As some of you may know, my main player is a Steinberger XL2, and for me at least it's about the best bass out there. I have quite a few other instruments in my collection, so I have a pretty good reference. I'm on my second, which I got about 2 years ago. It's a low 4k S/N which places it mid 86. It came from the original owner and had been to Peekamoose for new frets and electronics before I got it. My first XL2 was purchased new in 85 and sold a few years later after some difficulties in my life made me think it was a good idea, a decision I regretted until I purchased my current one.
My XL has had two minor mods: new string jaws in the bridge (to be fitted next string change) and a new version of the Steinberger 'Boomerang' that replaces the pivot plate. The boomerang was designed by Ned for his cello's and basses. Andy Y of Steinbergerworld got Ned to make a version that screws directly into the original fitting. The difference in comfort and ergonomics for me was great. This is by far the most comfortable instrument I've ever played.
When I first saw the XL's in ads in the 80's, I knew I would get one. It appealed to the engineer in me as an intelligent piece of design, and the only fundamental redesign of the bass since Leo. When I got it in my hands, I was doubly sure I'd made the right decision; it just felt like home.
The things I like about my Steinie include
- the balance and ergonomics.
- I like how it sounds, and can get quite a bit of variation from it. Tone preferences are very personal though and seems to be love it or hate it with this bass
- I think it looks cool in a 'form follows function, minimalist aesthetic' kinda way.
- headless design - I don't need no steeenkin flipper on the end of my neck
- stiff monocoque structure allows even note response along the neck, no deadspots at all, complete immunity to weather and it stays in tune between string changes.
- fast string changes with no tools. Strings seem to sound consistent for ages, longer than enything else I own except the Status.
- active, friendly fan base and support, mostly because of Andy Y's great work.
What I don't like
- starting to get expensive, and I should have bought a second one a while back when I bought the current one.
- morons who make comments like 'hey man, the 80's called and they want their bass back'. Luckily it's very strong and quite a bit of heft, so it's very useful as a weapon. The smooth design means the blood and bone fragments just wipe off.
I also have two Hohner maple XL2 style basses; a B2ADB and a B2V. The B2V is pictured below. The guy who owned it before me machined a new headpiece out of brass as well as new string jaws. It'll likely get some QTuners or DM X2N7's later. The B2ADB is on loan, so no pics. It's stock with Lawrence EB50 pickups. When it comes back I'm going to experiment with pickup switching and maybe build a new pre for it. Experience with the othe licenced clones seems a bit more spotty, but I have no direct personal experience of them.
I like both of them and think that all round the Hohners and Spirits are pretty good. My one gripe is with the ergonomics because of the lack of pivot plate. I'll get another boomerang for one and use the original pivot plate on the other.
I know there are other fans out there, so please chime in with your basses, experiences and stories about all of Ned's designs.
Excose the poor camerawork, and the floor that isn't up to Nino standards. The knobs were in the drill press when I took the photos getting the hole size increased a snick to fit the shaft.
My XL has had two minor mods: new string jaws in the bridge (to be fitted next string change) and a new version of the Steinberger 'Boomerang' that replaces the pivot plate. The boomerang was designed by Ned for his cello's and basses. Andy Y of Steinbergerworld got Ned to make a version that screws directly into the original fitting. The difference in comfort and ergonomics for me was great. This is by far the most comfortable instrument I've ever played.
When I first saw the XL's in ads in the 80's, I knew I would get one. It appealed to the engineer in me as an intelligent piece of design, and the only fundamental redesign of the bass since Leo. When I got it in my hands, I was doubly sure I'd made the right decision; it just felt like home.
The things I like about my Steinie include
- the balance and ergonomics.
- I like how it sounds, and can get quite a bit of variation from it. Tone preferences are very personal though and seems to be love it or hate it with this bass
- I think it looks cool in a 'form follows function, minimalist aesthetic' kinda way.
- headless design - I don't need no steeenkin flipper on the end of my neck
- stiff monocoque structure allows even note response along the neck, no deadspots at all, complete immunity to weather and it stays in tune between string changes.
- fast string changes with no tools. Strings seem to sound consistent for ages, longer than enything else I own except the Status.
- active, friendly fan base and support, mostly because of Andy Y's great work.
What I don't like
- starting to get expensive, and I should have bought a second one a while back when I bought the current one.
- morons who make comments like 'hey man, the 80's called and they want their bass back'. Luckily it's very strong and quite a bit of heft, so it's very useful as a weapon. The smooth design means the blood and bone fragments just wipe off.
I also have two Hohner maple XL2 style basses; a B2ADB and a B2V. The B2V is pictured below. The guy who owned it before me machined a new headpiece out of brass as well as new string jaws. It'll likely get some QTuners or DM X2N7's later. The B2ADB is on loan, so no pics. It's stock with Lawrence EB50 pickups. When it comes back I'm going to experiment with pickup switching and maybe build a new pre for it. Experience with the othe licenced clones seems a bit more spotty, but I have no direct personal experience of them.
I like both of them and think that all round the Hohners and Spirits are pretty good. My one gripe is with the ergonomics because of the lack of pivot plate. I'll get another boomerang for one and use the original pivot plate on the other.
I know there are other fans out there, so please chime in with your basses, experiences and stories about all of Ned's designs.
Excose the poor camerawork, and the floor that isn't up to Nino standards. The knobs were in the drill press when I took the photos getting the hole size increased a snick to fit the shaft.
to Gibson for discontinuing the XL basses without first making enough wide 5s to go around. BOOOO!!!!
