My bass collection - G&L
In ’85, the 1st style SB-2 was renamed to Lynx with several upgrades applied to this model. Firstly, now one had a choice of either maple, poplar, or ash body. The latter 2 wood choices allegedly tame the pronounced high-end of these Jazz-style MFD single-coils. Secondly, the body had arm and belly contours to add more comfort playing the instrument, similar to what Leo filed for in US Pat. Des. 187,001 on January 6, 1959. Thirdly, is was available in a wide range of finishes, including this Red finish. Fourthly, whereas the SB-2 had only been available with a maple fingerboard, the Lynx appeared on the January 15, 1985 price list with both maple and rosewood (here) fingerboards. What remained were the 2 Magnetic Field Design (MFD) single-coil pickups, super simple control scheme of a volume control and a tone control, and the 34” scale hard-rock maple neck. The Lynx was discontinued in late-1991 when BBE Sound, Inc. started to take over. There is not too much other info available on this model beyond this Lynx on Greg Gagliano’s ggjaguar.com website.
Lynx
The story behind this bass
Year:
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Neck date:
Body date:
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Usually I only buy ”all original” G&Ls, especially when it comes to instruments built when Leo was still around. And as is common for instruments from that era, this bass has a soft maple body. But rules are there to be broken and this Lynx is full evidence of that. Instead of the simple control scheme mentioned above, a previous owner at one time modified the wiring to that of the 1960-1962 Fender Jazz Bass: separate volume control and tone control for each pickup using 2 concentric potentiometers. Beyond that, the bass was offered by a reliable source: Martin Music Guitar in Memphis, TN. The bass looks absolutely great as can be judged below. Eric Daw needed to tune-up the wiring a bit because both volume pots did not work causing this bass to just be loud. And one had no way to mix and/or control the 2 pickups. Now with the proper setup the versatility of independent controls comes to the fore. Many (good) sounds can be achieved by such a relatively simple control scheme. Very nice!
The story behind this guitar
1988
B019285
OCT 20 1988, second stamp APR 21 1988, carved ‘Super’
none, marked ‘8’, ‘4’
