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Steinberger Club

#1,161
Fretlessaurus said:
I've used Ken Smith custom balanced string sets on my Kubicki Factor for years, but on the XL2UF, I've only played it with the D'addario ESXL170 set that it shipped with. I'm looking forward to experimenting with different gauges and brands.
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The only GHS strings I found worthy on a Steinberger were Roundcore Boomers, Pressurewounds, Progressives, and surprisingly Brite Flats.
 
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#1,162
sonojono said:
HAHAH so you’re the one that bought them? The original seller must’ve gone insane to sell em at that price. Kept eyeing them and threw an offer which he respectfully declined. Anyway, good deal man. Hope those flats are treating you well.
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The GHS .135 worked quite well with my Streamer, but the L has punch enough to kick bass plenty on the .128 and by the rather narrow spacing one take any 1/10 of an inch ... just kidding, despite i own the XL5W i prefer the L over it, narrow space is a matter of a week and then one forget about all that.
 
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#1,163
BergerHead said:
despite i own the XL5W i prefer the L over it
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My apologies if you're already covered it in a different post or thread, but could you elaborate on your experience with the XL5W? Due to their rarity, most of us will never have a chance to play one, let alone see one in person.

Is the difference between the 4-string L/XL and the XL5W as simple as one more string and a wider neck, or are their other, more subtle differences, such as variances in tone, playing feel and response? Is your preference for your L25 more due to a preference for the L over the XL, or do you think you would also prefer an XL25 (narrow) over your XL5W?

Thanks for your insight.
 
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#1,164
I played a sadowsky 5 string. fantastic string spacing. similar to that of the xl25w, I hope. I need space...;)
I also like the enormous punch of Steinberger
 

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#1,165
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:

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It remains the best-feeling 5-string I've ever picked up, and that includes the venerable F Bass BNF-5. The Sukop immediately felt comfortable when I started playing it. The neck radius and string spacing was very similar to my Kubicki Factor, to the point that it felt like I was almost playing the same bass with the exception of an added string. I still think about that bass fondly... Stephen Sukop is still making instruments, and his prices are quite reasonable - way more reasonable than F bass, Fodera, etc., especially considering that his basses are neck-through body construction as standard.
 
#1,168
I currently use an adaptor made from Headless USA on my XM2 using single string NYXL. I did see they also have them in double ball which I’ll gladly convert over since I’m dead set on strictly using NYXL on the XM2.

Should probably try them on both my XZ Spirit models but they both currently have on GHS RC Boomers and GHS Precision Flats. They both sound really good with those strings surprisingly.
 
#1,169
Fretlessaurus said:
My apologies if you're already covered it in a different post or thread, but could you elaborate on your experience with the XL5W? Due to their rarity, most of us will never have a chance to play one, let alone see one in person.

Is the difference between the 4-string L/XL and the XL5W as simple as one more string and a wider neck, or are their other, more subtle differences, such as variances in tone, playing feel and response? Is your preference for your L25 more due to a preference for the L over the XL, or do you think you would also prefer an XL25 (narrow) over your XL5W?

Thanks for your insight.
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I'm overflown with work for the moment, but asap i'll report you some insights on the XL5W.
 
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#1,171
First there was Orville G. but he had no clue on electric basses (until present days), then there was Leo F. -a true genius before the Lord, who scripted the electric bass concept into stone and that seemed ok forever and a day ... alright, i drift off, long story short: Nerdy Ned Steinberger gave it another try and the L1 & 2 got birth and why not ride the upcoming 5er mania? He just added a string on it, but this caused a problem in spacing (which isn't a problem at all) so the world demanded a standard spacing on the Ls and nerdy Ned delivered. But Orvilles' progenitors (meanwhile owning all licenses) hated the costly manufacture of the XL5W and stabbed it down to a wooden clone (a deadly sin imo); so now only 65 of this gems were made beside the wonderful XQ5 (same Japanese metric ZEN hardware), pushing it up with HAZLab electrics (which can be pretty capricious on stage) to give it a never known brute bass punch on 3.6kg only. In comparison the L2-5 comes equal to a '62 Preci but with quite more of a bite on low mids (which i like best) but the XL5W is THE bass monster per se, -comfy coming from other 5ers, but this may be the sole comparison, the rest is bass-madness at its best, what ever you want in tone, you'll get it. To be fair on other, i also own a Warwick Streamer 5 and this baby has an extraordinary 5th string like other brands may have as well, but none i've ever tried and played can go equal to the Bergers.

Steinberger XL5WA 10.jpeg
 
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#1,179
BreBla said:
I love my Steinberger, but also love the look of exotic wood basses. So I built a new top with highly figured curly maple.
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Very nice, and unusual. As the screen was loading I thought it might be one of the newer Spirits with figured tops (usually deeply tinted); then I noticed all the bolts.

I'd be amazed if there were any tonal difference as the Steiny CF spine is the main contributor to it's tone (as well as the EMGs).
 
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