derick wrote:The bass that I missed out on was a 1981 Slotpole Wunkay Mahogany Ebony Board Tobacco Sunburst. Although I've never played a Hog Wunkay, my thinking is that it is the most desired wood/neck combination out there. It has rarity and is more valued than the swamp ash, and particularly the poplar. The few maple body examples that exist are apparently so rare that most people have never seen one, so they're totally off the charts. The early 1 11/16 7" radius (or the rare 1 5/8" which I've never played) necks are, to me, the best necks that G&L ever made. I'm thinking that the L-1000 is more desirable than the L-2000 because of the upgrades in electronics that, my understanding is, improved the tukays beyond the original design. Also, there are lots more L-2000s out there. Is this is incorrect thinking on my part, that the general view is that the later L-2000 electronics aren't considered better?
The El Toro was a Pro Bass, but does it rival the L series in desirability?
So anyway, that's my question. What is the ultimate desirable/collectable vintage G&L out there, and why?
Ken Baker wrote:The 1 5/8" neck? I totally get that. I used to have an L-2000 with a #8 neck and I currently have a mid-90s SB-2 with a #6 neck. The El Toro is just nicer. For me. The guy down the block; I dunno.
Ken Baker wrote:I think I'd disagree with the idea that the L-2000's electronics aren't considered better than the L-1000's. They're quite different instruments. Remember too that Leo was always evolving his creations. He looked at the L-2000 as the best bass he ever made.
Ken Baker wrote:For me personally, the L-1000 isn't much of a draw. Anything that can be done with an L-1000 I can do with the L-2000 (or my L-2500) except for lining up the slots on the pole pieces. Others like the L-1000 for that simple thunder thing.
derick wrote:I always thought that I had a 1 5/8 neck, but on closer examination it's actually closer to a 1 11/16. There was supposedly a fair amount of variation in the early necks as they were finish sanded by hand, if my knowledge is correct. Either way, it's a much friendlier (to me) neck than my BABP LE #8. They're both good, but the '81 is better.
I wasn't clear about what I was trying to say here, I was comparing the early "Vintage" L2000 to the later and current 2K models, not to the L-1000. What I meant was that the early L2K basses arguably weren't the ultimate evolution of the design, that the later electronics are generally, I think, considered to be an improvement over the early ones.
As an aside, if the salesperson that I ordered my 1K through in 1981 would have told me the true facts about the 2K, I would have bought the 2K. He told me that the bass would produce no output without a battery. If I would have know about the passive switch, I would certainly have purchased the L-2000. But I was kind of in a "no bullshit" phase at the time, so the white L1K fit right in. I has been essentially bulletproof for 29 years. I've even pulled it out of its case and walked on stage after it sitting for a year and the thing was still in tune. Note that this is not recommended behavior.
Ken Baker wrote:I used to love a Jazz-style neck, such as the G&L #6, and it still works for me. I definitely don't care for the #7, but can live with the #8 quite well. This El Toro neck though, that's a whole 'nother ballgame. That too is a draw to the old basses. The necks were a little flatter then and nicely rolled as well. The new ones are good too, but still...
Silverbass wrote:gawd damn the pusher man
spideyjg wrote:You have been assimilated into the mid to late 80's neck fanbase.
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