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@@devinebass just fyi the G&Ls you were showing today can also be passive with the preamp off setting, you only highlighted them in active. They can do both, and because they can do both they have a lot more flexibility. You do have to understand the controls and they can be a bit much at first, but at the same time from a budget standpoint it reduces your need to buy a ton of basses cause it can do very convincing impressions of P, J and stingray basses, among other active basses, and that’s part of its appeal.
I know it's boutique, but I've played a Zon Legacy since 1987. probably 90% of my stage time has been with it. Joe Zon is super nice to deal with. I can't say enough good things about Zon.
In terms of market size, Ibanez would be an obvious choice. The challenge would be capturing a representative sample of the vast range of prices, pickups and other electronic components, as well as the three main body/neck designs, without the video running to ridiculous lengths. From a selfish perspective, I'd love to see you look at Sandberg, as their basses have intrigued me for a while (especially the ones which combine a split coil in the middle with a humbucker at the bridge) . . .
Same here and it’s a lefty for me. I’m not a “bass player” bass player. I use mine to support and keep a nice chain of pedals for when I need to work on the sound. I come form a synthesiser background. It’s a plank of wood with magnets, it should be reliable!
I have a couple of more expensive basses 15:04 and bought a G&L L 15:28 15:29 -2000 tribute for my daughters to take with them to school to play in jazz band. Now when they have the choice, they prefer to play the G&L.
I own L-1505 and it's the best bass I ever played. The magic of G&L basses is that you can easily put them in virtually any mix. Perfect tool for professional musicians.
Every L1000 or L2000 i’ve ever seen or picked up looked like it was built like a tank and they certainly feel that way, and the variety of tones you get from them is insane. It’s truly a Swiss Army Knife bass.
I lived in Southern California back in the 80's. I lived in Fullerton and used to hang out at a music store there called "This Is Music" on State College Blvd, at the end of Fender Ave. The owner knew Leo very well and told me G&L was hiring. I applied for a job and they called me in for an interview. As the manager was showing me around the shop, Leo walked up and I briefly met him. The manager told him I was there for a job interview, and he walked off. I didn't get the job, but many years later I started my very own bass-building empire.
This video was a bit of a disservice to the L-2000. I've owned a CLF Research L2000 for 5 years, and I think it does everything you could ever ask a bass to do... If you manipulate the treble knob, passive / boost switches, parallel/series, and change up your plucking placement, you get every sound under the sun Running everything all the way up is impractical for most gigs, and did not show the range of the instrument. Add in the CLF Research L2000 vibe with the different headstock, chrome plated, natural ash body.... You have a hardcore 80s hair vibe which just works
I agree. The controls exist for a reason. Yeah I get it, most players just open up the throttle and hope that the instrument will just magically do the 'work'. In my opinion G&L's are for folks who really have no fear of 'using' the instrument. It is like the comanche, players who just open it up and not use the controls, hate it. Players who use the controls generally really like it. In short if some one is in to G&L, they generally know how to dial in an instrument.
I'll second this. It is true. Played G&L since having a 2010 SB2 Tribute, ordered an SB-2T from Fullerton in '14; and a L2000 with the single coil mod (highly suggested) this past Dec '23. They are both unique and I've found the L2000 is like having 4 basses in one with the single coil set up, and then all the variables from "each bass" as you go. Depending on which preamp setting or the single coil, which pickup, series or parallel, or whatever you have set: you need to also adjust the bass and treble cuts to optimize that sound. But can't just crank everything open and go. You find your flavours for each.
As a dad, I love my G&L and its mid-range tone. I put it down for a year, came back, and the fucker was still in tune. Even the case is high quality. I’m currently shopping for another one much to my wife’s misgivings.
Back in 82, my bass teacher picked up a SB 1 off the rack in the music store and told me I should tell my parents to buy it for me. They did, and I still have it. Still tight and plays like the meat and potatoes it was meant for. Peace!
G&L = George and Leo. And a Rickenbacker 4001 is more iconic than a Stingray bass. An L2000 is an awesome instrument in its own right and clearly the pinnacle of the evolution of Leo's work.
I've watched the whole episode now. I love the channel but this is the worst representation of a bass I've seen here. So many errors in the representation. If so many people asked for a review, you should've done more homework. For instance, there is a whole other head stock without the tooth. Simple to find out btw. You can get a very similar P-bass sound by soloing the neck. Very lame vid to cover the last work of the master.
G&L basses and guitars are lovely. They are simultaneously chameleons that can flow in and out of all of his basses through time, and they are kind of their own thing as well cause of the active preamps and ability to flip between pickup settings. The G&L guitars are similar, they can flow between other historical guitar sounds and are totally unique.
It's still not a Stingray... Honestly though I think G&L basses are really caught in between the distinction of Stringray and the nostalgic significance of P and J basses. I mean it's a great bass but like it's not different or innovative enough in comparison.
Yep. I own a p bass and and L-1000, and 90% of the time I’m choosing which bass I take on a gig, it’s the g&l. It’s just so much easier to get a nice tone that can also cut through the mix.
I used to have a gold sparkle G&L ASAT bass that a friends dads brother said I could borrow when I was in high school. He died a month or two after he let me borrow it and nobody ever asked for it back. But back then I had no idea what G&L was, I never heard of it before and assumed it was just a random generic bass. I actually liked my Westone Spectrum better. My mom sold it at a garage sale for $40 while I was at college. Someone scored big that day.
I have a Kiloton tribute and I love it. Controls are super simple so it's easy to dial it in and it's passive, which for me is a plus. Build quality is incredible, it's a joy to play it, and it feels like a total workhorse. I agree that the logo isn't the coolest, but the frost black finish is so sick. The tone is definitely its own thing. What drew me to it was how much clarity and definition the bass has in the lower notes. I find the full humbucker mode to be a little too loud and boomy, but the single coil mode and the series mode are fantastic sounds. I do find myself EQing out some of the mids and rolling off the tone knob a little to help the bass sit better in the mix. Overall fantastic bass, 10/10 in my book.
Y'all gotta try the L1000. It's got G&L's OMG-mode which is the pickup in series but with a capacitor in one of the coils. The resulting sound is a super aggressive bass boosted tone that I personally love.
The L-2500/2000 almost leans “Spector”, in that super focused midrange bark thing. That, and as a guy who cut his teeth on an early 70s jazz bass, the L-2500 is the only bass where I personally enjoy the neck pickup solo. I’ve never bonded with a P bass, for me.
I played a sunburst L1000 30years ago. I knew nothing about them, but I walked into Ed’s Used Guitar’s Miami and fell in love with it. A couple o years ago, I started playing out again. I had a Gibson SG bass, and got an SR 1300 from Ibanez. Last year, I bought an L-2500 tribute to use when I needed 5 strings. It’s all I want to play now. It even makes 16th note syncopation drills with an old school wind-up metronome fun.
I played passsive, parallel, and just used the pick up selector. Over time I learned what everything does, but I still use passive/series most of the time.
G&L Tribute L-2500 is a bass i was trying to get my hands on for years (very hard to get one where i live) because every clip and comment about it sounded like it's just what i want out of a bass and it was firmly in my price range. I finally managed to snatch one used (transparent orange with maple neck) and it's without a doubt my favorite out of any bass i ever owned. It plays like a dream and sounds absolutely monumental, especially with some drive (same MDF pickups and hardware as the US version). B string is so so good. And every sound it makes (an it can make like all of them) is usable. My band's drummer who plays in a lot of projects and does some session work on the side is constantly raving about how it's the best sounding bass she's heard (played trough a humble Fender Rumble V3 in practice) and she's always pestering other bassists to get one.
Yes! Sharon’s L-2500 in the Paramore video WAS a sneak preview! I love my CLF L-2500. If I have no clue what I need to play when I show up somewhere, this is the instrument I bring. It doesn’t do a perfect carbon copy of any other sound, but it gets really workable sounds of a lot of different flavours. Mine’s got the bridge/series/parallel switch which is so useful.
I love the channel but damn this was frustrating to watch. 😂 Been hoping for an L2000 video for years and this was not it. Pain points for me: This bass has the most modern voice yet it is a dad instrument, has one sound yet you spend very little time adjusting the controls of the bass, asking if it is active, not liking the headstock and not knowing there is the CLF versions... Rough video for G&L fans.
Thanks for this video. I´m a G&L enthusiast since I bought, Almost by mistake. a L2500 and man... I don´t want to play any other thing even when sometimes I play a Jazz Bass. I agree, the 2500 headstock is awful but; oh dear the G&L really crushes every thing, you just need to understand the electronics a lil bit and Bingo! You have a Precision, a Jazz Bass and a Stingray in the same package. It´s time to make the G&L crushes everything video. I love Leo.
I've played my '88 SB 1 since it was new. The MFD makes it a P-Bass plus! I love it. I also have an L-2000. Once you get familiar with the controls, there's an incredibly diverse range of tones available. Said for the headstock, I like it. Check out the CLF models, Ian. No bottle opener! I discovered G&L in the 80s as a kid in L.A. A few of us knew "this is what Leo's doing now". Great instruments!
"Dad bass" 🤣 You're killin' me Ian! But I think there is some truth to it. Mixed opinion. No Matter how much you tweak all the variations of controls, they will always have that G&L sound, which if you love it is great. But in a cover band, it is not as versatile, or universally passable as a P-bass. I'm not selling mine, because it is beautiful and some day might finally get popular , but it doesn't come out to play very often.
It was years before I added G&L to my arsenal, but I'm glad I did. My M-2500 is a great gigging bass. Very punchy and cuts through in a way like my Bongo, but with a voice all its own. The L2000 is a great bass, especially with the K-mod / single coil mod. And with both pickups in series mode, treble boost engaged, it can serve as a "poor man's Wal", especially paired with a Darkglass Harmonic Booster pedal with the character knob all the way up. Great for dialing in some RHCP BSSM tones, or even some Tool / JC tones.
I have a Tribute L2000 that I still have and absolutely love love. I got more compliments with the tone of that bass then any one of the many I have including Fenders. FYI I never used it in active mode it was too hot . The problem for me it was too heavy for me I have a shoulder issue and the unicorn Empress very light basses are stupidly expensive . G&L make some under 8lb basses and I’m a buyer .
I've played a few G&L L2000 basses, and every time I come away really liking them but finding them extremely bright. I think trying some flats on one would be a really interesting experiment. In the Paramore video that you did, Sharon's L2500 sounded REALLY good with overdrive/distortion. They'd have a great sound for a hard rock band.
Sharon! I’m so glad you felt that way about the 5 string head stock on the G&Ls. I love my l2000 but I opted for a sr605 cause I just can’t get over not liking that stunted weird head stock! Finally validated hahaha!
I agree, especially with your characterization in the end. I'm drawn towards those every now and then, but then, it doesn't satisfy me 100%, and I wonder why. It was innovative when it came out, but its design was not distinctive enough to support that. It was an evolution, not a revolution like the P, J and StingRay were. My first bass was a Yamaha, a BB G5, and it looks almost exactly the same. Nice, but not special. Same goes for the sound and feel of it. Whenever I try a G&L, it reminds me of my old Yamaha. G&L's sound more distinctive than my BB, but when they came out, there have been Wal and Alembic, Spector and I guess Ken Smith as well, and also the Aria SB-1000 - all of them were more unique and more what people wanted. But G&L have an awesome lineup of basses available, and I love that they have such a high-quality modest-price range with the Tributes. I especially dig the Kiloton. And if you want a more modern, hi-fi sounding bass, there's the M 2000/2500 as well. And on the other end, there are souped-up Fender classics as well, by the same man but a different brand.
The preamp on the L basses is somewhat noisy- I always used mine in passive. The electronics on them are tricky and not intuitive. Overly complicated. But there are some great sounds once you figure it out. The best 34 scale B string I ever played was on my L2500.
G&L L-2000 or L-2500 are my favourite bass ever. Single coil mode is a must for me. Just about to order my second custom shop from them. Just remember, with those MFD pickups, volume affects tone significantly. 75% volume is similar to the tone of a P or J.
Played G&Ls as my main basses for a long time. They sound great but wish they would make some subtle updates. A contoured neck heel and lighter tuners would be great. Their QC is hit and miss too, some play great and others you need to shim to get low action etc I'd definitely love a G&L again in the future
They make some fine instruments. I’ve owned an L2500 and an M2000 basses. Very well made; custom shop-like quality. However, I have yet to see a fretless version of their basses that is designed properly- I’d be hesitant about ordering/ acquiring one. It’s ironic, because fender seems to know how to make them.
I've the same G&L 2500 Sharon has, including the color. Love, love it. Except ... the weight. Crippling!! My poor back after a band practice, even with a strap made to reduce that issue.
My number 1 is an L-2500 in Greenburst. As many have already stated, it's a chameleon tone-wise. The mid-forward sound is great in a mix, but can be a little weird by themselves. The 2nd most famous bass player to use G&L is the guy from Sugar Ray- Murphy Karges, who also has a decent UA-cam channel.
The L-2000 is so close, but I would change the following: Traditional active preamp (Volume, Treble boost/cut, Bass boost/cut) Active/passive switch mid range selector (400/800) Coil split (front pickup should be 'split' to make it like a P pickup, like some bartolinis do) CLF 'Research' headstock as standard Get rid of the weird blue bursts etc. Black, white, sunburst, fiesta red, maple and rosewood for each. I would buy one tomorrow....
@@jamesburge1983 Right!? I really like G&L but some of their choices are so odd. How many people want a blueburst bass with humbuckers in series and a weird boost switch? And if you're going to make us put a battery in, use a traditional active preamp. That said, show me a fiesta red L-2000 with a rosewood board and the splittable MFD's and I will buy one without hesitation. No brainer.
To be fair, my tone really depends on the need. The everything on setting I only basically use in a really bass driven punk where I split the signal and send half of the frequencies through a muff. The split pickups and actually using the tone controls can get you closer to a lot of the other bass sounds that are THE tones.
I've been playing an L-2500 Tribute in a prog band for years. In prog the bass should be able to stand out and bite through when necessary and I love it. I own 3 other G&Ls and they are all definitely on the heavy side and built like a tank. As far as finding a "cool band" to elevate their visibility - the current music industry (such as it is) isn't really band oriented any more, so good luck with that. Great video, keep it up.
L2000 - amazing bass and if experimented with, can sound like a very close Wal sound. I know a guy who plays in a Rush tribute band and uses this for the Wal era songs. Gets that snap and pop sound everyday.
I really like my jb2. Sounds different from my fender jazz but familiar at the same time. It’s a prestige model made in Indonesia and very well crafted. Shout out to all the indo factory workers, I own three instruments made from there and they are all great.
G & L are a specialist maker, like a distillation of the Fender playbook. So they'll never hit the Fender highground, but that adds to their quirky individuality perhaps abit amongst the Audi and BMW drivers out there, there were also those guys n gals who drove Saabs. I have owned SB-2's, Kilotons, L2000, L2500 (ha and now i think about...also a saab) To Me the SB-2 is the dude. The L2000/L2500 are the big humbucker versions and as Steve said the single coil option is good option. I'd like to see SBL try out the SB-2 against a P-J. Live the SB-2 is a beast. The MFD design work really well in the P-J form/layout.
I have a Fullerton and a Tribute SB-2. Love them both. I put a tone knob on the Fullerton and it became easier to use for songs where a pick is proper.
had a tribute L2000 for a couple of years...nice bass, but could not get on with the neck. This is the best description..it's a Saab or Volvo of a bass.
George & Leo. George Fullerton & Leo Fender) No mistake creating that company, though it makes for a catchy phraise here. Too bad he sold Fender, but he had to, I suppose.
I have 2 types of G&L a 5 String ASAT, yes they made (at least) one and couple of JB's 1 US custom shop and 1 Indonesian. The ASAT B5 is heavy and powerful with its own distinctive Voice (as you demonstrate) and may not be to some peoples taste or work with their mix, but it is one of the most beautiful instruments I've ever seen. The JB's (Jazz Basses) are similar weight to a Fender Jazz and has a more "Generic" Bass sound. Of course they are definitely traditional looking, but in a good way as the quality is there to back it up, with prices that are competitive with comparable Fender products. BTW G&L stands for George & Leo
The neat thing to me is how you can see the evolution and improvements of his designs. He never rested on his laurels. The P bass is iconic, but it's kind of a one trick pony. It's an amazing trick and it's beloved, it works everywhere, but it always sounds like a P so it's not exactly versatile. Then comes the J, which gives us that bridge pickup, gives us the two pickup blend, and still has a P bass kind of tone from the neck. Then the Stingray gives us a bridge pickup with more of a full range tone and no noise. The G&Ls were much more versatile and could do everything with, they're like the poker face of basses, you can't tell what it is in one two notes. I don't feel like any of them are necessarily better than the others, they're just different tools for different needs. But if you only had one of each of those 4 basses you have a toolbox that can handle everything!
thanks for this video!! So the series/parallel switch, it works only when both pickups are selected? What happens when say, neck pickup only is selected and flick the series/parallel switch?
Bought a L2500 like Sharon's a few months back and I'm kind of meh about it. Tone-wise it has a good bit of versatility. I think I'd be happier with a different color/finish.
Electronics between the US made and the Tribute are not 100% the same. The Tribute series is the same design but it does use cheaper components, which may or may not make a noticeable difference in sound quality. If you're the type who swears they hear a difference in 9v battery brands, it might make a difference.
Great video ❤ learned a lot on this brand, thanks! Could you go for same kind of contenant but with Sire ? And maaaaaybe with Marcus as a guest 🥰 or tech guys from Sire, i really don't know much on that side of this company
No: As the guy in the beginning explains it's passive (passive tone control). But you have 2 options to pimp this passive tone (preamp on + preamp on with high boost). Take off the battery and check it, you will have sound on the first stage of the 1st toggle switch.
When I think of a P, J or Stingray, I think of so many hit songs and the legendary bass players associated with each of those basses they played on those recordings. I don’t have nearly the same degree of association with any G&L model.
I played a sunburst L1000 30years ago. I knew nothing about them, but I walked into Ed’s Used Guitar’s Miami and fell in love with it. A couple o years ago, I started playing out again. I had a Gibson SG bass, and got an SR 1300 from Ibanez. Last year, I bought an L-2500 tribute to use when I needed 5 strings. It’s all I want to play now. It even makes 16th note syncopation drills with an old school wind-up metronome fun.
Every L1000 or L2000 i’ve ever seen or picked up looked like it was built like a tank and they certainly feel that way, and the variety of tones you get from them is insane. It’s truly a Swiss Army Knife bass.
so, lets compare the sound of this bass to others... "btw this one has flat wound strings", then why you even choose that bass for?, if you know the type of strings has a mayor sound differnece, then its not even fair to compare them. Ok maybe thats your only bass?... proceeds to grab a jazz bass with flats by having a wall of jazz basses behind.... Also at least compare the P bass wiht the G&L neck pickup only, same with the stingray. You would never have a fair comparison..... Then both go "sound similar but slighty different (well yeah its comparing a single coil vs a humbucker)... but when he grabs the stingray, the onyl bass that actualy had the same type of "growl/bark" sound (becasue the similarity of the pickup), then "naah it has a different sound", like seriously? also Im sorry, but couldnt even finish the video, the fakeness and overly "excited/smily" kinda attitude you guys do in every video rubs pretty quickly. I feel Im watching a kids show.. "did you know this... ooh wooow really? thats amazing!!!" you know what I mean. You can be joyful, you can be happy, but dont push it for the sake of it, its ok if you already knew something of the bass, you dont have to pretend and overreact you didnt knew. Its the main reason why I dont watch more of you guys videos as much, as I like the content and topics you guys do. Stop talking as a host TV show reading a script, and talk more as you as a person, like if you talking to your friend. Sorry for the negative coment, I love your channel
You guys keep talking about "mid-rangey" like it's a really bad thing. You do realize, I hope, that when you are playing in a group, the Bass owns the low-mids from about 250Hz up to 550Hz. Those frequencies are the sonic space that gives the bass its presence and definition and a little boost there makes a big difference in whether you hear what the bass player is playing or just see his hands moving but can't discern the individual notes. The Kick drum owns the lowest lows, the guitars and keys own the high mids and highs, and the bass owns the low mids. You guys have done enough recording that I'm sure you're aware of that. The mid-rangey sound you're complaining about may not be the best sound when playing by your self, but it makes a big difference in what the audience hears when playing in a group. I have an '82 Jazz that I bought in 1985 to replace my 1965 Jazz that I bought in 1966 and was stolen form me in 1976 along with all my touring gear. My '82 has a maple-neck and the 70's era 4" center to center pickup spacing. I toured with my 1965 Jazz in the early 70's and my '82 is a little brighter and has a lot more sustain than my '65 did. I use Eden and DNA (David Nordschow Amplification) gear which was all designed by David Nordschow (aka: David Eden). The sound from all of those amps and cabs is clear, clean and articulate. I don't run distortion or any effects or distortion. With my Eden amps I run everything flat except for the low mids. I will boost the low-mids at 250Hz or 500Hz depending on what low-mids I can address. With my DNA-800 amp, that low-mid EQ is centered at 500Hz. Both of those frequencies work fine to get that presence and definition. I don't have to boost it much, just to about 1:30 does the trick. If you boost the low-mids too much, it causes your sound to honk at you, which is quite different from the "bark" you refer to with the G&L basses. If you hear the honk, you need to slowly drop the low-mid boost until it stops honking. That little bit of boost allows me to not only be heard, but be heard clearly in live performances without drowning everyone else out with my volume level. There's a UA-cam video of the J Badders Band playing at a club in Washington a few years back where I'm using my Eden WT500/800 amp (400-watts rms per channel into 4Ω or 800-watts bridged into 8Ω) into two Eden EX112 4Ω cabs. It's a dual-powerblock amp so I plug one into each channel. Low-mids at 250Hz are boosted to 1:30 and everything else is set flat. It's just an iPhone recording or our 5-piece group (bass, drums, keys, and two guitars), so it's not the best recording but nonetheless you can distinctly hear not only that I am playing, but what I am playing (presence and definition). And that's without blasting everyone with volume. Rather it allows my playing to be heard in a nice balance with the rest of the group. ua-cam.com/video/PTWiJuar6EA/v-deo.html So in a group performance that mid-rangey sound may be just the right thing for the mix even though the sound of it playing by yourself might not be what you really like to hear.
I don’t feel like you gave these instrument a fair assessment. You did a real quick tone example with essentially no manipulation of the controls. Then you label the sound in somewhat unfavorable terms. All of the controls affect the instrument’s character and will give a wide range of sounds. I have an L1000 and it sounds much warmer than what I heard in this video. By adjusting the controls and/or using a pick, I can get very aggressive tones out of it.
You all know we like to mess with you with the titles 😜What other basses have we just not been presenting enough?
And as always, if you'd like to get more serious about the bass guitar, we're here for you:
🎸 MASTER YOUR FRETBOARD with The Fretboard Accelerator, the proven system to unlocking your fretboard in just 30 minutes a day → sbl.link/3XM0Vbi
🔥 Try the SBL Bass Academy FREE for 14 Days: sbl.link/join-sbl
🚀 Get 1-1 Bass Coaching (12 Month Mentorship Program): sbl.link/the-blueprint
@@devinebass just fyi the G&Ls you were showing today can also be passive with the preamp off setting, you only highlighted them in active. They can do both, and because they can do both they have a lot more flexibility. You do have to understand the controls and they can be a bit much at first, but at the same time from a budget standpoint it reduces your need to buy a ton of basses cause it can do very convincing impressions of P, J and stingray basses, among other active basses, and that’s part of its appeal.
*Translation: Clickbait.*
I know it's boutique, but I've played a Zon Legacy since 1987. probably 90% of my stage time has been with it. Joe Zon is super nice to deal with. I can't say enough good things about Zon.
In terms of market size, Ibanez would be an obvious choice. The challenge would be capturing a representative sample of the vast range of prices, pickups and other electronic components, as well as the three main body/neck designs, without the video running to ridiculous lengths. From a selfish perspective, I'd love to see you look at Sandberg, as their basses have intrigued me for a while (especially the ones which combine a split coil in the middle with a humbucker at the bridge) . . .
Go nuts on MTD!
NOT "Guitars by Leo," it's George (Fullerton) & Leo (Fender).
G&L's tag line literally was "Guitars by Leo"
@@Scoots1994several years later, yes. That being said, G&L is, was, will forever be George and Leo.
@@leesbassment6393 Yes. And I love that Leo put George in there and put him first. That's love.
Also G&L is, I think, on Fender Ave in Fullerton :)
*"How dare you question the great & powerful Oz?!?!*
😂
No! G&L are some mighty fine instruments
I’ve been rocking the G&L L-2000 Tribute for over a decade and has not failed me once. I absolutely love that bass and is my ride or die bass!
Same here, my L-2000 is perfect. I can make it sound like just about any other bass.
Best bass ever made love my L2000 p
same, but my back doesnt forgive me
Same here and it’s a lefty for me. I’m not a “bass player” bass player. I use mine to support and keep a nice chain of pedals for when I need to work on the sound. I come form a synthesiser background. It’s a plank of wood with magnets, it should be reliable!
I have a couple of more expensive basses 15:04 and bought a G&L L 15:28 15:29 -2000 tribute for my daughters to take with them to school to play in jazz band. Now when they have the choice, they prefer to play the G&L.
I own L-1505 and it's the best bass I ever played. The magic of G&L basses is that you can easily put them in virtually any mix. Perfect tool for professional musicians.
👍👍👍
Every L1000 or L2000 i’ve ever seen or picked up looked like it was built like a tank and they certainly feel that way, and the variety of tones you get from them is insane. It’s truly a Swiss Army Knife bass.
I lived in Southern California back in the 80's. I lived in Fullerton and used to hang out at a music store there called "This Is Music" on State College Blvd, at the end of Fender Ave. The owner knew Leo very well and told me G&L was hiring. I applied for a job and they called me in for an interview. As the manager was showing me around the shop, Leo walked up and I briefly met him. The manager told him I was there for a job interview, and he walked off. I didn't get the job, but many years later I started my very own bass-building empire.
Wow, thanks for sharing!
🧡🧡🧡
This video was a bit of a disservice to the L-2000. I've owned a CLF Research L2000 for 5 years, and I think it does everything you could ever ask a bass to do... If you manipulate the treble knob, passive / boost switches, parallel/series, and change up your plucking placement, you get every sound under the sun
Running everything all the way up is impractical for most gigs, and did not show the range of the instrument.
Add in the CLF Research L2000 vibe with the different headstock, chrome plated, natural ash body.... You have a hardcore 80s hair vibe which just works
I agree. The controls exist for a reason. Yeah I get it, most players just open up the throttle and hope that the instrument will just magically do the 'work'. In my opinion G&L's are for folks who really have no fear of 'using' the instrument. It is like the comanche, players who just open it up and not use the controls, hate it. Players who use the controls generally really like it. In short if some one is in to G&L, they generally know how to dial in an instrument.
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My 5-string L-1000 is the only bass I don’t permanently have my volume maxed out.
I'll second this. It is true. Played G&L since having a 2010 SB2 Tribute, ordered an SB-2T from Fullerton in '14; and a L2000 with the single coil mod (highly suggested) this past Dec '23. They are both unique and I've found the L2000 is like having 4 basses in one with the single coil set up, and then all the variables from "each bass" as you go. Depending on which preamp setting or the single coil, which pickup, series or parallel, or whatever you have set: you need to also adjust the bass and treble cuts to optimize that sound. But can't just crank everything open and go. You find your flavours for each.
You nailed it man.
As a dad, I love my G&L and its mid-range tone. I put it down for a year, came back, and the fucker was still in tune. Even the case is high quality. I’m currently shopping for another one much to my wife’s misgivings.
“the fucker was still in tune” 😂😂 hell yeah
Back in 82, my bass teacher picked up a SB 1 off the rack in the music store and told me I should tell my parents to buy it for me. They did, and I still have it. Still tight and plays like the meat and potatoes it was meant for. Peace!
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G&L = George and Leo. And a Rickenbacker 4001 is more iconic than a Stingray bass. An L2000 is an awesome instrument in its own right and clearly the pinnacle of the evolution of Leo's work.
I've watched the whole episode now. I love the channel but this is the worst representation of a bass I've seen here. So many errors in the representation. If so many people asked for a review, you should've done more homework. For instance, there is a whole other head stock without the tooth. Simple to find out btw. You can get a very similar P-bass sound by soloing the neck. Very lame vid to cover the last work of the master.
The CLF Research models have the older, "sue me" headstock. Apparently FMIC no longer thinks it looks too much like theirs.
G&L basses and guitars are lovely. They are simultaneously chameleons that can flow in and out of all of his basses through time, and they are kind of their own thing as well cause of the active preamps and ability to flip between pickup settings. The G&L guitars are similar, they can flow between other historical guitar sounds and are totally unique.
Mr. Fender's Ultimate creations. Everything he discovered all in one Company. G&L is way better than most understand.
Its here.!! What an odd title though. L2000 were Leos self confessed best and an evolution of the ray especially
Ian needs to get his hands on an L-1000. It’s better than almost any boutique P-bass Ive ever played.
Yep! I have one and it's elite lol
It's still not a Stingray...
Honestly though I think G&L basses are really caught in between the distinction of Stringray and the nostalgic significance of P and J basses. I mean it's a great bass but like it's not different or innovative enough in comparison.
Yep. I own a p bass and and L-1000, and 90% of the time I’m choosing which bass I take on a gig, it’s the g&l. It’s just so much easier to get a nice tone that can also cut through the mix.
@@vitaminc2161my Kiloton very much sounds like a Stingray, and it kills on tunes by RHCP, Chic and other tracks recorded with a MM. I love it.
Yeah, I'm really surprised they didn't even give it a nod. A wunkay is like the Pinnacle of g&l bases.
One of the greatest things about the L-2000, in passive mode, it can be played without a battery.
G&L, thank you!
Unlike the Stingray,
Afaik…🤷♂️
Big deal. I have never had a battery issue with Stingrays and have played them over 27 years.
@@daviddesmond2143 Yeah, take a spare or two.
@@DrRock2009 I've played my mid 2000's Stingray without the battery in it, as I needed the 9V for my tuner. I now take spares :)
I used to have a gold sparkle G&L ASAT bass that a friends dads brother said I could borrow when I was in high school. He died a month or two after he let me borrow it and nobody ever asked for it back. But back then I had no idea what G&L was, I never heard of it before and assumed it was just a random generic bass. I actually liked my Westone Spectrum better.
My mom sold it at a garage sale for $40 while I was at college. Someone scored big that day.
Muzz Skillings: Living Colour (L-2000 fretless)!
Gary Garry Beers (INXS)
Sara Lee
Gail Ann Dorsey
Ed Friedland
Tom Hamilton (Aerosmith)
David Steele (English Beat, Fine Young Cannibals)
Dave Pegg - Jethro Tull (not with them currently though)
Henry Bogdan - Helmet
I have a Kiloton tribute and I love it. Controls are super simple so it's easy to dial it in and it's passive, which for me is a plus. Build quality is incredible, it's a joy to play it, and it feels like a total workhorse. I agree that the logo isn't the coolest, but the frost black finish is so sick. The tone is definitely its own thing. What drew me to it was how much clarity and definition the bass has in the lower notes. I find the full humbucker mode to be a little too loud and boomy, but the single coil mode and the series mode are fantastic sounds. I do find myself EQing out some of the mids and rolling off the tone knob a little to help the bass sit better in the mix. Overall fantastic bass, 10/10 in my book.
Y'all gotta try the L1000. It's got G&L's OMG-mode which is the pickup in series but with a capacitor in one of the coils. The resulting sound is a super aggressive bass boosted tone that I personally love.
Yes!!!!!
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@@devinebass L1000 The best G&L IMO ... You should try the first years bass : 1979,80,81,82... OMG !
The adjustable MFD pickup poles are also another way to get your tone nailed down. You can tone it up or down string by string using them.
The L-2500/2000 almost leans “Spector”, in that super focused midrange bark thing. That, and as a guy who cut his teeth on an early 70s jazz bass, the L-2500 is the only bass where I personally enjoy the neck pickup solo. I’ve never bonded with a P bass, for me.
Fighting talk! G&L fanboi here, a happy owner of an ASAT and an LB100, love ‘em both.
I played a sunburst L1000 30years ago. I knew nothing about them, but I walked into Ed’s Used Guitar’s Miami and fell in love with it. A couple o years ago, I started playing out again. I had a Gibson SG bass, and got an SR 1300 from Ibanez.
Last year, I bought an L-2500 tribute to use when I needed 5 strings. It’s all I want to play now. It even makes 16th note syncopation drills with an old school wind-up metronome fun.
The fact that Leo has a hand in MM And Fender and G&L. Is reason enough.
both hands😉
I played passsive, parallel, and just used the pick up selector. Over time I learned what everything does, but I still use passive/series most of the time.
G&L Tribute L-2500 is a bass i was trying to get my hands on for years (very hard to get one where i live) because every clip and comment about it sounded like it's just what i want out of a bass and it was firmly in my price range.
I finally managed to snatch one used (transparent orange with maple neck) and it's without a doubt my favorite out of any bass i ever owned. It plays like a dream and sounds absolutely monumental, especially with some drive (same MDF pickups and hardware as the US version). B string is so so good. And every sound it makes (an it can make like all of them) is usable.
My band's drummer who plays in a lot of projects and does some session work on the side is constantly raving about how it's the best sounding bass she's heard (played trough a humble Fender Rumble V3 in practice) and she's always pestering other bassists to get one.
Yes! Sharon’s L-2500 in the Paramore video WAS a sneak preview!
I love my CLF L-2500. If I have no clue what I need to play when I show up somewhere, this is the instrument I bring. It doesn’t do a perfect carbon copy of any other sound, but it gets really workable sounds of a lot of different flavours. Mine’s got the bridge/series/parallel switch which is so useful.
Very happy to see you guys review G&L. I know I'm in a minority of bassists, but I love my SB-2 (their spin on a PJ). It's a different beast.
Agree. 2014 SB-2T player here.
I love the channel but damn this was frustrating to watch. 😂 Been hoping for an L2000 video for years and this was not it. Pain points for me: This bass has the most modern voice yet it is a dad instrument, has one sound yet you spend very little time adjusting the controls of the bass, asking if it is active, not liking the headstock and not knowing there is the CLF versions... Rough video for G&L fans.
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Truth!!!
Well said. No time spent to get to know it, just turn everything up and wonder why it didn't sound like something already familiar.
I own a USA G&L JB and it is the best jazz bass that I’ve ever played.
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I second that. I’m using a JB-5 for my main bass. It is fantastic!!!
I loved my G&L, but it feels like it weighs 90 pounds.
Henry Bogdan plays an L2000 on the early helmet albums
and betty has some great bass moments
dude was a beast
@@pim2paul right totally under rated
Dude, yessss! Henry's tone is ICONIC in my opinion. The bass intro to Give It is legendary- ua-cam.com/video/KM3UnxDCkKQ/v-deo.html
Thanks for this video. I´m a G&L enthusiast since I bought, Almost by mistake. a L2500 and man... I don´t want to play any other thing even when sometimes I play a Jazz Bass. I agree, the 2500 headstock is awful but; oh dear the G&L really crushes every thing, you just need to understand the electronics a lil bit and Bingo! You have a Precision, a Jazz Bass and a Stingray in the same package. It´s time to make the G&L crushes everything video. I love Leo.
I own 2 fender P’s, a fender J, sold my music man, and play the G&L more than anything else. It’s a great bass!!!
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I've played my '88 SB 1 since it was new. The MFD makes it a P-Bass plus! I love it. I also have an L-2000. Once you get familiar with the controls, there's an incredibly diverse range of tones available. Said for the headstock, I like it. Check out the CLF models, Ian. No bottle opener! I discovered G&L in the 80s as a kid in L.A. A few of us knew "this is what Leo's doing now". Great instruments!
I used to hate that bottle opener headstock, till I purchased the L2000. It grew on me real fast. I like the headstock now. 😊
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"Dad bass" 🤣 You're killin' me Ian! But I think there is some truth to it.
Mixed opinion. No Matter how much you tweak all the variations of controls, they will always have that G&L sound, which if you love it is great.
But in a cover band, it is not as versatile, or universally passable as a P-bass.
I'm not selling mine, because it is beautiful and some day might finally get popular , but it doesn't come out to play very often.
It was years before I added G&L to my arsenal, but I'm glad I did. My M-2500 is a great gigging bass. Very punchy and cuts through in a way like my Bongo, but with a voice all its own. The L2000 is a great bass, especially with the K-mod / single coil mod. And with both pickups in series mode, treble boost engaged, it can serve as a "poor man's Wal", especially paired with a Darkglass Harmonic Booster pedal with the character knob all the way up. Great for dialing in some RHCP BSSM tones, or even some Tool / JC tones.
You are convincing me just with this comment
I've got three G&Ls and love them all, even my beat up L-2000 that's about 27 years old.
I have a Tribute L2000 that I still have and absolutely love love. I got more compliments with the tone of that bass then any one of the many I have including Fenders. FYI I never used it in active mode it was too hot . The problem for me it was too heavy for me I have a shoulder issue and the unicorn Empress very light basses are stupidly expensive . G&L make some under 8lb basses and I’m a buyer .
I've played a few G&L L2000 basses, and every time I come away really liking them but finding them extremely bright. I think trying some flats on one would be a really interesting experiment. In the Paramore video that you did, Sharon's L2500 sounded REALLY good with overdrive/distortion. They'd have a great sound for a hard rock band.
I have flats on my ASAT and it’s perfect.
Sharon! I’m so glad you felt that way about the 5 string head stock on the G&Ls. I love my l2000 but I opted for a sr605 cause I just can’t get over not liking that stunted weird head stock! Finally validated hahaha!
I agree, especially with your characterization in the end. I'm drawn towards those every now and then, but then, it doesn't satisfy me 100%, and I wonder why. It was innovative when it came out, but its design was not distinctive enough to support that. It was an evolution, not a revolution like the P, J and StingRay were.
My first bass was a Yamaha, a BB G5, and it looks almost exactly the same. Nice, but not special. Same goes for the sound and feel of it. Whenever I try a G&L, it reminds me of my old Yamaha. G&L's sound more distinctive than my BB, but when they came out, there have been Wal and Alembic, Spector and I guess Ken Smith as well, and also the Aria SB-1000 - all of them were more unique and more what people wanted.
But G&L have an awesome lineup of basses available, and I love that they have such a high-quality modest-price range with the Tributes. I especially dig the Kiloton. And if you want a more modern, hi-fi sounding bass, there's the M 2000/2500 as well. And on the other end, there are souped-up Fender classics as well, by the same man but a different brand.
Thank you for covering G&L. I think they’re the apotheosis of the Fender brand.
The preamp on the L basses is somewhat noisy- I always used mine in passive. The electronics on them are tricky and not intuitive. Overly complicated. But there are some great sounds once you figure it out. The best 34 scale B string I ever played was on my L2500.
G&L L-2000 or L-2500 are my favourite bass ever. Single coil mode is a must for me. Just about to order my second custom shop from them.
Just remember, with those MFD pickups, volume affects tone significantly. 75% volume is similar to the tone of a P or J.
Adjust the volume to control that bark.
Played G&Ls as my main basses for a long time. They sound great but wish they would make some subtle updates. A contoured neck heel and lighter tuners would be great. Their QC is hit and miss too, some play great and others you need to shim to get low action etc
I'd definitely love a G&L again in the future
Lighter tuners? They are alloy already…🤔
They make some fine instruments. I’ve owned an L2500 and an M2000 basses. Very well made; custom shop-like quality. However, I have yet to see a fretless version of their basses that is designed properly- I’d be hesitant about ordering/ acquiring one. It’s ironic, because fender seems to know how to make them.
I love my L2000 … it’s just right. Love the tone. Love the build.
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I've the same G&L 2500 Sharon has, including the color. Love, love it. Except ... the weight. Crippling!! My poor back after a band practice, even with a strap made to reduce that issue.
Check out the Gruvgear Duo Strap if you haven't already, they can work wonders with heavy basses!
My number 1 is an L-2500 in Greenburst. As many have already stated, it's a chameleon tone-wise. The mid-forward sound is great in a mix, but can be a little weird by themselves. The 2nd most famous bass player to use G&L is the guy from Sugar Ray- Murphy Karges, who also has a decent UA-cam channel.
Love my G& L’s.
Like a better Fender but cheaper and with more options.
My second fav bass its still a Legacy G&L L2000
No one is going to mention the Operation board game lying casually on the side? (4:15)
🤣🤣🤣
Played a G&L Lynx for years and was never let down by it.
The L-2000 is so close, but I would change the following:
Traditional active preamp (Volume, Treble boost/cut, Bass boost/cut)
Active/passive switch
mid range selector (400/800)
Coil split (front pickup should be 'split' to make it like a P pickup, like some bartolinis do)
CLF 'Research' headstock as standard
Get rid of the weird blue bursts etc. Black, white, sunburst, fiesta red, maple and rosewood for each.
I would buy one tomorrow....
Now this is a good idea, 'front pickup should be 'split' to make it like a P pickup'
@@jamesburge1983 Right!? I really like G&L but some of their choices are so odd. How many people want a blueburst bass with humbuckers in series and a weird boost switch? And if you're going to make us put a battery in, use a traditional active preamp. That said, show me a fiesta red L-2000 with a rosewood board and the splittable MFD's and I will buy one without hesitation. No brainer.
To be fair, my tone really depends on the need. The everything on setting I only basically use in a really bass driven punk where I split the signal and send half of the frequencies through a muff.
The split pickups and actually using the tone controls can get you closer to a lot of the other bass sounds that are THE tones.
I had a translucent Blue El Toro G&L. Everything you needed on controls. With flats, they have sort of a Musicman tone.
I've been playing an L-2500 Tribute in a prog band for years. In prog the bass should be able to stand out and bite through when necessary and I love it. I own 3 other G&Ls and they are all definitely on the heavy side and built like a tank. As far as finding a "cool band" to elevate their visibility - the current music industry (such as it is) isn't really band oriented any more, so good luck with that. Great video, keep it up.
Love my G&L bass.
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I like the riff on the 51 best
I used to have one L-2000 Tribute a few years ago and I regret selling it.
In my opinion it IS a very versatile Instrument with its own voice.
My '89 SB-1 will be buried with me. MFD magic, the p-bass perfected.
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L2000 - amazing bass and if experimented with, can sound like a very close Wal sound. I know a guy who plays in a Rush tribute band and uses this for the Wal era songs. Gets that snap and pop sound everyday.
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I put a passive TB tone controls in my Strat. Very musical.
I think the head stock of GandL stopped some people from owning these.
G&L are fantastic value for money, wish i had one
I really like my jb2. Sounds different from my fender jazz but familiar at the same time. It’s a prestige model made in Indonesia and very well crafted. Shout out to all the indo factory workers, I own three instruments made from there and they are all great.
I have a G&L Fullerton JB5. Thing has sustain for days. I'd eventually like to get one of the G&Ls that have a humbucker or two on it.
G & L are a specialist maker, like a distillation of the Fender playbook. So they'll never hit the Fender highground, but that adds to their quirky individuality perhaps abit amongst the Audi and BMW drivers out there, there were also those guys n gals who drove Saabs. I have owned SB-2's, Kilotons, L2000, L2500 (ha and now i think about...also a saab) To Me the SB-2 is the dude. The L2000/L2500 are the big humbucker versions and as Steve said the single coil option is good option. I'd like to see SBL try out the SB-2 against a P-J. Live the SB-2 is a beast. The MFD design work really well in the P-J form/layout.
I have a Fullerton and a Tribute SB-2. Love them both. I put a tone knob on the Fullerton and it became easier to use for songs where a pick is proper.
had a tribute L2000 for a couple of years...nice bass, but could not get on with the neck. This is the best description..it's a Saab or Volvo of a bass.
George & Leo. George Fullerton & Leo Fender) No mistake creating that company, though it makes for a catchy phraise here. Too bad he sold Fender, but he had to, I suppose.
The title for this video got me scared for a bit!
I have 2 types of G&L a 5 String ASAT, yes they made (at least) one and couple of JB's 1 US custom shop and 1 Indonesian.
The ASAT B5 is heavy and powerful with its own distinctive Voice (as you demonstrate) and may not be to some peoples taste or work with their mix, but it is one of the most beautiful instruments I've ever seen.
The JB's (Jazz Basses) are similar weight to a Fender Jazz and has a more "Generic" Bass sound.
Of course they are definitely traditional looking, but in a good way as the quality is there to back it up, with prices that are competitive with comparable Fender products.
BTW G&L stands for George & Leo
Funnily enough I only ever saw one 5 string ASAT, and it was played by a guy called Craig, in Huddersfield as it happens.
The neat thing to me is how you can see the evolution and improvements of his designs. He never rested on his laurels.
The P bass is iconic, but it's kind of a one trick pony. It's an amazing trick and it's beloved, it works everywhere, but it always sounds like a P so it's not exactly versatile. Then comes the J, which gives us that bridge pickup, gives us the two pickup blend, and still has a P bass kind of tone from the neck. Then the Stingray gives us a bridge pickup with more of a full range tone and no noise. The G&Ls were much more versatile and could do everything with, they're like the poker face of basses, you can't tell what it is in one two notes.
I don't feel like any of them are necessarily better than the others, they're just different tools for different needs. But if you only had one of each of those 4 basses you have a toolbox that can handle everything!
Love my L2K! Got my first one in 1995.
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I love my L-2000 in passive mode with flats
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I have a G&L and I'm very happy but it is the CLF Research L2500 big chonks that looks like a mix of fender with musicman it looks so better
Al fin G&l...... 🎉🎉🎉🎉....tengo un G&l L1000 del 81...una maravilla ❤
thanks for this video!! So the series/parallel switch, it works only when both pickups are selected? What happens when say, neck pickup only is selected and flick the series/parallel switch?
You mean George & Leo.
All I need is a PJ and a L2000. It's not all I have, but it's all I need for a gig :)
i feel like maybe they should swap G&L's
Please change that title! That’s blasphemy 😝
Right!!!!
I LOVE my L2000
Me too! 👍
You hear me 🙏😌
The "Dad vibe" thing I kind of get ... which is why my L2000 is atomic orange :)
Bought a L2500 like Sharon's a few months back and I'm kind of meh about it. Tone-wise it has a good bit of versatility. I think I'd be happier with a different color/finish.
The G&L seems to have a warmer tone.
Electronics between the US made and the Tribute are not 100% the same. The Tribute series is the same design but it does use cheaper components, which may or may not make a noticeable difference in sound quality. If you're the type who swears they hear a difference in 9v battery brands, it might make a difference.
Great video ❤ learned a lot on this brand, thanks! Could you go for same kind of contenant but with Sire ? And maaaaaybe with Marcus as a guest 🥰 or tech guys from Sire, i really don't know much on that side of this company
We might do a Sire deep dive at some point!
Writing a title like that screams is their something wrong with my brain
How can you say "dad bass" i have a usa l2000 in bright spangle red with matching head stock ....disco fantastic 🤩
It's an active bass with a passive mode (last switch).
No: As the guy in the beginning explains it's passive (passive tone control). But you have 2 options to pimp this passive tone (preamp on + preamp on with high boost). Take off the battery and check it, you will have sound on the first stage of the 1st toggle switch.
@@theroyaljam4968 I was calling the pre-amp on/boost modes as "active" and the pre-amp off mode as "passive".
I'll stick with my ESP, I dont need a dozen pedals to make it sound good.
When I think of a P, J or Stingray, I think of so many hit songs and the legendary bass players associated with each of those basses they played on those recordings. I don’t have nearly the same degree of association with any G&L model.
I played a sunburst L1000 30years ago. I knew nothing about them, but I walked into Ed’s Used Guitar’s Miami and fell in love with it. A couple o years ago, I started playing out again. I had a Gibson SG bass, and got an SR 1300 from Ibanez.
Last year, I bought an L-2500 tribute to use when I needed 5 strings. It’s all I want to play now. It even makes 16th note syncopation drills with an old school wind-up metronome fun.
Every L1000 or L2000 i’ve ever seen or picked up looked like it was built like a tank and they certainly feel that way, and the variety of tones you get from them is insane. It’s truly a Swiss Army Knife bass.
so, lets compare the sound of this bass to others... "btw this one has flat wound strings", then why you even choose that bass for?, if you know the type of strings has a mayor sound differnece, then its not even fair to compare them. Ok maybe thats your only bass?... proceeds to grab a jazz bass with flats by having a wall of jazz basses behind.... Also at least compare the P bass wiht the G&L neck pickup only, same with the stingray. You would never have a fair comparison..... Then both go "sound similar but slighty different (well yeah its comparing a single coil vs a humbucker)... but when he grabs the stingray, the onyl bass that actualy had the same type of "growl/bark" sound (becasue the similarity of the pickup), then "naah it has a different sound", like seriously?
also Im sorry, but couldnt even finish the video, the fakeness and overly "excited/smily" kinda attitude you guys do in every video rubs pretty quickly. I feel Im watching a kids show.. "did you know this... ooh wooow really? thats amazing!!!" you know what I mean. You can be joyful, you can be happy, but dont push it for the sake of it, its ok if you already knew something of the bass, you dont have to pretend and overreact you didnt knew. Its the main reason why I dont watch more of you guys videos as much, as I like the content and topics you guys do. Stop talking as a host TV show reading a script, and talk more as you as a person, like if you talking to your friend. Sorry for the negative coment, I love your channel
You guys keep talking about "mid-rangey" like it's a really bad thing. You do realize, I hope, that when you are playing in a group, the Bass owns the low-mids from about 250Hz up to 550Hz. Those frequencies are the sonic space that gives the bass its presence and definition and a little boost there makes a big difference in whether you hear what the bass player is playing or just see his hands moving but can't discern the individual notes. The Kick drum owns the lowest lows, the guitars and keys own the high mids and highs, and the bass owns the low mids. You guys have done enough recording that I'm sure you're aware of that. The mid-rangey sound you're complaining about may not be the best sound when playing by your self, but it makes a big difference in what the audience hears when playing in a group.
I have an '82 Jazz that I bought in 1985 to replace my 1965 Jazz that I bought in 1966 and was stolen form me in 1976 along with all my touring gear. My '82 has a maple-neck and the 70's era 4" center to center pickup spacing. I toured with my 1965 Jazz in the early 70's and my '82 is a little brighter and has a lot more sustain than my '65 did. I use Eden and DNA (David Nordschow Amplification) gear which was all designed by David Nordschow (aka: David Eden). The sound from all of those amps and cabs is clear, clean and articulate. I don't run distortion or any effects or distortion.
With my Eden amps I run everything flat except for the low mids. I will boost the low-mids at 250Hz or 500Hz depending on what low-mids I can address. With my DNA-800 amp, that low-mid EQ is centered at 500Hz. Both of those frequencies work fine to get that presence and definition. I don't have to boost it much, just to about 1:30 does the trick. If you boost the low-mids too much, it causes your sound to honk at you, which is quite different from the "bark" you refer to with the G&L basses. If you hear the honk, you need to slowly drop the low-mid boost until it stops honking. That little bit of boost allows me to not only be heard, but be heard clearly in live performances without drowning everyone else out with my volume level.
There's a UA-cam video of the J Badders Band playing at a club in Washington a few years back where I'm using my Eden WT500/800 amp (400-watts rms per channel into 4Ω or 800-watts bridged into 8Ω) into two Eden EX112 4Ω cabs. It's a dual-powerblock amp so I plug one into each channel. Low-mids at 250Hz are boosted to 1:30 and everything else is set flat. It's just an iPhone recording or our 5-piece group (bass, drums, keys, and two guitars), so it's not the best recording but nonetheless you can distinctly hear not only that I am playing, but what I am playing (presence and definition). And that's without blasting everyone with volume. Rather it allows my playing to be heard in a nice balance with the rest of the group.
ua-cam.com/video/PTWiJuar6EA/v-deo.html
So in a group performance that mid-rangey sound may be just the right thing for the mix even though the sound of it playing by yourself might not be what you really like to hear.
I've realized that with my L-2000, it sounds way better at a volume live with a band. It really cuts through the mix.
I don’t feel like you gave these instrument a fair assessment. You did a real quick tone example with essentially no manipulation of the controls. Then you label the sound in somewhat unfavorable terms. All of the controls affect the instrument’s character and will give a wide range of sounds. I have an L1000 and it sounds much warmer than what I heard in this video. By adjusting the controls and/or using a pick, I can get very aggressive tones out of it.