Jump to content
Why become a member? ×

Bassnut62

⭐Supporting Member⭐
  • Posts

    829
  • Joined

  • Last visited

  • Days Won

    1

Everything posted by Bassnut62

  1. NB. Now SOLD elsewhere. The legacy of the legendary Leo Fender, G&L Guitars continues to produce exceptional instruments in the 21st Century, closely adhering to its iconic founder's vision. A cornerstone of their electric guitar lineup, the Fullerton ASAT Special is a US-made Telecaster-style guitar that fully embraces vintage styling and modern functionality in equal measure. Finished in Gloss Black with a dark red Tortoise scratch plate and rosewood board, this beautiful instrument is suitable for all music styles, thanks to its versatile and unique pickups and highest-quality build, components, and woods. This one is a genuine beauty and sounds/plays/looks a dream! Construction The G&L ASAT Special features a Swamp Ash body, which delivers a balanced sound with warm lows, crisp highs and lots of natural resonance. Its light weight is another advantage, making this guitar a perfect option for live performance. The ASAT's bolt-on Maple neck with Rosewood fingerboard offers a bright, yet warm and snappy response, giving notes plenty of bite when needed and upper mid-range vibrancy. This guitar can easily cut through a mix and delivers great tone across all settings. The neck profile is a comfortable C-shape and plays fast as you want, it feels modern and vintage at the same time! The fingerboard is vintage at 7 ½” radius and it has 22 medium jumbo frets. Keeping both modern and old-school camps happy, this fret size allows you to easily add vibrato to lead lines without hindrance. Electronics Boasting G&L's signature Leo Fender-designed MFD pickups, these innovative single-coils utilise ceramic magnets and iron pole pieces to provide ultra-clear and articulate sounds, with low-noise too. As the Jumbo versions of G&L's standard single-coils, these pickups have a slightly fatter sound with a more-punchy mid-range. They can drive an amp hard or roll-off for plenty of different sweet tones. They are a lot like classic P-90s. Responding well to your playing dynamics, the bridge pickup has a super-sweet top-end that sparkles with clean settings. Add overdrive, and things will get far more gnarly! Flick to the neck single-coil and you'll attain smooth jazz-style tones, projecting a bold low-end with more contained highs. Move the pickup selector switch to the middle, and you'll get the best of both worlds. Hardware Fitted with G&L's 'Saddle-Lock' bridge, this ergonomically engineered design features a clever mechanism that essentially stops the string saddles from moving. This ensures that they are evenly spaced for consistent distance between the strings, and in contact with one another to improve the instrument's sustain. The ASAT's 100% natural bone nut also enhances string vibration, whilst allowing them to glide freely so that they don't snag when performing string bends. With all these thoughtful appointments, it's clear that the G&L USA ASAT Special is a pro-standard guitar. Specifications Construction: Bolt-on Scale: 25 1/2" Pickups: Leo Fender-designed Jumbo G&L MFD Single-coils Body Wood: Swamp Ash Neck Wood: Hard-Rock Maple w/ Rosewwod Fingerboard Neck Profile: G&L Modern Vintage with 7 1/2" Radius Nut: 100% Natural Bone Frets: 22 Medium Jumbo Tuning Keys: 12:1 Ratio, Sealed-back Bridge: Leo Fender-designed G&L Saddle-Lock w/ Chrome-plated Brass Saddles Controls: 3-position Pickup Selector, Volume, Tone Case: original G&L Hardcase This is guitar is in excellent working condition with no issues and has been well looked after. I have owned it for about 15 years and only gigged it about 10 times. The serial number suggests it was made in around 2000; but it is notoriously difficult to date G&Ls precisely. It comes in its original G&L case, with case candy. Any questions please send me a message. Collection only from Mountsorrel, LE12.
  2. Fabulous, classy fuzz pedal. Here’s what Pedal of the Day said about it…. This is JHS’ take on the Tonebender MKIII, a classic fuzz pedal from the late ’60’s, and although I’ve never played an original, I’ve seen some videos, and the Firefly does a pretty good job keeping up with the MKIII, for sure. I dig crazy fuzzes and ring mods and wacky sonic inventions as much as the next guy, but there’s always been that certain straight-up fuzz sound that I have been looking for, and I think I may have finally found it. The Volume controls the volume; enough said. Big, boosting volume on this thing, though, beware when you turn it past noon. The EQ on my pedal seems to be backwards, as the highs disappear as I turn the knob to the RIGHT, not the LEFT like usual. I prefer the setting here to be Lower, even though the High can probably cut through a bit more, I dig the fatty tone produced by backing off the upper frequencies, especially when mixed with the Bias knob. This little treasure controls the power going to the germanium AC128 transistors located inside the pedal, which gives you great control over the sound output overall. Plus, you can use your guitar’s Volume knob to ease back on the fuzz if you wish, or crank it to 11 and push your amp into overdrive. Everything from slightly buzzed overtones to raging classic rock and stoner metal, the Firefly has got all your basic fuzz needs covered, and covered well. All in all, the Firefly Fuzz sounds great. It’s not gonna make your ears bleed or drive people out of your coffee shop gig, but it will help you lay down some heavy, fuzzy sounds again and again. The control you have with it, too, is something unique in itself, especially that Bias knob, which really lets you dial it in. https://youtu.be/uuACOcj2iRk https://youtu.be/o1bGgPHUc2o Pedal is in excellent condition and full working order with no issues. It has only been on a board at home. Unfortunately, I do not have the original box or manual. Any questions please send me a message. Collection from LE12 or fully insured UK shipping only, at buyer's expense £15.
  3. The A/DA Flanger may be the most legendary pedal flanger ever built. Designed by engineer David Tarnowski in the late ’70s. This pedal coloured countless spun-out heavy-rock, funk, and reggae tracks over the later part of that decade and into the ’80s. This re-issued A/DA Flanger (from the 2000s) is an amazing and psycho-swirling as ever—ready to pepper the guitar work of studied textualists and radical experimentalists alike. I had an LED fitted to it by legendary maker Coopersonic in Nottingham; which makes this flanger a much more user-friendly pedal to enjoy. Comes in original box with all instructions and warranty card. Collection from LE12 or fully insured UK shipping only, at buyer's expense for £15.
  4. Two awesome true bypass loopers from Vein-Tap. Silence noisy pedals and kill tone suck. Just enough rope to sound awesome! Brand new in box; completely unused. Any questions please send me a message. Collection from LE12, UK or £5 posted to mainland UK only.
  5. NOW SOLD The legacy of the legendary Leo Fender, G&L Guitars continues to produce exceptional instruments in the 21st Century, closely adhering to its iconic founder's vision. This is one of the very rare signed active/passive telecaster basses with a Jazz neck designed by Leo and 100% made in the USA. He only signed these basses from 1989 until he died in 1992. This ASAT Bass shows plenty of the signs of its well-loved life. When a guitar is well-loved in this condition, it is because it is a great instrument to play. It has been very well maintained and has a fantastic set of controls that enable you to get just about any sound you could possibly want from the bass. The knobs are Volume, Treble, Bass. The switches are Three-way Pick-up Selector, Phase In/Out, Active with a Treble Boost / Active / Passive. A premium instrument in their bass lineup, the ASAT Bass is a US-made Telecaster-style bass that fully embraces vintage styling and modern functionality in equal measure, and it looks cool as hell for a bass! Finished in Cherry Road with a rosewood board, this beautiful instrument is suitable for all music styles, thanks to its versatile and unique pickups/controls and highest-quality build, components, and woods. This one is a genuine beauty and sounds/plays/looks a dream! You will not find this level of quality in a USA bass anywhere else at this price! Construction The G&L ASAT Bass features a Swamp Ash body, which delivers a balanced sound with warm lows, crisp highs and lots of natural resonance. It is not too heavy and has a nice fast long-scale neck, with a nice vintage fretboard profile, reminiscent of an early 60s Jazz Bass. This bass is a perfect option for both studio recording and live performance. The bolt-on Maple neck with Rosewood fingerboard offers a bright, yet warm and snappy response, giving notes plenty of bite when needed and upper mid-range vibrancy. This bass can easily cut through a mix in active or passive mode and delivers great tone across all settings. Fitted with G&L's 'Saddle-Lock' bridge, this ergonomically engineered design features a clever mechanism that essentially stops the string saddles from moving. This ensures that they are evenly spaced for consistent distance between the strings, and in contact with one another to improve the instrument's sustain. The ASAT's 100% natural bone nut also enhances string vibration, whilst allowing them to glide freely so that they don't snag when performing string bends. With all these thoughtful appointments, it's clear that the G&L USA ASAT Bass is a pro-standard guitar. This is guitar is in excellent working condition with no issues and has been well looked after. I have owned it for about 20 years and only gigged it about 10 times. The serial number suggests it was made in 1989; but it is notoriously difficult to date G&Ls precisely. It comes in a Levy’s padded gig bag. Any questions please send me a message. Collection is best from Mountsorrel, LE12.
  6. Hi, do you still have this for sale? If so, what condition is the speaker in? Thanks, Rupert
  7. I have an MIJ vIntage 54 Strat and updated to same Lindy Fralin Vintage Hot pups too....killer guitar now! GLWTS
  8. I expect this will upset quite a few; but just being honest to my experiences.....in answer to otiginal Q of When is an MM, not an MM?.....my answer would be when it’s an Ernie Ball. Sorry; but they are not the same instruments, to my hands and ears.
  9. silverface Bassman 135. nothing else needs to be discussed here!!
  10. And here’s the actual Stingray in about 1986. I’ll be wheeling it out again for the album launch gig at The Troubador on 7/9/18!
  11. Mrs Bassnut keeps saying careful what you wish for at your age!!
  12. Absolutely, and will be playing it at the album launch gig at The Troubador in London on 7/9/18
  13. Never give up is right! Good luck.
  14. Thanks guys. What a bonkers few days, including TV interviews on Sky News snd ITN + BBC radio interviews.
  15. Over the first 4 years of playing back in the 80s I owned numerous basses, including a couple of USA Fenders; but I could never find one that just fit in every way. Then I saw a 1979 Stingray exactly like Bernard Edwards bass. I tried it, loved it, bought it and have never looked seriously at another bass. You can get any tone you need just by using your fingers in different positions or using a pick v close to the bridge, and tweaking tone knobs. It always sits perfectly in the mix. I’ve tried plenty of other basses, including other MM Rays; but none touch the tones of my trusty old bass. I guess that’s why they are so special, especially the pre-EBs.
  16. Well it turns out it’s never too late to give up on your dreams. This is my band from the 80s with yours truly on bass!
  17. Check out work of any of the following up to about 1976: The Meters, Curtis Mayfield, The Headhunters (ref Herbie Hancock), Roy Ayers, Fatback Band, Earth Wind & Fire, Sly Stone, etc
  18. I do have a Klon KTR and admittedly do have some nice valve amps to push with it; but I have to say the Klon is a very very good pedal. Even just using it as a clean pedal without the boost it seems to enhance the guitar's natural tone and response. GIve it some beans and it is one of the best-defined drive pedals out there. All strings remain distinct despite the addition of plenty of balls and hair! It is a class act and according to plenty of people does sound exactly the same as the Centaur. I tried a bunch of Klon clones, including some with much pedigree; but none of them sound or behave as well as the KTR...to my ears anyway. i don't think I am being biassed because I own a KTR, as I have done some shoot outs with quite a few other dirt/drive pedals that I own and it still comes out on joint top with the Butler Tube Driver.......but that's another story.
  19. I use a Tech21 Boost DLA and like it a lot, the tone control can get you into analogue tape arena and the flutter control helps too.
  20. [quote name='Kiwi' timestamp='1491786159' post='3275375'] I sort of have a love-hate thing with strats. No denying their versatility or egonomics and they're at the core of some classic sounds. My Chandler strat is super easy to play - I like the 25.5" scale and maple fingerboard. But the pickups can be harsh sometimes. Mahogany based construction sounds so much nicer. [/quote] If you're talking stock Fender pups, I agree. They often sound both harsh and bland to me. Luckily there seem to be some highly respected pup-upgrades. I only have experience of Lindy Fralin Vintage Hot pups for Strat and they are sweet and toneful, with a little bit of bite when dimed.
  21. [quote name='NancyJohnson' timestamp='1490707573' post='3267223'] As far as I know, LPJs of this period were either TV Yellow, Cherry or Sunburst. Insofar as the guitar having never being messed with, it's pretty obvious that it's been stripped at some point, evidenced by the remaining paint in the serial number stamp pressed in the back of the headstock. I'll wager this was originally TV Yellow. [/quote] Thanks Nancy, I didn't know that about the finishes in this period and that's a good point about what could well be paint residue in the serial number. All I can say is that if it has been stripped by a previous owner, it has been done extremely well and looks like it has always been a natural satin finish body. The finish is lovely and there are no signs of any residues anywhere else that I can see. It is a solid mahogany body and neck and they are both gorgeous bits of wood; with a nice tight and strong grain around the head and top of the neck. I think I read somewhere that this was the last year Gibson used solid mahogany throughout on these LPJs.
  22. Hnnnhh? NOthing bad here!
×
×
  • Create New...