[lime2112]

Hey all, I'm new here. So greetings and all.
I'm here cuz I'd like to get some more info on Les Paul Triumph, specifically weight (approximate is fine), price range in general and especially personal thoughts on fel and sound.
Thanks
Lime

[lime2112]

feel*

[jules]

Hi Lime,

My 1972 Triumph weighs in at 4.93 KG

I don't know the weight of my 1969 Les Paul bass - but that is noticeably heavier - It is one of the the few that goes off the scale of my scales

[Granny Gremlin]

That sounds about right for the weight - enough to feel substantial (unlike a 60s EB3 whose presence is barely felt) but nowhere near the ball-and-chain-ness of an RD.

As for feel, I think you'd be hard pressed to find a more inviting instrument. The neck is pretty much a short scale version of a TBird neck (very slim at the nut with a noticable taper) - it's very comfortable and fast.

The sound can only be described as the ultimate in smoothness and versatility - I am continually surprised with how even and consistant the response of the Triumph is all the way up and down the neck and from string to string. I also find that they have a rather extended high end response (which can be dialed in or out using the passive tone control, or tone selector switch) and ample Low end (likewise with it's own passive tone control) - though it doesn't have the sub-woofing lows of an EB, you can get close. Uprightish and clanky tones are also possible. I don't think there is a passive bass with more available (and controlable) treble; active basses can have plenty more, but I find that they tend to not sound as natural and even sometimes harsh.

One of the most useful features, for me is the Hi and Lo Z switching - I love to play my Triumph thru a big rig in Hi Z mode, but I find that when you just plug it in direct (Lo Z mode) to a board or a nice tube mic pre connected to a fullrange PA or HiFi the passive tone (treble) control really becomes responsive. You can plug any regular Hi Z bass into any mic pre and be safe, but because of the Z mismatch there is some loss of tone... another advantage is that because of the Lo Z output, and no fear of feedback (like with a mic) you can crank the preamp gain all the way with absolutely no noise and get a wonderfully juicy tone. And when you do crank the gain, you just lick the red, for overdrive I daisy-chain 2 preamp channels.

The tone selector switch is connected to a series of taps on the pups' coils, this effectively provides you with a selection of 3 pups - each with a progressively greater number of windings for 3 differant tonalities (more windings = more bass, less treble). This is the same principle used in old tube amps - tapping the transformer coils to allow for differant output impedences.

They tend to sell (on ebay) for about US$1400 +/- for a natural finish specimen in good condistion (other finishes, if original comand a premium). I've seen natural ones in excellent condition break 2K, a mint white one went for 4K a little while ago. Deals can be had however and it is possible to get a playable one for as little as $800 in a local sale. They have gone for just under a grand on ebay, but usually with issues.

The last one on ebay went for US$1292 and though it was in good functional condition (according to the seller) the finish wasn't in the greatest shape:

http://cgi.ebay.com/Vintage-1970s-Gi...QQcmdZViewItem

[lime2112]

interesting, thanks for the info. Jules, i noticed on yours it has a skunk stripe but I couldn't really tell if there was one on Granny's. Is that a standard feature? Which also makes me wonder what type of wood these are. Heh, I guess I'm more interested in this than I originally thought.

[lime2112]

or rather, the one they linked

[Granny Gremlin]

They're all mahogany, body and neck.... no maple top like most other Les Pauls (bass or otherwise). The neck is a 3-piece (that ain't no skunk stripe, in the true meaning, i.e. a route on the back of the neck, through which the truss rod was inserted, and then filled with a darker wood). The grains of the 3 pieces of wood that make up the neck are perpendicular to each other for strength and anti-warpage, making the middle piece appear darker when finished (endgrain absorbs more). Jules' is in very good shape and the finish appears to be very well kept so this colour differance is clearly visable (it also helps that he takes good snaps). on more weathered Triumphs, or where pics are not as high quality, this may not be as visible.

[lime2112]

ok one more thing (maybe not, i'm just getting more interested)- does anyone know what they sound like slapped?

[Granny Gremlin]

The Granny don't slap.

I am told short scales, generally, aren't good for slapping, but I have seen a pic of Tina Weymouth thumb-slapping on on a Triumph.... I think. I'm sure the tone of the bass would be good for slapping (plenty of highs), the issue is more the low tension of the strings on a short scale bass. You could experiment and find a set of strings that tends to be in tune at higher tension (e.g. D'Add rounds) or do what I did; add a trapeze tailpiece to lengthen the string (this has the added bonus of keeping the wrapped ends off the saddles... and preventing forward tilt if you get a Triumph with a 2 point bridge). ... or just get used to the low tension by training yourself not to slap as hard and closer to the bridge.

[lime2112]

So with the trapeze, does it make it a regular 34 incher or just slightly more that short scale? I only ask because i'm in love with GHS medium boomers for regular 34" scale basses. Sorry for all these questions, but with no real opportunity to play before I buy, I'd like to know as much as I can