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Steinberger Club

I keep telling myself to buy a couple bridge jaws while I still can for spares. Same question: who’s still actually selling them? I’d rather get stainless if the are available, mine don’t look like they are about to break, but who knows.
When I suffered the first break on my XL2 I just went ahead and replaced them all, keeping the good originals. Check ebay - USA Headless usually has a listing for them. If one goes, the others may not be far behind. Why wait for a failure (in mid-gig?).
 
I guess I can actually contribute something as well and not just ask questions... So my experiences with two quite different string sets on an L2 strung BEAD, playing mainly reggae stuff:

LaBella S500L-B flats: Really nice old school sound, would love to keep these on all the time. But... 1) as rather stiff/thick flats, they don't have much sustain which I need on some songs where I don't play just straight uneffected bass but also some synth bass shiznitz. 2) the B is so stiff that weird phantom overtones start to become audible above 10th fret or so. String length is spot-on for L", but the B-string is too thick to really fit the headpiece (so I had the slot widened which effectively disabled the grub screw option (not enough thread for the screw to hold on to).

Rotosound Swing Bass RDB665LD: Sound the way roundwounds sound. (I don't have enough experience with L2 with rounds to really say much more). Stainless steel, pretty bright. So, for reggae I have to cut a lot of highs and mids and try to play with more finesse, the LaBella's were much more forgiving. I actually got these to replace LaBellas for a recording session because the recording engineer – whose judgement I respect – told me that he prefers to record with round wounds for reggae as well because it's nice to have that attack available when you need it. And they worked very well for that session. The byproduct of getting the Rotos was that I got way more sustain for the synthy parts which works well. So they stayed on. The string length, again, is just right for L2, and as a clear advantage over LaBella, the taper on the top end of the B-string means that it fits in the unmodified XP2 headpiece as well (and would fit in the unmodified L2 as well, if I had such a thing...)

Maybe in the future I'll put LaBella's on L2 and use that live for songs that are mainly "straight bass" and use XP2 with Rotos for the songs that feature the synthy stuff. And record with L2 with Rotos. IF I can live with the funky overtones of the LaBella set OR learn to play without using the B over 8th fret or so...
 
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That's what I suspected. Thanks for the confirmation. Is there a source for XP pickguards (Steinbergerworld lists Warmoth and Chandler Guitars, but CG link is outdated and the Chandler Guitars site that google finds does not list any parts, so uncertain about that info)?


Count me in. Been playing Grafit Steinberger since 1998(?) and had XL2, XM2, XQ5 and two XPs. And some Hohner paddles and Spirits.
All instruments, except the black XP2 100% in original condition.
The two XPs black, active EMGs from 86 and white, active EMGs from 87.
The black one: 4.0 kg, three piece body (you can see if you hold the body against the light), the first body shape and the first pickguard shape.
The white one: one-piece body, 3.6 kg, the second body shape and the second pickguard shape.
What is different?
The outer shape of the bodies differs at the top towards the neck. The black one is "round", the white one is more "square". The pickguards are not interchangeable without drilling additional holes, the hole pattern is not identical. And the dimensions are not exactly the same either.
Therefore: if you want a 100% matching pickguard, you should have the new one made exactly to the specifications of the old one.
Am on the way and send some pictures in the next few days.
 
IMG_4278.jpeg
The Stand i use: K&M 17590. 10 to 17 Euros. Fits easily in my XP2 Case.
 
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Regarding the SS, HB and HBCS pickups, I have a question for clarification. Maybe someone with relevant experience is willing to share his knowledge?

The HBCS are supposed to be closer to the SS in terms of sound.
Now it is not clear to me what this "closer" should mean exactly.

I am concerned with the comparison of HB and HBCS. Sometimes it is said that the HBCS sound warmer (more mids, less highs than HB), sometimes exactly the other way around.
So concrete question:
Does the HBCS have more mids and less highs than the HB? Thanks a lot!
 
For me in XL2s the HBs are the brightest, HBCS as you say warmer but not exactly like the old SS. Mine are warmer still less highs. The internals make a big difference, the HB run in the stock v v t config sound great but not as good to me with the haz lab v p t/b setup. There I use the hbcs. One I have an old ss at the bridge and an hb neck, stock v v t, blend by volume nicely.
 
10 weeks, everything will be laid out and waiting! I have been playing and loving my XLs for a long time now but always wanted an XM2 after playing one as a kid when it came out. Pulled the trigger on one that turns out to have an XP neck among some other quirks, perfect. I like ones that have been played hard. I have had the most fun playing the XM of all my electrics ever and finding the best tones ever. Having lived through the 80s I've always tried to tame that 80's sound we can so easily get, throaty cutting midrange bark. It's just a twist away when you need it. Now trying to get a much more rounded sound by using Labella light flats, I play upright so that's what strings should feel like lol. Also a chunk of foam between the saddles and bridge. Maybe leave the E open. This barely phases the brightness but tapers the sustain, of which we have plenty. I run into a Call76, EQ and a Preamp to head as the core tone with effects looped in along the way. The Bass has to sound amazing direct before I use any of this other crap. The XM2 with hbcs and haz kit flat, straight to DAW or my little Tascam recorder, stunning quality. With headphones I usually practice into a Neve RNDI and tiny 2ch mixer to phantom power it. This is the sound with the special Neve sweetness we send to the house and I cannot recommend checking it out enough. Something you can use to capture that clean pristine original signal to house or even run your entire amp / head output into it and send that. I will have to check out the Neve threads here.
 
Thank you, that would come close to what I'm looking for. I have now ordered a HBCS and when it arrives in about 10(!) weeks, I will first test it with VVT in the bridge position. Will then report.
My 2¢ - I got my '86 XL2 in 2004, pretty worn needing TLC.
Within a year one of the original pu's died. Went to Peekamoose for the works, re-fret, hs re-set and new pu's. HB@neck, and the "new" HBCS@bridge wired v-v-t. I can't imagine changing anything ever!
Good luck with that.
 
No picture - no bass. That's what they say.
Here are a few pictures, I still have the white XP2. The XQ5 and the XM2 unfortunately no longer.
Then I had about 95(?) for a short time an XL2, from that, as well as from the black XP2 I have found no pictures.
XM2 Rehearsal.JPG
 

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Ok no pic, no bass. Here's my XM2 with nicely ivoried binding. It features an XP neck on a quirky (probably reject) XM body that is only drilled for and only has 4 out of 5 bolts. The neck has all 5 mounting inserts. I have the new Haz Lab guts and HBCS both. I got it with SS front and back, another quirk. The dude who played it before me wore the deepest ruts I've ever seen into the back pickup. Like years of metal or punk to do this lol. Those pickups still sound great (better) and I could of left them. Those that know these basses may agree that for all the attention to balance the L's got the XM's are actually bottom heavy and want to slide right off your leg when seated. Try playing it sitting down in church with no strap and some slippery pants on, you might drop the f'er, haha. Our dinky flip out leg rests on the L's feel rock solid in comparison. But that's the worst I can say about my favorite bass.
 
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The stories that instruments can tell are sometimes very strange. The XQ5 v1 above I bought new in 2007! Yes, new, unplayed and untouched. In the original gig bag. With original strings on it that had felt quite rough (similar to new Warwick Black Label) and were totally dead. I gave the XQ a three band BQS. A real sound machine. I sho
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uld never have sold it, but it was too heavy for me and I had too many basses.
 
To perhaps give a few clues as to what distinguishes these graphite Steinbergers and the copies:

There is first what you might call a 'real first thing'. A full graphite Steinberger L, or XL bass. The 'original Steinberger', so to speak. This is the benchmark, a real milestone, both in terms of design, ergonomics and especially sound.

Then there are three variants that can also be called 'the real thing': XP, XM and XQ. They all consist of a bolt on graphite neck, in the 'Steinberger Blend', in combination with a maple body (because of the high density with outstanding overtones).

Then there are lots of wood copies. From Hohner, Cort, Washburn, ...., and last but not least as Steinberger Spirits.

Basically you can say: nothing comes close to the 'real things'. No matter how much you modify. That's just the way it is, it's physics.

If you want to get in the direction of a real Steinberger with an all wooden bass, you should note: a bolt on neck and active EMG HB pickups at the correct positions are important.
The neck thru wood basses have quite good sustain, but you can forget about the attack. It never sounds like a real Steinberger.
And since the passive XPs, there aren't any pickups that come close to active EMGs. Those passive EMGs on the XPs have been specifically designed to come as close as possible to the active ones. Which they do very well, but not 100%.

Of the XP, XM and XQ, in my humble opinion, the XPs with active HBs are the closest to the XL models. But you can look at it another way and not to forget, Steinberger has always made subtle changes within the series.

As always, YMMV
 

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