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Are Steinbergers still sought after?

The optics may look off with the Steinberger, but, the "acoustics" are spot on.

This is the truth. I own a spirit "clone" and it pointed out to me that the Steinberger is a great idea but only about half developed. The tone is amazing for such a weird bass. The small size and in-line tuners are great too. But the look, the balance and the fact that the thing needs to take ordinary strings rather than the limited selection of the double ball ones are things needing some work. I sort of like the over-all concept, but I'd sure like it refined a lot more. I'm not even sure I want to keep my spirit clone, let alone fork out the huge money for an authentic vintage.
 
This is the truth. I own a spirit "clone" and it pointed out to me that the Steinberger is a great idea but only about half developed. The tone is amazing for such a weird bass. The small size and in-line tuners are great too. But the look, the balance and the fact that the thing needs to take ordinary strings rather than the limited selection of the double ball ones are things needing some work. I sort of like the over-all concept, but I'd sure like it refined a lot more. I'm not even sure I want to keep my spirit clone, let alone fork out the huge money for an authentic vintage.

The wooden Spirits that Gibson or whoever owns the name now continue to make are nothing like the graphite basses. The real basses were perfectly balanced, the flip up hanger/pivot in the back made positioning it anywhere you wanted it easy as pie. There are adapters that allow the use of regular or double ball strings on both the real Steinbergers and the later clones. The graphite XL couldn't be anymore refined, they were perfection. You can't experience what a graphite Steinberger is like from playing a Spirit, you just can't compare them, the Spirit is a Steinberger in only cosmetic ways.

It's not the Spirit showing you that the Steinberger was half developed, it's the Spirit showing you that it's a pale imitation of a great instrument.
 
Thanks!
So, the 'original' and only original 1 pick up version is the L1 then?

Yeah essentially, the early basses were the L, the 1 and 2 just designated the 1 or 2 pups, there were some Dimarzio bases designated H1 and H2 but incredibly rare, the L1 is super rare too, some people say 50 or less of the single pickup EMG bass. there are L1s with serial numbers in the triple digits, but I assume they were sequential and in the same line with the L2s being made at the same time, hence the serials being larger numbers on some L1 basses.
 
Yeah essentially, the early basses were the L, the 1 and 2 just designated the 1 or 2 pups, there were some Dimarzio bases designated H1 and H2 but incredibly rare, the L1 is super rare too, some people say 50 or less of the single pickup EMG bass. there are L1s with serial numbers in the triple digits, but I assume they were sequential and in the same line with the L2s being made at the same time, hence the serials being larger numbers on some L1 basses.
Thanks for the info.
How much, do you recon might one get a GOOD L1 for , these days?
 
Played one for a tour in the late 80s, loved it. Not sure which model, the more triangular body shape.

At the airport customs in London, the customs guy insisted I play it to illustrate that it wasn't a weapon and that I really played bass. The gig bag did look like it was a rifle, and the little metal pop out leg rest and no headstock didn't help either. Too funny, balancing on one leg - plucking and popping as the guy gave long-haired-hippy-freak me the hairy eyeball - lol

ADDENDUM: Great sound, not sterile, focused, punchy, super sustain, even tone, nice EMGs, musical EQ, excellent build quality, light and fun to play, although the no-headstock thing - at the time - was initially disorienting - but that's more the fault of my own hollow headstock taking time to adapt to something very out of the ordinary to me at the time.

Final analysis : loved it :)

NOTE : wearing camos not recommended during play, though a bullet proof vest might prove handy these days

I played one once and with no visual anchor my hand kept falling off the end!
 
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I sometimes miss my old Strangeberger. I had an old XM with a Transtrem, and I had replaced everything but the body and the bridge. I was forced to sell it to pay rent during the economic crash of 2008, and I only got $850 for it. Yeah, it was really heavy, balanced a bit poorly, and the neck is too small for my current tastes, but it sounded really good. If I could ever find it again I'd buy it back in a heartbeat.
 
I wanted one when they came out---couldn't afford it then.

Got one about 10 years ago as part of a trade---- having switched to UB, EUB, and 35" slabs--- sold it ASAP.
The guy that bought it paid my asking price plus shipping and fees---- to Scotland.
 
Here's mine: XM-2

Will never sell this one, gig it occasionally, but am mostly playing the Sadowsky nowadays.
Every time I do play this live, I'm reminded what a great sounding (and playing) instrument this is.
The most perfect neck, note to note, that I have ever experienced.
Stein pic.jpg