mario_buoninfante

Reggie Washington and David Gilmore (and others) at Clapham Grand in London in a couple of weeks

I think I know what's the issue with the saddle-lock.

They use (at least on this bass, I don't know if it's true on all the lefties out there) the same bridge they use on the right-handed version!

The screw is on the same side (towards me on my bass, towards the pots on the RH version).

The problem with that is that the E string saddle usually is closer to the bridge that the G string saddle, so the peg is not located at the right height!

@JottoSW1 I think you bought an L2000 tribute, right? Could you let me know if your bridge has the same issue? And if the saddle-lock screw is on the top side of the bridge?

I got to know about the guitarguitar deal via your post on the Southpaw Spotted thread, that's why I'm asking

Hi all,

I just got a G&L L2000 Tribute (Lefty) made in Indonesia, and wanted to share some thoughts and get some feedback too.
First thing I'd like to say is that, I like the bass. I really like it. Both sound and feeling (I'd have never thought I'd like so much that chunky neck!).
That said, one thing I was a bit surprised was the overall quality, especially after reading so much about it all over the internet.
Again, before I share the things that surprised me a little bit, I'd like to also say that in general I think the quality is really high for what I paid, and also more in general is a good quality instrument that feels solid, playable, etc..

So, here's my findings (most of them with attached picture)

• the nut isn't well finished and is a bit "worn" around the strings (the inside is fine)
• there was quite a lot of white dust in most of the 6 bolts (not a big deal for sure)
• next to one of the bolt edges there was something like a sticker residue (easy to get rid of)
• 1 of the 3 switches has the washer mounted in a different direction compared to the other 2 (they have a little "tongue")
• the fretting job isn't really excellent - frets themselves are good (no sharp ones), but on the side of the fretboard you can see some marks
• there are at least 2 indents, 1 on headstock next to the 1st tuner machine, 1 on the body where it joins the neck
• the action is good but I had to work on the intonation a little bit
• once I setup the instrument (I moved the saddles in order to work on the intonation, that is really good now), I noticed that the bridge lock (the little peg that pushes the saddles) barely touches the E string saddle (that I had to push a little bit towards the bridge)
• the 3 knobs are a little bit "askew"

As a benchmark, I also have a Spector Legend Classic 4 (maybe slightly more expensive, but roughly in the same ball park), and there I haven't seen any of these issues.
I was just curious to see whether or not this is something other people have found on their G&L Tribute too.
For the records, none of these things are a show-stopper for me. I'm fine with instruments not being perfect, as long as there aren't major issues and the functionality hasn't been affected/compromised at all.

Also, I think something in my list might have been done at the shop, but certain things are definitely things that came with the instrument.

 

9 minutes ago, Baloney Balderdash said:

So you don't know what the common expression "amp-less setup" mean, and your intention of consistency of tone, which I though was the main objective, is not relevant or important, right...

 

Sorry for trying to help you.

Ok, I see! I think we just keep misunderstanding each other.

But, don't be sorry

I appreciate the thought.

@Baloney Balderdash that's quite a reply, isn't it?
let's recap and see what I (have not?) understood

Quote

Yes, I utilizes and "amp-less" setup, predominantly exactly for the reason you mention, ...

I never expressed an interest in going "amp-less" (with amp here I mean the amplifier circuit), so I was clarifying that.
 

Quote

What you need for this to work is something that simulates the amp, something that simulates the cab part,...

what is "this" that I'd need to work? and why would I need anything that simulates amp and cab. actually since my initial post I'm saying that I'm after a "neutral" amp (amplifier circuit), so I shouldn't have to simulate anything there at all.
 

Quote

...for home practice somekind of headphone amp, for example a mini mixer, and a studio grade set of proper quality approximately full frequency flat response headphones, and for band rehearsal a power amp and then an approximate full frequency flat response cab or PA speaker, or active PA speaker.

I do have a studio, so professional mixer, headphones, studio monitors, etc.
this is not the problem, and that's why I believe my initial post might have been misunderstood and hence why I replied to you before trying to clarify what I meant.
 

then, about your last kind reply:

Quote

In order to that you need full frequency flat response cabinet or PA speaker.

In combination with a preamp and poweramp or preamp and active PA combination will do that exactly, just like I explained.

again, what is "that"?

Quote

Any reason it has to be a regular amp, seems kind of backwards to me.

I don't think I ever mentioned a "regular" amp anywhere. but also, could you define what "regular" means?

Quote

And why would you need to go through 2 preamps, unless you insist on using a regular amp, for whatever reason, which is beyond me, which will have a preamp build in, unlike a poweramp, like i suggested?

I never said I want, this whole post is started with me expressing an interest in not doing that.

Quote

It seems to me that you either didn't read what I actually wrote or didn't understand it, cause that is exactly what I explained how to achieve.

When I wrote you needed a preamp, it means you need a preamp, not that you need an additional preamp, if you already got one that can drive a poweramp.

honestly, I'd invite you to be a bit more polite and less "hostile".
I did read what you wrote, and am also sure I understood what you wrote. but even if I didn't, please just be polite. no need to be rude or aggressive, seriously. the beautiful thing about this forum is that people can freely talk and share experiences and knowledge.
so, if there is something I don't know or understand, help me understanding it, teach me, but don't write things like this, because it's just counterproductive.

Quote

But absolutely most crucial for consistency of tone and for this to work is to run it all though a full frequency flat response cabinet or PA speaker, or, if practicing with headphones, a set of studio grade, that is full frequency flat response, headphones.

couple of things about the cabinet. that has never been at the centre of the conversation, I mentioned it because I do wanna use one, and yes a full range (just for the records). but I wasn't thinking I want to mic that up, atm at least.
anyway, the cab thing is one for another time.

I see what you are saying @Baloney Balderdash, but just to be clear, I'm not trying to get rid of the amp. I would simply like to find a neutral amp (to pair with a cabinet) that doesn't affect my bass+preamp+pedals sound, if that makes sense.
At least on paper, I just find redundant going through 2 preamps (pedal and amp preamp). Not because you won't get a good sound, thousands of people do, but because I'd like to have 1 sound, whether or not I'm using the amplifier.

Hope that makes sense.

ok, just found out about this now and couldn't not share it

https://www.thomann.de/gb/stompenberg_devices.html#

more dub than reggae, but I recently bought this and it's really heavy and good

interestingly enough, I got in touch with Laney to ask about the Digbeth Pre, since I have one, and they told me the output level is +10 dBV.
unless I'm missing something obvious, that seems quite a bit to me. (I also sent a second email asking to confirm it's +10 and not -10 dBV, they confirmed it's +10).

I never tried one myself, but I'd like too. one thing I don't particularly like is the 3 band EQ. I'm a big fan of 4 band ones

Here's a YT video that might be useful

Really interesting post.

I do believe that as a musician the most important of the 2 is art.

There are so many things that human beings do well in life without knowing anything about the "science" behind it.

That said, knowledge is a good thing though and so, I think it's important to have a basic understanding of the tools used to make art. Just the way painters used to (maybe still do) make their own colours and brushes.

In terms of "flat/perfect" frequency responses, I doubt anything with it would sound great. Humans are imperfect and attracted by imperfections, also our hearing (as pointed out already) is anything but perfect.

Few days ago I was looking at these headphones measurements. In a similar way, even some really expensive and "good sounding" HPs have "terrible" graphs

https://www.stereophile.com/content/innerfidelity-headphone-measurements

Hi,

I found this on YT and quite liked it.

They compare several famous bass amps, playing different styles and basses, reamping, and recording the actual cabinet, no DI (this I found particularly good).

No Ampeg and GK and other big names, but still quite good.

I saw they used the EQ in various situations and that surely affected the results, but overall I think it's a good video.

Personally, I was impressed by the Little Mark III by Mark Bass. It has personality but seems to stay true to the instrument.

Aguilar pretty good too, but a bit too clinical.

Surprised by Hartke too, that for whatever reason I never considered.

PJB is a bit of a weird one. To me it always sounds like is lacking the "low lows" (maybe speaker size matters afterall ).

Eden, well it colours the sound quite a bit, but I love that 90-00s scooped sound though

Interested in hearing other opinions, especially if anybody has one of those amps.

6 hours ago, agedhorse said:

Maybe, but this is the reason for published specs... to be able to answer these kinds of questions without guessing.

absolutely, I 100% agree.
I'm a big fan of detailed specs.

14 hours ago, agedhorse said:

Maybe, but there's no input sensitivity spec anywhere in their documentation so there's no concrete way to know for sure without trying it (or asking the manufacturer what the input sensitivity is for rated output).

that's fair. I did see some official videos (in Italian though) on YT where the presenter was saying one could even go straight into that with their bass.
I think it's the gain stage they have in place that allows that.

2 hours ago, Skybone said:

I'm running my POD Go into the Effects Return on my Ashdown combo, effectively bypassing the amp's preamp. Works for me.

I need to try this with my setup too.
I'll report the results

4 hours ago, Tech21NYC said:

Power amps like Crown, QSC etc are designed for pro audio applications. If they were designed for musical instrument use you would be able to easily plug in a low output high impedance instrument into them. This is not the case. This doesn't mean that it's impossible to use other devices with them but you need to be aware of the input sensitivity of the power amp. Instrument level devices like our DI's can achieve anywhere from instrument level (-10dB) to consumer line level (0db) . This depends on the way they are set. Microphone, instrument, consumer and pro audio levels represent an "operational range" which the equipment is designed to work with. They are not a constant like a voltage or impedance measurement. 

 

If using one of our DI's with a pro audio power amp you want something that has an input sensitivity of .775 volts (0db) or lower. Some power amps have adjustable input sensitivity. It also depends on how much power the amp has in relation to the speaker system though you tried to use components that are properly matched.

 

The other thing that many people get wrong is that you don't want to drive a power amp at its peak power. You need headroom to prevent the peaks from clipping the power amp. What we see with many players is that they get bogged down in the numbers and try to use a small speaker system with high wattage heads and think they can play any gig. If you need a lot of volume you need a lot of speakers. This is why we made our B410-DP cabs at 16 ohms for dUg Pinnick. He uses 4 cabs to get the thunderous volume he is known for with his 1000 watt signature dUg Ultra amp. 

thanks for this, it's really useful!

I start thinking that the GR Bass Pure Amp might just be the ideal solution for this, since they also have a gain stage in case the preamp doesn't provide enough signal.

from its manual

1 hour ago, Waddycall said:

I think EBS claim that the microbass 3 has enough output (0dbv) to go straight into a power amp. It’s something I’m considering as I have a decent QSC power amp and the microbass 3 has all the tone shaping I need.

https://ebssweden.com/content2/effects/ebs-microbass-3-professional-outboard-preamp/

it seems like this can drive a power amp too

https://www.premierguitar.com/tech-21-geddy-lee-yyz-signature-sansamp

that's interesting too

just found this too.
not sure I want to buy an Ampeg to bypass its pre though
 

sure, bypassing the EQ is already something!

Quote

My issue was despite using a preamp and an active bass, the signal level was too low.

also, I assume this is when the gain section on some power amp like the GR I linked above, come into play.
I know that'll probably be another preamp, but at least seems to have been designed to be transparent

amazing thanks for the feedback.
I'm not interested in speaker simulators atm, but I see that's an option