Recent content by Fretlessaurus

Congratulations, welcome to the club! I’ll bet your XL feels about twice as heavy as your other cricket bats. Gateshead ‘82 was a great Police concert. The rendition of Shadows in the Rain from that set is probably my favorite version ever.

Now that Status Graphite has ceased production of its composite construction basses (Stealth, Streamline), are there any companies still producing neck-through/unibody headless basses with fully composite construction? Earlier this year, my dream bass (a five-string wide-spaced unlined fretless...

Jeff Babicz

The L and XL bass is a timeless classic of design and engineering. It's almost brutal in its minimalism, a perfect example of form following function. I believe that Ned not being a musician himself allowed him to approach the instrument with a clean slate, eschewing past tradition and focusing...

Next time try a musician instead of a guitarist. :laugh:

Hi everyone! I just wanted to lob some photo grenades into the forum to liven things up a bit. Here’s some Steinberger bass unicorn porn: - White XL25UF #4515 - White XL25WUF #9366 - Black XL25WUF #9343 I’ve no doubt that the two XL25WUFs would fetch $15-$20K if they were offered for sale today.

I know for a fact that that particular rumour is false. I’ve seen photos of both a black and a white XL25WUF. However, they are indeed quite rare — probably fewer than 10 were ever produced.

If you aren’t a collector and would intend to play a Steinberger bass that you purchased, how much would you be willing to pay (in U.S. dollars) for the following unicorns? XL25W XL25WUF I am aware of an XL25WUF that is potentially available for over $10,000 USD. However, given the fact that I...

I was fortunate enough to find a mint condition XL2UF last year, serial #5694, manufactured in 1998. Apparently, this bass was created as an XL25UF, then converted to a four string XL2UF at a later date. Within a month of receiving the bass, I shipped it to genius fretless epoxy artist HG Thor...

From an audio engineer's perspective, subtractive EQ is always preferable to additive EQ. In that regard, the XL is a perfect, neutral platform to begin tone shaping. It's much easier to remove any unwanted frequencies than to try to create those that aren't present to begin with!

To those who have experience playing both instruments: How would you characterize the difference in playing feel and tone between the more massive/dense composite construction of the Steinberger L/XL series bass and the lighter, foam-filled core design of the Status Graphite Streamline? Do both...

Interesting... But for me, no one-piece molded fully composite bass = no thanks. Time will tell. I thought the whole reason for Gibson dropping the XL series was the cost and required technical expertise of manufacturing. What's changed in that regard?

Have you had an opportunity to play and compare the Steinberger XL25W to the 5-string Status Graphite Streamline? If so, please share your insights. A Steinberger XL25W (which is exceedingly rare) commands a price premium of about 400% over a Status Streamilne 5. Is the Steinberger worth $10,000?

I played an unlined fretless 5-string Sukop bass (the model that he now calls "the Classic") at Rudy's Music in NYC back in the 1990s. It looked nearly identical to this bass, with the exception of it being an unlined fretless with an ebony fingerboard: Invalid Link Removed It remains the...