats are dampening the tone somewhat. When scraping it off it smelled like decorators caulk! Yes, it would be nice to have it refinished in a sunburst or clear tinted nitro, but will leave it alone now. Like Fred said above...just play it.

My rehearsal/live rig is a mid 70's Sound City B120 into a 90's Hiwatt SE4123 reissue 4x12, and the strings are D'Addario EXL170. I'm not sure I like the dull sound or feel of flatwounds, but I've read a lot of positive comments about them so may try them next string change.

Ken - you're correct, the MFD has the large hex polepieces. I agree that the mahogany body / ebony fingerboard combination is highly regarded and was what I was looking for.

When I removed the MFD for inspection there was a 1/8" allen key stuck to one of the magnets!! 'Now where did I put that allen key???'

Great job Murray,
It's good to see one of the originals in great playing condition again.
Fred

Cheers Fred, that work has made a difference and I'm pleased with the improvement to the acoustic sound...looking forward to hearing it at volume!

I'm not sure I like the dull sound or feel of flatwounds, but I've read a lot of positive comments about them so may try them next string change.

You may be surprised by the sound of higher end flats like the La Bella Deep Talkin'/Original 1954s or TI Jazz Flats. I'm running La Bellas on my '80 'hog L-1000, and have TI Jazz Flats on my fretless Warwick Corvette. Both have a tremendous amount of growl, but the bottom end is a lot fuller and there isn't as much treble noise from the strings compared to round wounds. The highs are still very clear, but don't ring as long on sustained notes. I have a less expensive set of D'Addario XL Chromes (set ECB82) on my '82 'hog L-2000E, and they get very close to the same tone as the La Bellas.

Ken

nice bass, I have an early L1000 tobacco burst I picked up from a piano professor in "89. I think was what that color was called, unfortunately an earlier owner routed and placed a jazz pickup right in front of the bridge, I later removed it and returned the wiring to original. Nice variety of sounds, especially when you vary your hand position(too bad an earlier owner didn't figure that out). mine's a maple neck, no board. plays very nice, is a little beat up but I don't plan on ever selling it anyway. I've owned a fretless jazz, a steinberger copy, gibson RD artist, tacoma thunderchief(acoustic electric) and a custom 5 string fretless with a very similar neck profile. i'll always keep the G&L and my 5 fretless(also a similar type wiring style with 2 pick ups), The guy who built my custom bass also remarked what a nice instrument, glad you got your hands on one.
cheers
doug

Thanks Doug. Sounds like your own L-1000 also has a story to tell. Pity about the routing as you say but hopefully it's a tidy job, and at least yours has its original finish! The 2 colour sunburst finish really suits the L-1000. Cheers!