Rayman

[i]To me[/i], the G&Ls are better basses than Stingrays. It's not that I don't love 'rays, I do, but the G&Ls are more versatile, and I find them more comfortable to play. As far as the 'ray HH is concerned, I reckon it's capable of a lot of tones, and is the only bass you'll get [i]that[/i] Stingray tone from, the L2000 will get close, but it's not the same. I would describe the tone I get from the L2000 as something between a Stingray and a Jazz, but it also does a good Precision impression too if you set the EQ right. If it's a Stingray tone you like, then it's a Stingray you have to get, but [i]for me[/i], if it's versatility and playablity you want, it has to be the G&L every time.

As always it's personal choice, they're all good basses, my choice would be the L2000 but then it would be wouldn't it? It's a much more versatile bass IMO.

Great stuff Steve, interviews like this can only help to lift the site up to another level. Let's have some more.

Lovely Sado, looks like you've done well there. [i]Me?[/i] I love Stingrays, or at least I love the look and tone of them, but both the 'rays I had suffered from the silent G effect, so I moved them on, and ended up with G&Ls instead, which I much prefer I hasten to add.

Yep, my first thought was around 1200 quid.

I love that Talbo, it's fab.

Why thank you sir. Yes, I have to be honest, I wasn't sure about the green at first, but I really love it now, and the Cherry Burst is really nice too. I'd like a Blueburst L1500 next.

Many years ago I borrowed a 70s Jazz with a 3 bolt neck, you could physically move the neck slightly from side to side if you used enough force. It was said that the 3 bolts weren't enough to keep the neck absolutely rock solid, so 4 bolt necks became the norm.

Alan's summed it up for me. I'm not a Beatles fan per se, but the influence they had on music cannot be argued against. My memories are of being a young lad, and hearing 'I wanna Hold Your Hand' and 'She Loves You' on the radio in the early 70's. Those two songs still give me goose pimples when I hear them, maybe only for nostalgic reasons, but nevertheless, pop music at it's undeniable best for me. Alan's stories of his friendship with Paul and Mike and subsequent brushes with Lennon and Co are just amazing.

Sounds like a cracking good day out to me

[quote name='Schnozzalee' post='904305' date='Jul 24 2010, 08:46 PM']G&L L2000 + Genz Benz 750 + Genz Benz Neo 2x12. Match made in Heaven - pedals only ruin it for me [/quote] +1

[font="Impact"][size=2]Villex[/size][/font]

I love reggae and dub, and Robbie Shakespeare is the man for me in that genre, although I agree with regard to Horace, he's a fantastic player. A Thunderbird never sounded so good. When I first started in the early 80s, there were a handful of bass players that made me want to pick up a bass guitar. Colin Moulding from XTC, JJ Burnel from the Stranglers, and Tina Weymouth from Talking Heads. However, I had many years away from bass, and it was about 10 years ago that I started again, and it was seeing Stu Hamm with Joe Satriani that started me off again. So all of the above, and many many others have influenced me over the years.

[font="Impact"][size=3]YUMMY[/size][/font]

I've given up thinking I'll ever find my perfect setup. I've been close a few of times though: Yamaha BB3000S, BB1100S - Roland DB500 Lakland DJ4, Fender Geddy Lee Jazz - Fender 400 Pro Overwater Progress 3, Fender H1 Jazz - Fender 400 Pro Kinal MK-5, Fernandes APB-5 - Fender 400 Pro No idea if the current live rig will be the last, but I doubt it very much knowing my history for moving gear around. I think it's an endless search for me, like running after the pot of gold at the end of the rainbow, I'll never get there. I mean if you'd ever heard the Kinal at full tilt through the 400 Pro during one of our gigs, you'd wonder why anyone would ever want to change that setup, but I did, because I'm an idiot.

Looks like it mate, no takers when it was offered up. That's fine, it sounds fantastic, even if it is a bit heavy to lug about.

Yup, the L2500 was kindly sold to me by Pete, and it's a fantastic bass. I had [i]only[/i] 5ers for a while but fancied a switch back to 4 strings. Once I'd sold off the 5ers I really missed the low B , SO, I decided to have one of each. They're my first G&L's, but then I've had most other makes, so I decided I should check them out, and I'm glad I did. I tried a Tribute L2000 a few months ago up at Peters (greeneking) and fell in love with the tone and playability of it. So I recently picked up the Green L2000 in a recent trade, not [i]really[/i] knowing if I'd like it, but I [i]really[/i] did, so the L2500 seemed to be a logical partner for it. Petes' L2500 is a particularly nice bass, so I'm very happy.

[quote name='Huwberry' post='902967' date='Jul 23 2010, 11:13 AM'] [/quote] That's fab, lovely playing there sir, and a beautiful tone from the 'ray, love it.

So this is the latest incarnation of my live set up: US G&L L2000 in Clear Forrest Green, and a G&L Tribute L2500 in Cherry Burst, standing in front of my faithful Fender Pro 400. I'm actually prefering the Trib at this point, although it doesn't [i]quite[/i] have the same depth of sound that the L2000 has, it's a beautiful player. Both of them can produce an amazing range of tones, and right now I'm using them both active, series, fingered over the bridge pickup and with some bottom end taken off for a great funky tone. Live, cranking up the tone controls in passive mode seems to be a good way to go, give me a more traditional kind of sound, but nice and punchy. Great basses, really nice to play, well made and they sound fantastic.

Kinal MK-5, custom made, and utterly beautiful in every way. Overwater Progress 3 Deluxe 5, custom made, and also utterly beautiful in every possible way. Both of them would be expensive new, and both of them would be worth every single last penny. God I wish I still had them. A custom made bass, made by a quality luthier like Chris May is not comparable to a factory mass made bass in my opinion, it's a whole other level.

I love Miles, and I love Marcus too, and I [i]really[/i] want to love "Tutu", but it's just never hooked me. I prefer Miles' older 1950s/60s stuff. I went through a big Marcus phase a couple of years ago, and still love stuff like M2, but his lead slap and pop started to get on my wick after a while, I much prefer it when he grooves with a band, he's a fabulously funky fingerstyle player, and certainly not [i]just[/i] a slapper.