I thought it'd be nice to group together some of the questions that I see a lot in these parts, both on the Discussion Page and via e-mail. In addition, I've collected a few handy "tech tips" that will prove useful when maintaining (or modifying) your G&L. Author / researcher / collector / friend Greg Gagliano stayed up way past his bedtime one night and generously offered his assistance with the more technical questions that appear here. -Brad W. Traweek |
ASAT is a military abbreviation for "anti-satellite"; the name was suggested
by author Richard Smith after he read an article about the Air Force's
ASAT missile. Both Leo Fender and Dale Hyatt reportedly liked the image of
a guitar shooting down things in space, and hence the name "stuck". The
name is often (incorrectly) interpreted to mean
"After Strat, After Telecaster".
Notes:
Pickup | Impedance | Found In These Models |
Seymour Duncan SSL Vintage (flats) | 6.6K | Legacy (1992 - 94) |
The Seymour Duncan Vintage series pickups are voiced to produce vintage Strat tones using modern materials and designs. The polepieces are not staggered as on a vintage pickup, but instead are flush (level or flat). This allows a more balanced sound with the flatter 12 inch radius fingerboard found on the Legacy. The neck and middle pickups have excellent vintage Strat tone while the bridge pickup is on the "thin" side. The in-between tones (positions 2 and 4) have an exaggerated "rubbery" tone that some call "quack". | ||
G&L Vintage Style Alnico V | 6.4K - 7.0K | Legacy (post-1994), neck and middle pickup of Legacy Deluxe, Legacy Semi-Hollow, George Fullerton model, neck pickup of ASAT HB |
By 1995, G&L began hand winding its own vintage style alnico pickups for the Fullerton Signature model and they were eventually fitted to the Legacy as well. Like the Duncan SSL pickups, the G&L units have flush polepieces. The G&L pickups produce bright and glassy Strat tones. The bridge pickup has richer tone than the Duncan counterpart. The in-between sounds do not have as much "latex" to them as the Duncans. | ||
Gotoh Dual Blade and Power Blade Humbuckers | 5.1K (neck, middle); 7.5K (bridge) | Legacy Special, Invader, Invader Plus |
These units are Strat-sized ceramic bar magnet humbuckers made for G&L by Gotoh in Japan. They are noiseless, yet more powerful than the vintage style alnico single coil pickups. The bridge pickup ("Power Blade" unit) is especially hot and is is excellent for lead guitar. The tone is distinctly humbuckery, but not as warm or dark as a traditional size Gibson style pickup. The Dual Blade/Power Blade units are bright yet smooth. These are very versatile; a more "vintage" type tone can be obtained by rolling back the bass control. | ||
G&L Magnetic Field Design Strat style single coils | 4.1K - 4.7K | S-500, S-500 Deluxe, S-500 Semi-Hollow, SC-3, Nighthawk, Skyhawk, Invader, Interceptor, ASAT III, GbL LE |
The G&L MFD Strat style pickups use a powerful ceramic magnet for increased output with fewer turns of wire. They are rather quiet for single coils and can easily overdrive a tube amp way before a guitar with alnico pickups could. These are harmonically rich pickups, but the overall tone varies greatly depending on the guitar that they are in. Early style S-500s and all SC-3s tend to sound bright while these pickups sound darker in Nighthawks, Skyhawks, Invaders, Interceptors and later style S-500s. Rolling back the treble control on the early S-500s and SC-3s will yield a more conventional sound while rolling back the bass control will do the same for the other models. | ||
G&L Magnetic Field Design soapbar style single coils | 4.4K - 4.9K (pre-1992); 4.7K - 5.3K (post-1991); 6.5K for the neck, 7.25-7.3K for middle RW/RP, and 7.25-7.3K for the bridge on the ASAT Trinity Special Edition | SC-1, SC-2, Broadcaster, ASAT, ASAT Special, ASAT Junior, ASAT S-3, ASAT Special Semi-Hollow, 20th Anniversary Model, ASAT Classic Custom neck pickup, ASAT Classic Custom Semi-Hollow neck pickup, ASAT Super, ASAT Trinity Special Edition |
These pickups have given G&L its enviable reputation for great tone. The soapbars have higher output than the Strat style MFDs and are "ballsy". They have more midrange than Gibson P-90 alnico soapbars while reproducing the P-90's well-known harmonic complexity. They are great for cutting through a mix. The bass response is strong and well focused. In the neck position, the soapbar MFD produces fine blues tone. In the bridge position, it has excellent spank and clarity for lead work. The ASAT Junior, 20th Anniversary Model, ASAT Trinity Special Edition, and SC-2 (2008-bridge only) pickups are overwound. The ASAT Classic Custom and ASAT Classic Custom Semi-hollow neck pickup pole piece bushings are longer than the standard ASAT Special pickup. An extra 200 windings were added, but they stack up entirely differently and the magnet is further down under as well. They are warm and fat but still have tonal characteristics of the standard MFD single coil. | ||
G&L Magnetic Field Design Tele style single coils | 3.9K - 4.5K (neck, middle); 4.8K (bridge, pre-1993); 5.6K (bridge, post-1993) | ASAT Classic, ASAT Classic Semi-Hollow, ASAT Commemorative, ASAT Classic III, bridge pickup in ASAT Classic Custom and ASAT Classic Custom Semi-Hollow, bridge pickup in ASAT Classic Bluesboy and ASAT Classic Bluesboy Semi-Hollow, bridge and neck pickups in ASAT Classic S |
The small MFD neck pickup is far more versatile than an alnico Tele style pickup. The MFD is brighter, more powerful and most importantly, much clearer sounding. The bridge pickup has all the twang, spank, and cluck that a Tele lover could want. It is not as smooth on top as an alnico style Tele bridge pickup and has a harder, more immediate attack. The ASAT Classic III has a reverse-wound neck pickup for the middle position. | ||
G&L Magnetic Field Design "Z-coils" | 4.5K; TBD (Will Ray Signature Model Bridge pickup) | Comanche V, Comanche VI, Comanche reissue, Comanche Semi-Hollow, ASAT Z-3, ASAT Z-3 Semi-Hollow, Will Ray Signature Model |
This is a split-coil type single coil pickup based on Leo's venerable post-1957 P-Bass pickup. The two halves have opposite charges that are hum cancelling. Yet the Z-coil produces a very familiar bell-tone single coil sound with a very flat, neutral response. These pickups allow the player great flexibility for "coloring" the sound with effects, amps or playing style. As with all MFD type pickups, the Z-coils are high output. The bridge pickup on the Will Ray Signature Model is over-wound with 1400 extra windings using extended length pole pieces for wider bobbin aperture. | ||
G&L Magnetic Field Design large humbucking | 6.9K - 7.3K | F-100, G-200 |
This was the first guitar pickup that Leo Fender designed at G&L. It has a coil split design so the pickup can be switch from humbucking to single coil mode. | ||
G&L Magnetic Field Design GHB humbucking | 4.3K - 4.4K | HG-1, HG-2 |
Leo designed this small humbucker to fit the same size route as an ASAT pickup. It has the smoothness associated with all hum cancelling pickups, but this unit is much brighter than traditional style humbucking pickups. In fact, this unit has the brightness and chime usually associated with single coil MFDs. However, its brightness also makes it less versatile and the GHB works best for rock. | ||
G&L Magnetic Field Design HG-2R "Angled-Offset" humbucking | 4.3K - 4.4K | Cavalier, Interceptor |
Like the GHB MFD unit, the slant humbucker is the same size as an ASAT neck pickup. It is a little warmer sounding (though still bright as far as 'buckers go) than the GHB unit and has a "woodier" tone. As such, it is more versatile and works well for jazz, blues and rock. | ||
Schaller humbucker | 7.9K | Invader, Superhawk, Interceptor, Rampage |
These pickups were wound to Leo's specifications by Schaller. They have an extra wire for coil splitting, but oddly, Leo never used this option on any of his "Superstrat" type guitars. These pickups are typically dark sounding humbuckers and are best suited for overdriven tone. | ||
Seymour Duncan '59 humbucker | 7.4K | Neck position of ASAT Deluxe, ASAT Deluxe Semi-Hollow, Invader reissue, Invader XL, Legacy 2HB until 2008 |
This pickup is patterned after the famous Gibson PAF humbucker from the late 1950s which is known for its warm, smooth tone and sustain. | ||
Seymour Duncan JB Model TB-4 humbucker | 16.4K | Bridge position of ASAT Deluxe, ASAT Deluxe Semi-Hollow, Legacy HB, Legacy 2HB, Invader reissue, Invader XL until 2008 |
This is a very high output humbucker that doesn't get too dark or muddy while retaining harmonic richness. | ||
Seymour Duncan Seth Lover humbucker | 7.2K | Neck position of ASAT BB, ASAT BB Semi-Hollow, ASAT Classic Bluesboy, ASAT Classic Bluesboy Semi-Hollow |
This pickup is an exact recreation of the very first Gibson PAF humbucker designed by Seth Lover in 1955. It has a warmer tone than the Duncan '59 Humbucker. | ||
Seymour Duncan APTL-3JD Alnico single coil | 7.8K | Bridge position of ASAT JD-5 |
Punchy and exceptionally well-balanced. | G&L AS4250B Alnico humbucker | 8.3K | Beginning in 2008, neck position of Tribute Invader XL, ASAT Deluxe, ASAT Deluxe Semi-Hollow, Invader Plus, Invader XL, Legacy 2HB, ASAT Classic "Blues Boy" Special Build, Tribute ASAT Classic "Blues Boy" Semi-Hollow |
TBD | G&L AW4370B Alnico humbucker | 13K | Beginning in 2008, bridge position of Tribute Invader XL, Tribute Legacy HB, ASAT HB, ASAT Deluxe, ASAT Deluxe Semi-Hollow, Invader, Invader Plus, Invader XL, Legacy 2HB, Legacy HB |
TBD | G&L AS4250Z Alnico humbucker | 8.3K | Neck position of Invader XL Standard |
TBD | G&L AW4370Z Alnico humbucker | 13K | Bridge position of Invader XL Standard |
TBD | Seymour Duncan JB humbucker wound to Jerry Cantrell's specs | TBD | Pickup in the Rampage Jerry Cantrell Signature Model |
TBD | Custom Wound Jerry Cantrell Alnico V humbucker | TBD | Pickup in the Tribute Rampage Jerry Cantrell Signature Model |
TBD |
Notes:
Pickup | Impedance | Found In These Models |
G&L Magnetic Field Design large humbucker | 8.7K - 8.8K (L-1000); 10.0K - 10.3K ohm (all others) | L-1000, L-2000, ASAT Bass, Commemorative Bass, Climax Bass, L-1500, L-2500 (5-string version) |
This was Leo's first bass pickup designed for a G&L model. It is outrageously versatile and sounds fantastic. It can cop modern tones as well as vintage thanks to its coil splitting capabilities. With the usual hot MFD signal, the tone is beefy, with a broad spectrum. The bottom end is ground-shakingly tight and focused. A pair of these in an L-2000 or ASAT Bass can run the gamut from P-Bass to J-Bass to Stingray to pure G&L. | ||
G&L Magnetic Field Design small humbucker | 9.0K - 9.1K | El Toro, Interceptor Bass |
Though a smaller unit than the usual L-2000 style MFD, this humbucker puts out pro quality tone. It has more midrange than its larger brother, but EQ'ing at the amp can bring it into the same league. The small 'buckers also have coil splitting leads which increases their tonal range. These are exceptionally fine sounding for modern slap and pop or tapping styles of playing. | ||
G&L Magnetic Field Design Jazz-style single coil | 5.0K - 5.3K | Early-style SB-1, early-style SB-2, Lynx Bass |
The MFD single coil bass pickups have a higher output, more upper midrange, and lots of high end compared to standard alnico Jazz Bass style pickups. In a maple or ash body SB series bass they tend to sound "honky", but EQ'ing at the amp or rolling back the tone control easily tames the extra midrange. The tone of these pickups really smooth out in an alder or poplar body bass. The "student" status of these pickups should not dissuade any bassist as they are fully capable of delivering stage-shaking low end with the ability to cut through a mix. | ||
G&L vintage Alnico Jazz-style single coil | TBD | JB and JB-2 |
TBD | ||
G&L Magnetic Field Design split coil | 8.8K (SB series); 7.0K (L-5000) | Late-style SB-1, late-style SB-2, L-5000 (5-string version) |
This unit looks like a traditional P-Bass pickup, but it's an MFD through and through. Higher output means more growl and punch than any vintage-style alnico P-Bass pickup can deliver. This pickup is an excellent all-around choice for any bassist. | ||
Gotoh Vintage-Style Alnico | N/A | Legacy Bass, LB-100 |
Sounds like a '60s P-Bass. 'nough said. | ||
EMG BTC System active soapbar | N/A | L-5500 |
The EMGs are extremely neutral and almost sterile sounding, but work well with the stack knob tone controls and active circuitry on the 5-string L-5500. |
(Editor's note: a complete tabulation of G&L's current neck options is available at G&L's official company web site -BWT).
Historically as early as 1980, G&L has offered neck options on its guitars and basses. The options on the F-100 included fingerboard radius (7.5- or 12-inch) and fingerboard wood (ebony or maple). The 12-inch radius was a no-cost option on all G&L guitars (except the student SC series) beginning in 1982 and 1983.
In 1984, three neck options were offered:
#1 (1 5/8 inch nut width, 2 13/64 inch butt width,
12-inch radius)
#2 (1 5/8 inch nut width, 2 13/64 inch butt width,
7.5-inch radius)
#3 (1 3/4 inch nut width, 2 13/64 inch butt width,
12-inch radius)
From 1986 to 1991, the options were expanded to:
#1 (1 5/8 inch nut width, 2 13/64 inch butt width,
12-inch radius)
#2 (1 5/8 inch nut width, 2 13/64 inch butt width,
7.5-inch radius)
#3 (1 3/4 inch nut width, 2 13/64 inch butt width,
12-inch radius)
#4 (1 3/4 inch nut width, 2 13/64 inch butt width,
25-inch radius)
#5 (1 3/4 inch nut width, 2 21/64 inch butt width,
25-inch radius)
The #1, 2, 3, and 4 necks were no-cost options and the #5 was a $25 special order.
Beginning in 2009, G&L has expanded their neck shape offerings. See the
Option pages for details on G&L's main website at G&L's official company
web site
The most accurate method of dating your G&L is to take the neck off - you'll find two stamped dates, one in the neck pocket on the guitar and one stamped on the butt of the neck itself. The latter of these two dates is generally a good "ballpark estimate" of the construction date of the guitar. This is by no means an exact science, however, as necks and bodies may not be assembled into the "final product" until weeks (or even months) after their their initial construction. Also, be sure you know what you're doing; removing the neck from your guitar is an excellent way to screw up its existing setup.
Alternatively, the instrument's serial number can be used to give a less accurate "rough estimate" of the age of the instrument. Check out our for a tabulation of instrument serial numbers that can assist in this regard (also be sure to add your G&L to the Registry!). Also check out the "Chronology" section on G&L's web site,Chronology section, which gives the start and end serial numbers for each year [up thru 1992].
The problem with these techniques is
that G&L's serial numbers are non-sequential. The story I've heard on this
is that they'll make up a whole series of bridges (and/or neck plates) and
throw them into a bin, and then pick randomly from that bin when building
guitars. As an example of the resultant scattering of serial numbers,
consider that #G000519 (in theory, the 20th production guitar if the numbers
were in order) is actually a late-1982 S-500!!
From 1980 through 1996 and into 1997, serial numbers of the form GXXXXXX were used for guitars and serial numbers of the form BXXXXXX were used for basses. The two notable exceptions to this are the "GF" and "BC" serial numbers, used (respectively) for the George Fullerton Signature Model and the Broadcaster. Beginning in late 1997, G&L employed serial numbers of the form CLXXXXX, where - as verified by G&L's Dave McLaren - CL stands for "Clarence Leo" (note that Leo Fender's full name was "Clarence Leo Fender"). This was changed one year later to the most current scheme of CLFXXXXX, for all serial numbering.
Again, just to emphasize, none of these schemes employ a perfectly sequential numbering scheme - so, for example, GF0025 is most likely not the 25th George Fullerton Signature made; in fact, it may not even be from "early" Fullerton production. (See question above for more details regarding this "serial number scattering".)
Check out our
for a tabulation of real-life G&L serial
numbers (and be sure to add your G&L to the Registry!).
Note: Some examples of models discontinued in 1991, especially models from the Signature series, were made in 1992 using leftover parts. Also, check out our for a tabulation of real-life G&L instrument data (and be sure to add your G&L to the Registry!).
Guitar Model | Years of Production | Estimated Production |
F-100 | 1980 - 1986 | Approx. 3500 |
F-100E | 1980 - 1982 | |
G-200 | 1981 - 1982 | 209 |
S-500 (no mini-toggle) | 1982 - 1987 | |
S-500 (mini-toggle) | 1988 - 1991 (old body), 1992 - present (Strat-style body) | |
S-500 Signature | 1989 - 1992 | |
SC-1 | 1982 - 1983 | Approx. 250 |
SC-2 (Mustang-style body) | 1982 - 1983 | Approx. 600 |
SC-2 (Mustang-style body) | 2008 [August 1st] - present | |
SC-2 (Strat-style body) | 1984 | |
SC-3 (Mustang-style body) | 1982 - 1983 | Approx. 350 |
SC-3 (Strat-style body) | 1984 - 1987 | |
SC-3 (with pickguard) | 1988 - 1991 | |
HG-1 | 1982 - 1983 | Probably less than 5 |
HG-2 (Mustang-style body) | 1982 - 1983 | Approx. 500 (total, both styles) |
HG-2 (Strat-style body) | 1984 | |
Nighthawk | 1983 | 269 |
Cavalier | 1983 - 1986 | Approx. 700 |
Interceptor (1st X-body) | 1983 - 1985 | Approx. 70 |
Interceptor (2nd X-body) | 1985 - 1986 | Approx. 12 |
Interceptor (Strat-style body) | 1988 - 1991 | |
Skyhawk | 1984 - 1991 | Approx. 4000 |
Skyhawk Signature | 1988 - 1991 | |
Rampage | 1984 - 1991 | |
Invader | 1984 - 1991, 1998 to present (reissue) | |
Superhawk | 1984 - 1991 | |
Broadcaster | 1985 - 1986 | 869 |
ASAT | 1986 - present | Approx. 4000 prior to 1992 |
ASAT Signature | 1988 - 1992 | |
ASAT III | 1988 - 1991, 1996 - 1998 | Approx. 150 between 1988 and 1991 |
ASAT III Signature | 1988 - 1991 | |
Comanche V | 1988 - 1991, 1998 - present (reissue) | |
Comanche V Signature | 1989 - 1991 | |
Comanche VI | 1990 - 1991 | |
Comanche VI Signature | 1990 - 1991 | |
ASAT Classic | 1990 - present | |
ASAT Classic Signature | 1990 - 1992 | |
ASAT Classic Commemorative | 1991 - 1992 | Approx. 350 |
Legacy | 1992 - present | |
Legacy Special | 1992 - present | |
Climax | 1992 - 1996 | |
Climax XL | 1992 - 1996 | |
Climax Plus | 1992 - 1996 | |
ASAT Special | 1992 - 1998 | |
John Jorgenson Sig. | 1995 | Approx. 190 |
George Fullerton Sig. | 1995 - 2007 | |
ASAT Custom | 1996 | 25 - 30 |
ASAT Classic Custom | 1996 - 1997 | |
ASAT Deluxe | 1996 - present | |
ASAT Classic Semi-Hollow | 1997 - present | |
ASAT Special Semi-Hollow | 1997 - present | |
ASAT Deluxe Semi-Hollow | 1997 - present | |
ASAT S-3 | 1998 - 2000 | |
ASAT Z-3 | 1998 - present | |
ASAT Z-3 Semi-Hollow | 1998 - present | |
Invader Plus | 1998 - present | |
Invader XL | 1998 - present | |
ASAT Classic "Three" | 1998 | 100 |
ASAT Junior | 1998 - 1999 | 250 |
guitarsbyleo.com Limited Edition (a.k.a. GbL_LE) | 1999 | 25 |
ASAT BB Special Edition | 1999 | 20 |
ASAT BB Semi-Hollow Special Edition | 1999 | 12 |
ASAT 50 Special Edition | 1999 | 10 |
ASAT Z-2 Semi-Hollow Special Edition | 1999 | 10 |
20th Anniversary ASAT | 2000 | 50 |
Custom Creations Rampage | 2000 | 70 |
ASAT Classic "Blues Boy" | 2001 - present | G&L's most popular model! |
ASAT Classic "Blues Boy" Semi-Hollow | 2001 - present | |
ASAT Special Deluxe | 2001 - present | |
S-500 Deluxe | 2001 - present | |
Legacy Deluxe | 2001 - present | |
Legacy HB | 2001 - present | |
Legacy 2HB | 2001 - present | |
ASAT Classic Custom | 2002 - present | |
ASAT Classic Custom Semi-Hollow | 2002 - present | |
Will Ray Signature Model | 2002 - present | |
ASAT Classic S Special Build | 2004 - present | 100 (initial run); several one-offs during 2005-2006; 100 (second run-2007) |
ASAT Super Special Build | 2004 - present | 60 (initial run); 74 total to date (2007) |
ASAT JD-5 | 2004 - 2007 | |
ASAT HB Special Build | 2004 | less than 35 |
S-500 Mahogany Special Build | 2004 | |
ASAT Classic "Blues Boy" Special Build | 2005 | 28 |
G&L 25th Anniversary | 2006 | 250 |
Legacy Standard-Fullerton Standard Series | 2006 - 2008 | |
Invader XL Standard-Fullerton Standard Series | 2006 - 2008 | |
ASAT Trinity Special Edition | 2006 | 25 |
Legacy HB Mahogany Special Build | 2006 | 35 |
Comanche Studio VI Special Build | 2007 - present | 100 (initial run) |
F-100 Return Edition-Limited Edition | 2007 | 100 |
The Phyllis Model: "Blondie"-Limited Edition | 2007 | 100 |
Comanche Semi-Hollow | 2008 - present | |
Legacy Semi-Hollow | 2008 - present | |
S-500 Semi-Hollow | 2008 - present | |
ASAT Classic w/Spalted Maple Top Special Build | 2008 | |
ASAT Classic Bluesboy w/Spalted Maple Top Special Build | 2008 | 60 (January-February 2008 initial run) |
Legacy Spalted Maple Special Build | 2008 | 100 (May 2008 - 100 piece run announced; June deliveries begin) |
C.L.F. (Clarence Leo Fender) Centennial ASAT-Limited Edition | 2009 | 50 |
ASAT Classic Rustic | 2009 - present | |
Legacy Rustic | 2009 - present | |
Rampage Jerry Cantrell Signature Model | 2009 - present | Feb 12, 2010 - in full production |
F-100 | 2009 - present | added to product line in September; Mahogany body; standard with G&L MFD humbuckers, EMG and Seymour Duncan humbucker sets also available |
ASAT Classic "Blues Boy" Rustic | 2009 - present | shown at 2010 Winter NAMM |
Rampage Jerry Cantrell "Blue Dress" Limited Edition Model | 2010 | shown at 2010 Winter NAMM |
Bass Model | Years of Production | Estimated Production |
L-1000 | 1980 - 1992 | |
L-2000 | 1980 - 1981 | |
L-2000E | 1980 - 1982; 1983 to present ("E" suffix dropped) | |
L-2000 Signature | 1991 | |
SB-1 (1 J-style pickup) | 1982 - 1984 | |
SB-1 (1 P-style pickup) | 1985 - 2000 | |
SB-2 (2 J-style pickups) | 1982 - 1984 | |
SB-2 (P-J-style pickups) | 1988 - present | |
El Toro | 1983 - 1991 | |
Interceptor Bass | 1984 - 1991 | |
Lynx Bass | 1984 - 1991 | |
L-5000 | 1988 - 1992 | Approx. 400 |
ASAT Bass | 1989 - present | Approx. 400 prior to 1992 |
ASAT Bass Signature | 1989 - 1992 | |
ASAT Bass Semi-Hollow | 2001 - present | |
ASAT Commemorative Bass | 1991 - 1992 | Approx. 150 |
Climax Bass | 1992 - 1996 | |
Legacy Bass | 1992 - 1993 | |
LB-100 | 1993 - 2000 | |
LB-1500 | 1997 - present | |
L-5500 | 1993 - 1997 | |
L-5500 Custom | 1997 | |
L-2500 | 1997 - present | |
L-2500 Custom | 1997 | |
L-2000 Custom | 1997 | |
L-1500 Custom | 1997 | |
L-1505 | 1998 - present | |
JB-2 | 2001 - present | |
BABP L-2000 LE | 2007 | 22 |
BABP L-1000 LE | 2008 | |
BABP L-2500 LE | 2008 | |
L-2000 Spalted Maple Special Build | 2008 | Approx. 100 (May 2008 - 100 piece run announced; June deliveries began); of those, 3 were built with Maple fretboard, the rest were built with Rosewood fretboard |
JB | 2009 - present | |
C.L.F. (Clarence Leo Fender) Centennial L-2000-Limited Edition | 2009 | 50 |
L-2000 Rustic | 2009 - present | |
SB-1 (1 P-style MFD pickup) | 2009 - present | Back in the standard catalog - shown at 2010 Winter NAMM |
Regular Production ASAT-style guitars | |
Model | Description |
ASAT | Based on the Broadcaster, 2 soapbar MFDs with black covers, black crinkle hardware standard (1986 to 1998). Chrome hardware as well (appeared in 1988 usually on natural finished examples, to 1998). Black tuning keys and 1-ply pg (1986 to 87), maple body (1986 to 1987), ash body (1986 to 91 standard, 1992 to 1998 with premium finish), alder body (1992 to 1998 as standard), ebony fingerboard (1986 to 1987), maple fingerboard (1986- 1998), rosewood fingerboard (1986 to 1998). This variation on the ASAT was discontinued in 1998 (see note on ASAT Special below for a description of the model that is currently known as the ASAT). |
ASAT Special | Introduced in 1992, same as ASAT except it has chrome hardware and white pickup covers. The model name changed to simply "ASAT" in 1998. i.e., this is what you'll get if you buy a new ASAT. |
ASAT Special Semi-Hollow | Thinline version of the post-1997 ASAT. Ash body only. |
ASAT Deluxe | Solid mahogany body with bound, flame maple top, contour back, rear-loaded controls with coil splitter, 2 Seymour Duncan humbucking pickups. Beginning in 2008, 2 G&L Alnico humbucking pickups. Beginning in 2010, optional 2 Seymour Duncan humbucking pickups or 2 EMG humbucking pickups. |
ASAT Deluxe Semi-Hollow | Thinline version of the ASAT Deluxe, figured maple top on mahogany body, top bound. |
ASAT S-3 | ASAT with 3 large rectangular MFD pickups, alder body on solid finishes and swamp ash on "see-through" finishes. Saddle-lock bridge, Schaller locking tuners, #2 neck with rosewood or maple fingerboard, 5-way pickup selector, volume and tone controls. Relatively short-lived (1998-2000). |
ASAT Z-3 | Based on Leo Fender's original "ASAT Comanche" made for John Jorgenson in the late 1980s, this model has an alder body (ash on premium finished guitars), rosewood or maple board, and 3 Comanche Z-coil MFDs with standard ASAT circuitry. Around 2003 or 2004, the volume pot was changed to include push/pull function enabling additional pickup combinations of neck+bridge or all 3 pickups together. Sometime later this was moved to the tone pot and is the current setup. |
ASAT Z-3 Semi-Hollow | Thinline version of the ASAT Z-3, ash body only. |
ASAT Classic | G&L's "Telecaster"-style guitar, 2 Tele-size MFD pickups, chrome hardware, maple or rosewood fingerboard, 1-ply lacquered metal pg (1989 to 1992), 3-ply plastic pg (1992 to present), ash body (1989 to 1991 as standard , to present on premier finishes), alder body (1992 to present as standard). |
ASAT Classic Custom | Same as ASAT Classic but with back contour, alder body, and bound ash top. Short-lived model from c. 1996 to 1997. |
ASAT Classic Semi-Hollow | Thinline version of the ASAT Classic, ash body only (except for Greg Gagliano's custom-built mahogany example). |
ASAT III | First production run from 1988 to 1991. Guitars from this first production run are rarebirds; see the ASAT III: Rarebird page on this site for more information. Second production run from 1995 to 1998. Ash body (1988 to 1991 as standard, 1992 to 1998 on premier finished guitars), alder body (1992 to 1998 as standard), ebony board (1988 to 91), maple or rosewood board (1988 to 1998). Fitted with three S-500 MFDs using standard ASAT circuitry. |
ASAT Classic "Blues Boy" | This model originally was a Special Edition with only an alder body and sunburst finish available in 1999. Introduced as a standard model in 2001 to present. The neck pickup is a Seth Lover 1955 Humbucker and the bridge pickup is a specially wound single coil. Ash body on premier finishes and alder body on standard finishes. Rosewood or maple fingerboard. |
ASAT Classic "Blues Boy" Semi-Hollow | Thinline version of the ASAT Classic "Blues Boy", ash body only. |
ASAT Special Deluxe | Introduced in 2001, this is an ASAT with a Maple top on American Tilia back. Sometime late in 2007, the body wood was changed to Maple top on Mahogany. It has rear mounted controls and no pickguard. |
ASAT Classic Custom | Introduced in 2002, this is an ASAT Classic with a modified G&L Magnetic Field Design soapbar style single coil as the neck pickup. The pole piece bushings are longer than the standard ASAT Special pickup. An extra 200 windings were added, but they stack up entirely differently and the magnet is further down under as well. They wanted to see how warm and fat they could get the neck pickup to be, short of a humbucker like the Seth Lover in the Bluesboy, but still have tonal characteristics of an MFD single coil. The net result worked surprisingly well with the Classic bridge pickup and so, at the last minute this was introduced as a model at the Winter NAMM show. So last minute in fact it is not in the new catalog. |
ASAT Classic Custom Semi-Hollow | Thinline version of the 2002 ASAT Classic Custom, ash body only. |
Will Ray Signature Model | Introduced at the 2002 Summer NAMM show, Will chose the ASAT Z-3 as the basis for the WR model then hot rodded it to suit his unmistakable style. It has a factory installed Hipshot Will Ray B-Bender, Comanche headstock and neck profile (12" radius, 1 5/8" nut width) with rosewood fingerboard, locking tuners, WR spec over-wound bridge pickup using extended length pole pieces for wider bobbin aperture, WR spec pickup height settings, unique skull inlays (designed by Will), choice of Silver or Turquoise Metal Flake with Mirror Pickguard, or for those with more traditional tastes, Will chose to offer Clear Orange over Swamp Ash with a Pearl pickguard. Comes in the molded hardshell case and includes two WR instructional videos (B-Bender Mania and Stealth Slide) and a pair of Will's trademark slide rings. |
Will Ray Signature Model Semi-Hollow | Thinline version of the Will Ray Signature Model, ash body only. |
ASAT JD-5 | July 2004 - Introduced at Summer NAMM, the G&L ASAT JD-5 brings a distinct vintage flavor to the ASAT Classic with the use of traditional Alnico pickups, while at the same time offering added tonal flexibility via a SuperSwitch 5-way pickup selector. The SuperSwitch is wired to offer additional pickup combinations of neck+bridge out-of-phase in the 4th position, and the 2nd position offers a darkened neck pickup tone by the use of a .0022 cap in parallel. For the first time, a Legacy neck pickup appears on the ASAT Classic platform, sans cover, while the complementary Alnico single coil bridge pickup is Seymour Duncan's APTL-3JD. |
Special Edition and Non-Production ASAT-style guitars | |
Model | Description |
ASAT with MFD humbuckers | Standard ASAT with one or two MFD humbucking pickups (Cavalier, HG-2). Rare variant from the late 1980s and very early 1990s. |
ASAT Classic Commemorative | Special numbered limited-edition ASAT Classic commemorating the life and career of Leo Fender. All-gold hardware, gold pickguard, body binding (front and back), bound birdseye neck. Most featured an ash body finished in cherry sunburst, with a maple neck, though many exceptions exist. See the ASAT Classic Commemorative: Rarebird page on this site for more information. 1991 to 1992. |
ASAT Custom | Solid mahogany body with flame maple top, rear-loaded controls. Non-production from c. 1996, probably used as a platform for development of the ASAT Deluxe series. See the ASAT Custom: Rarebird page on this site for more information. |
ASAT Classic III | The G&L Custom Creations Department's first model, from 1998. This is an ash body, maple board ASAT Classic with bound top and gun-oiled birdseye neck, and an additional ASAT Classic neck pickup (reverse-wound) in the middle position. See the ASAT Classic III: Rarebird page on this site for more information. |
ASAT Junior | The G&L Custom Creations Department's second model, from 1998 to 2000. Semihollow mahogany body, mahogany neck, ebony board, Gotoh tune-a-matic bridge and stop tail, overwound ASAT pickups and circuitry with rear routed controls. See the ASAT Junior: Rarebird page on this site for more information. |
www.guitarsbyleo.com Limited Edition (a.k.a. "GbL_LE") | Limited edition model from 1999, designed by visitors to this web site. Semihollow mahogany body, ebony board, three S-500 pickups with standard ASAT circuitry and expander switch. See the GbL_LE: Rarebird page on this site for more information. |
ASAT 50 | Limited edition model from 1999. Essentially an ash ASAT Classic without a neck pickup, i.e. an "Esquire" style guitar. See the ASAT 50: Rarebird page on this site for more information. |
ASAT BB | Limited edition model from 1999. Essentially an alder body, bound top, vintage fret wire version of an ASAT Classic with a Seymour Duncan humbucker in the neck position. See the ASAT BB: Rarebird page on this site for more information. |
ASAT BB Semi-Hollow | Limited edition thinline version of the ASAT BB with ash body. See the ASAT BB: Rarebird page on this site for more information. |
ASAT Z-2 | Limited edition model from 1999. Essentially a 2-pickup version of a double-bound, semi-hollow (no F-hole) ASAT Z-3. Also featured tortoise-shell pickguard and tortoise-shell body binding (front and back). See the ASAT Z-2: Rarebird page on this site for more information. |
20th Anniversary ASAT | The G&L Custom Creations Department's model in honor of G&L's 20th year in 2000. Solid Swamp Ash body with no pickguard in a classic 2-tone sunburst. Two specially wound MFD pickups with black covers. Rear mounted controls. Saddle lock fixed bridge, offset volume and tone controls with a 3-way switch. #2 Birdseye maple neck with standard frets, tinted gun oil finish and 20th Anniversary logo headstock, 1-5/8" nut, 7.5" radius, Schaller locking tuners, and chrome hardware. Engraved neckplate commemorating the 20th Anniversary, with number in edition. See the 20th Anniversary ASAT: Rarebird page on this site for more information. |
ASAT "Classic S" | In April 2003 the G&L Custom Creations team decided to revisit the theme established by the ASAT Classic Three, using again a third, centrally located pickup and five position selector switch. This time, however, a reverse-wound S-500 middle pickup is installed in the middle position of an ASAT Classic. The basic idea for this kind of arrangment has been long established in the Nashville session player scene, where players often install a Strat® middle pickup in the middle position of a Telecaster® and swap the 3-position pickup selector with a 5-way unit. The G&L Custom Creations Department decided to build an instrument similar to the formula adopted by the Nashville guys but with a distinctly G&L flavor. In particular, that means a Semi-Hollow Swamp Ash body, ASAT Classic MFD pickups in place of Alnico Tele® pickups, and the S-500 MFD in place of the Strat® pickup. The CCD team decided to ice the cake with a push/pull volume pot that functions the same way as the S-500's mini-toggle switch, which enables additional pickup combinations of neck+bridge or all three pickups together. The "S" designation comes from both internal designation for this instrument, due to its use of the S-500 middle pickup, and "Session" in homage to the origin of this guitar configuration. This is a Special Build Instrument and the first 100 run were built January-March 2004. In 2005-2006, one-offs of various finishes were occasionally built. In April of 2007, the second 100 piece run began production. In 2008-2009, some small runs with solid bodies and body contours were built. |
ASAT "Super" | The ASAT Super was inspired by the ASAT Junior which emerged from the G&L Custom Creations Department in 1998. The primary design goal of the ASAT Super was to bring substantially more girth to the bridge pickup for overdriven tones, while maintaining the characteristic sparkle of the ASAT Magnetic Field Design pickups and good balance between the output levels of the two pickups. ASAT Super shares neck pickup specifications with the G&L 20th Anniversary model, while the bridge pickup is more heavily wound with lighter gauge wire. To offset the increased impedance of the pickups and maximize available brightness, the wiring of the tone control was altered so that the capacitor would be effectively removed from the circuit when the potentiometer is in the wide-open position. The G&L Saddle-Lock bridge was chosen to maximize power, sustain and comfort. This is a Special Build Instrument and the first 60 run were built May-June 2004. As of April 2007 a total of 74 instruments have been made. |
ASAT HB | Built in 2004, this has an ASAT mahogany body with a G&L AW4370B Alnico humbucker in the bridge position and a G&L Vintage Style Alnico V in the neck position. It has a mahogany neck with an Ebony fretboard. Volume and tone rear mounted controls, pickup toggle switch, no pickguard and Saddle-Lock bridge. Caramel finish on both body and full neck. Less than 35 were produced. |
ASAT Classic "Blues Boy" Special Build | Another blend of the Blues Boy. The body perimeter, neck pocket, pickup cavities and so on were done on CNC machine. Mahogany solid body with arm contour (contour cut/shaped by hand). Mahogany neck with rosewood fingerboard. Trans Cherry finish on body and neck. G&L AS4250B Alnico humbucker [handwound] in neck position. Standard Classic MFD bridge pickup. 3-ply black pickguard and standard SKB case. This is a Special Build Instrument and the first 28 run were built May-June 2005. |
G&L 25th Anniversary | In celebration of G&L’s 25th Anniversary, the G&L Custom Creations team designed this special guitar to feature Leo Fender’s first pickup design for G&L, the Magnetic Field Design® humbucker. These pickups first appeared in 1980 on the very first G&L guitar model, the F-100, then appeared again in different specification in the rare short-scale G-200. During G&L’s early years, many of those F-100 guitars featured mahogany bodies, the tonewood the factory craftsmen prefer with these pickups. See the G&L 25th Anniversary: Rarebird page on this site for more information. |
ASAT Trinity Special Edition | Special Edition from 2006. Based upon the ASAT S-3, but semi-hollow (without F-hole) and Maple body, 25 Trinity ASAT's were made. Also featured the remaining ASAT S-3 pickguards and each had a special logo on the end of the headstock that was designed by Mr. George Fullerton. See the ASAT Trinity Special Edition: Rarebird page on this site for more information. |
ASAT Classic Bluesboy w/Spalted Maple Top Special Build | In January 2008, the G&L Custom Creations team located some very special Spalted Maple with which to run an ultra-limited production. Spalting is a unique process which occurs when ancient logs, lying in the forest for decades, even centuries, are given character and texture by natural aging processes. Any wood is susceptible to spalting, but maple is the most commonly known. The spalting process results in the characteristic "spalting lines," which look almost like the wood was drawn on with a pen. G&L decided to use this truly unique wood to build their most popular model: the ASAT Classic Bluesboy. This fine instrument has all the same features and specifications as our ASAT CLASSIC BLUESBOY with the addition of an intricately figured Spalted Maple Top. This wood is highly regarded and sought after for its incredible tone. It includes a rear contour body, without pickguard and rear loaded controls. Clear Natural finish on body with a #1 (12" radius, 1 5/8" nut width) neck finished with Clear Gloss, non-locking tuners and Rosewood fretboard. This is a Special Build Instrument and the first 60 run were built January - February 2008. |
ASAT Classic w/Spalted Maple Top Special Build | In January 2008, the G&L Custom Creations team located some very special Spalted Maple with which to run an ultra-limited production. Spalting is a unique process which occurs when ancient logs, lying in the forest for decades, even centuries, are given character and texture by natural aging processes. Any wood is susceptible to spalting, but maple is the most commonly known. The spalting process results in the characteristic "spalting lines," which look almost like the wood was drawn on with a pen. This fine instrument has all the same features and specifications as our ASAT CLASSIC with the addition of an intricately figured Spalted Maple Top. This wood is highly regarded and sought after for its incredible tone. It includes a rear contour body, without pickguard and rear loaded controls. Clear Natural finish on body with a #2 (7 1/2" radius, 1 5/8" nut width) neck finished with Clear Gloss, non-locking tuners and Rosewood fretboard. This is a Special Build Instrument and the first run was built in 2008. |
The four-bolt neck joint was introduced in approximately mid-1997; prior to that, a three-bolt "tilt-adjust" design had been used exclusively. G&L's Purchasing Manager had the following to say about the switch:
"The change was made by John McLaren, Jr. before Sales had even seen it. When we started making the Invader, our necks had improved to a point where we could go without the three bolt micro-tilt system and return to Leo's original design of the four-bolt neck. We surprised Marketing with this design and after some initial hesitancy, they were very happy with the new design."
One of the reasons Marketing was likely won over by the new design was that the three-bolt design had (quite incorrectly) developed a widespread reputation as being "unstable". This ill-founded rumor had mainly been perpetuated by those who had had experience with three-bolt Fenders of the '70s. What these folks were missing was that the instability seen in those '70s Fenders was due not to an inherent weakness in the three-bolt design itself, but rather to the sloppy, careless construction techniques used to build those instruments. Despite the fact that G&L's three-bolt neck was extremely well-executed and offered plenty of stability, the move to a four-bolt neck has proven quite beneficial in terms of eliminating initial "customer skepticism" from shoppers new to G&L.
The switch to the four-bolt neck was gradual; as mentioned above,
it first appeared on the Invaders. The first non-Invader four-bolt
G&L was a
stunning one-off ASAT Classic with a quilted maple top; G&L's Plant
Foreman, Ed Sebest, built this guitar for Dave McLaren (Export Sales
Manager), in order to demonstrate to Dave that the four-bolt concept
was viable on the non-Invader models as well. Upon examining this
guitar, Dave gave the "go-ahead", and so began the use of the
four-bolt neck on the entire line. The earliest guitars had plain,
unstamped neck plates, but soon the G&L logo was added.
Not only can I describe it for you, but thanks (once again) to Greg
Gagliano we can actually show you what it looks like! Check out the
Instrument Cases
section of the Pictures Gallery.
I have a whole separate FAQ devoted to Discussion Page issues; before
contacting me, please glance through it and see if your question is answered
there. To get to it, please
click here (it's
also accessible on the G&LDP or G&LDP Lite pages).
(Anticipating the inevitable questions here ;-) ). There's no such model.
This question comes up frequently and if we had a "Urban Legends" section, it would be at the top of the list %^). The majority of contributors to this discussion topic in Discussion Page have agreed that this is not a "bad thing". Here are some of the reasons:
1. It provides flexibility for altering pickups (e.g. installing a full size humbucker in a Legacy).
2. There are tonal benefits (more airy sound).
3. Other guitar builders use this method and have stated similar positive reasons and results.
Our shop has a theory ~ 60% of the sound are the pickups, 30% the body, 10% the neck. I'm referring to
the overall tone, and yes ~ certainly a tight neck pocket, etc. etc. etc. is neccessary. We're talking
about what really contributes to the tone assuming it's all made correctly.
That being said, we find that maple is brighter ~ the highs seem to have more clarity and an edge to them.
The rosewood is more of a thicker, midrange sound. Ebony is a hard wood and has the brightness of maple
to me, with a slight edge in the midrange like the rosewood. Now, NONE OF THIS is a "dramatic change" in
tone, you're back to our 10% of the tone theory. So yes, small nuances and parts of the music will sound
different depending on the neck fingerboard.
The factory set-up was always .009 - .042 until Feburary 2002 when it was
changed to .010 - .046. In late 2006, we changed to the D'Addario brand. The brand prior had been SIT (about 10 years or so),
but prior to that it we used GHS, then back in the 80's we used G&L Hot
Rounds (private label strings). For basses, the gauges are .045, .065, .085, .105, and .125 B string on the 5-string.
We were working on the Legacy Special and made a few with the "plus" part of the logo snipped from a Climax Plus decal.
Must have just been a handful of samples. There was never any Legacy Plus official model.
Here's how the expander switch works:
Basically it just ties both the bridge and neck pickup together, meaning that whenever the neck or bridge pickup is selected, you also get the other. After it's all said and done there's a total of seven different combinations. So in regular (or non-expanded mode) you have these combinations:
In expanded mode you get:
What we've got here is not the same as the Tribute Series in Japan. That line has Gotoh bridges on the guitars (except a limited edition they did with gold USA DF trem etc.) but USA bridges on the basses. All Japan Tributes have Fullerton-made pickups.
This line, Tribute by G&L, is made in Korea instead of Japan, because Japan has become too expensive and the best Korean manufacturing matches the Japanese nowadays. In total, this line is better than the Japan Tribute instrument by quite a lot. We have the hands-down best factory in Korea doing the work for us, and we really put them through hell to get the Tribute line.
Two years went into making these things right, and not just another import line. These had to be guitars our own people, guys who make them here, would play, and more important, be proud of. Our guys are tough critics, but in the end, we've got excellent instruments for the money.
Models:
ASAT Classic, ASAT Special, S-500, L-2500, L-2000, SB-2.
Pickups:
Fullerton-made real deal MFD, except Legacy with Alnico as usual.
Bridges:
Dual Fulcrum and Saddle Lock, made under license by the best quality hardware manufacturer in Asia. They make hardware for many well-known USA makers, and used on their USA made models. All have die-cast saddles, instead of the machined billet brass. The exception is the Tribute ASAT Classic, which does have 6 brass barrel shape saddles, modeled after the real G&L ASAT Classic bridge, not some off the shelf import bridge. The hardware is of incredible quality. No effect on USA models, this is strictly Tribute, one reason the Tribute name is cast or stamped on them rather than G&L.
Electronics:
None of those cheezy dime size pots here. Replicas of CTS pots, right down to the 1 meg reverse taper pots we needed for the bass knob on the PTB. We had these custom made for us, including the different shaft sizes for our basses. Same with the mini-toggle switches. This electronic pieces took forever to come through with, and a major quantity commitment on our part to have them custom made. Active basses have preamps that are made in Korea to our spec. None of these parts are not used on USA models, we will use the same suppliers as usual.
Colors and trim:
All models have three levels - Standard, Plus and Premium
Standard has basswood bodies and solid finish choice of Candy Apple Red, Blue Violet Metallic or Black. Standard guitars have 3-ply white pickguards.
Plus has basswood bodies and burst finish choices of 3-Tone Sunburst with Tortoise Shell pickguard, Blueburst or Redburst with Pearl pickguard.
Premium has Swamp Ash bodies (3 piece) in Natural Gloss with Tortoise Shell pickguard, Amber (like Honey) or Cherryburst with Pearl pickguard.
Necks:
S-500 and Legacy have 1 5/8" width and 12" radius.
ASAT Classic and ASAT Special have 1 5/8" and 9" radius.
L-2000 is 1 3/4" with 12" radius
L-2500 is 1 3/4" with 12" radius
SB-2 1 1/2" with 12" radius
Choice of maple or rosewood fingerboard on all models. These necks feel great, with a very well done satin finish.
In the US:
They will be here, setup at the G&L factory by the same guys and shipped in a nice padded gig back embroidered with the G&L logo. We'll sell these gig bags separately, too.
How the line may evolve:
There won't be custom options, so let's get that right out in the open. This is not a G&L substitute for half the price (though Tribute MSRPs are about half of G&L MSRPS), and besides, any factory in their right mind wouldn't run themselves like Fender Avenue. We're just a little warped here, and have the flexibility of hand-made production to allow such variation.
Tribute may do other G&L models, though probably nothing semi-hollow. It may be tapped to do things outside our normal scope, but within the Korean factory's current capabilites. They've shown me some interesting options, and when I go to Korea again in a few weeks, I'll take some time to explore this more.
For now, however, we have to focus on getting the quality we need, every day. I think we've successfully pushed these people to be better than they've ever been, and we need to keep them at the top of their game. Looking toward the other designs we could do is fun, but we need to keep the focus on quality at all times.
I know there will be some grumbling, and I totally understand that. We grappled with it too, but we believe it was a necessary step to become a stronger guitar company in the market. But most importantly, when you guys try these Tributes, I know many of you will wind up with some alongside your G&Ls.
Tim had known George Fullerton for many years and has interviewed him about Leo and G&L several times. In July 2004, Tim was asked by several G&LDPer's if he would ask George if he would answer some questions which had come up during various discussions on the G&LDP. George, being the gracious man that he was, was very willing to answer them all. This link will take you to the message which Tim posted with the Q&A's: George Fullerton Q & A's
Back in October of 2001 and again in October of 2003, Dave McLaren posted the following information about G&L's Bursted finishes in response to various posts about why some instruments with bursted finishes had solid color backs while others had the same bursted finishes front and back.
Also note that these things have evolved over time, particularly over the past couple of years. In other words, your milage may vary. My goal here is to cover the current state of finishes - Dave McLaren
BURSTED ON BOTH SIDES (WITHOUT top binding, wood binding, or maple top option)
* All Legacy models (except Deluxe), Fullerton, S-500, Comanche.
* All ASAT Models except Deluxe, Deluxe Semi-hollow and Special Deluxe.
* SB-1, SB-2, ASAT Bass
BURSTED ONE SIDE (With or without top binding or wood binding)
* L-1500, L-2000, L-1505, L-2500.
Since the top is Swamp Ash and the back is Tilia, the burst would look significantly different on the front than the back. Therefore, as is the industry norm for instruments with different woods for tops, the back is painted whatever the outside edge of the burst was. If it’s 3-Tone Sunburst, the back is black. If it’s Honeyburst, the back is Honey. I don’t believe anyone would disapprove of this.
* Any model with a different top wood than body wood, such as ASAT Deluxe or Invader Deluxe.
-- Here’s where the confusion comes in: --
INSTRUMENTS WITH TOP BINDING OR WOOD BINDING:
These would be bursted on one side, just like the L series basses or Deluxe models. However, when the guitar or bass is one solid wood, this instrument would *also* have the back painted with the outside edge color.
For example a 3-tone Sunburst ASAT Classic coming with the standard Alder body, but ordered with top binding or wood binding, would have the black edge of the burst continued around and completely covering the back of the instrument. If it were a Cherryburst ASAT Classic, the Cherry edge would continue around completely covering the back. I believe this is the example that folks are disapproving of.
While the team at G&L, particularly the paint department, thought this was a nice style, I can understand why many of you don’t like it - especially on a burst with a dark edge color. If you’d ordered the same guitar without top binding, you would have been able to admire the woodgrain on the back of the guitar.
-- end of confusing part --
INSTRUMENTS WITH DOUBLE BOUND BODIES
If you ordered the same ASAT Classic in the above example, Sunburst over solid Alder, but with a double bound body instead of just top binding or wood binding, you’d get the burst on the back as well as the front. The back would mirror the front being both bursted and bound. This makes sense intuitively as well as aesthetically.
However, order a maple top on that ASAT Classic in Sunburst, still with double binding, then you’d have a solid black back (the edge of the sunburst color). However, ordering a guitar with a maple top and double binding is quite rare for us, clearly not interesting to the connoisseurs and certainly not to our taste either.
We have a number of instruction sheets and manuals available in the
Wiring Schematics and Manuals
section of the Pictures Gallery. Even if we have nothing for the specific model
you have, keep in mind that much of this information is pretty much the same from
model to model. For example, the '86 manual (from a Skyhawk) that appears in the
Gallery is very similar in content to the manual that G&L was using as
recently as 1997 or so.
Adjustment Type | Wrench Size |
Saddle height, Dual Fulcrum Vibrato | .050" |
Saddle height, Guitar Saddlelock Bridge | .050" |
Saddle height, Bass Saddlelock Bridge | 3/32" |
Saddle height, Fine Tuner Vibrato | .050" |
Saddle height, Kahler 2320 | .050" |
Tilt neck adjuster | 3/32" |
Saddlelock Bridge saddle lock nut | 5/64" |
Vibrato arm set screw, Dual Fulcrum Vibrato | 5/64" |
Vibrato arm set screw, Fine Tuner Vibrato | 5/64" |
Truss rod | 1/8" |
MFD polepieces | 5/64" |
Studs, Dual Fulcrum Vibrato | 1/8" |
Studs, Fine Tuner Vibrato | 1/8" |
Guitar Tech locking nut | 7/64" |
Adjustment Type | Wrench Size |
Saddle height, Dual Fulcrum Vibrato | 1mm |
Saddle height, Guitar Saddlelock Bridge | 1mm |
Saddle height, Bass Saddlelock Bridge | 2mm |
Saddlelock Bridge saddle lock nut | 2mm |
Vibrato arm set screw, Dual Fulcrum Vibrato | 2mm |
Truss rod | 4mm |
MFD polepieces | 2mm |
Studs, Dual Fulcrum Vibrato | 3mm |
We have a number of wiring diagrams available in the Wiring Schematics and Manuals section of the Pictures Gallery.
G&L also has some wiring diagrams (as PDF files) available in the
Schematics section on the main website.
The tool to use is called a wood reamer and is available at most any hardware store. No need to order one. But first, take off the control plate and look to see if your jack is held in place with a nut. If so, you will have to remove it. WARNING! DO NOT USE VICE GRIPS UNLESS ABSOLUTELY NECESSARY, as doing so will risk scratching your guitar!
Once you do it once, it's really easy and quick. The toughest part is accepting the fact that you will have to destroy the original jack in the removal process. Just remember that it's already ruined and cannot be fixed anyway.
Ken Baker recently updated his superb Picture 'step by step' ASAT Style Jack Replacement Tutorial (01/22/2010). (requires FREE Adobe Reader to view)
"If any of you is thinking of using Fender Bullet-type strings on your
ASAT, don't. I had to pry to get the bullet ends out of my ASAT with the
curved end of a nail file. It seems the bullets are just the right diameter
to get stuck in there. Hopefully this will save someone the trouble I had."
This isn't really specific to G&Ls, but regardless we've seen this question quite a bit on the G&LDP. Set your guitar up such that the tremelo is level with the body, then take the backplate off of your guitar - see those spaces (both front and back) between the tremelo and the guitar's body? You need to fill those spaces with something hard that will stay put. Frequently folks cut small blocks of wood and sand them until they fit snugly, then insert 'em; I've also heard of folks using stacks of coins for this purpose. As an example, G&LDP visitor Michael Gowin reports that for his '98 S-500, he got good results using a stack of 4 quarters on the forward side and 7 quarters on the rear side. He held the stacks together with strips of black electrical tape. Then Michael decided to "upgrade" by cutting blocks of wood, and he reports good results with two blocks of oak cut to the following dimensions:
When performing a setup on a tremelo-equipped G&L, you'll need to
"level" the tremelo by placing a 3/16" spacer between the tremelo
plate and the guitar's body. I found several old toothbrushes,
measured the handle thickness, and many of them were exactly 3/16"
thick!! The toothbrush is usually made of nylon so it wont scratch
your guitar either.
I have a wierd problem on my newly acquired ('96) Legacy. The trem doesn't come back to pitch correctly when you pull up on it. When you push down it's fine but when you pull up it's sharp. I replaced the nut and the tuning machines and even added an extra spring to the trem. I called G&L tonight and spoke to someone in the service department who was very cool and gave me a great clue. When I told him that I had my bridge uninstalled and was looking at the studs and they seemed a little "sloppy" in their bushings, he told me that the tech's sometimes use Teflon tape to wrap the studs and take up the slop. Well I did that and also filed and polished the worn spots smooth on the bridge plate knife edges, put it back together and voila!
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