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Of course you can, they sound different. Put two 63 jazz basses next to each other and they will sound different to each other. Get another newer jazz bass with a pickup made to sound vintage and it will sound different. The difference is whether there is something totally unique to them then you can play 10 basses blindfold and say say 'yes those 5 are vintage, and these 5 arent'. But you can't, I am sure that noone can. Because they love that bass and they can afford it, they are players not collectors, but I think that will tail off with the current prices, the players will start selling off their old basses and just taking cheaper, less nickable instruments on the road, because that makes sense. Many people stopped taking expensive instruments out, as mentioned, david gilmour sold his rare strats for charity and plays new ones, he still sounds exactly the same. Even if you 100% believed that a vintage fender came up with a totally unique sound that nothing else could make, you can't possibly beleive you could hear that when it was gigging when half the time you can't tell if it is a bass or not!

Ok so couldn’t resist! Managed to get a XS-100 it’s turning up on Monday!! Hopefully able to have a bit of a play at practice!!!

Eat more fruit.

That’s not the reasons I have them or anyone I know, I just like the whole vibe about them and enjoy playing them ,but I do agree that some just buy them simply for their value

That's really nice. I may have to grow my beard out again like Lee.

I like the look of most Dingwall basses I’ve seen . Not so this one . Awful colour ,and looks cheap . Only imho.

No offence , but from that picture it’s one of the worst steinberger basses I’ve ever seen . The bridge / saddles look cheaply Chinese like those in cheap headless basses. Even the spirit series look much better . Ned keeps changing things , but the basses don’t seem to be as prominent in the press / in Basschat etc as other companies. If he revisited the xm-2 , that would gain a lot of attention imho. Each to their own ..

That’s a truism, so yes I agree.

Nine out of ten? So you're calling me a weirdo then, is that it?

My point is that valuation of scarce items is irrational. its worth whatever someone will pay and that the worth of it is based on something intangible as there is limited supply. When that happens all logic goes through the window.

If you had to point to one thing that has impeded G&L as a brand it would have to be that headstock shape. The CLF version is a huge improvement but it's probably a case of too little too late. I think they had to make such a radical revision of the original headstock design because Fender were determined to apply their copyright claims particularly hard because of Leo Fender's involvement in G&L. I would expect maybe nine out of ten players are put off G&L to some extent or another by that headstock shape.

Sounds like you’re an ideal fit for any band with all the work and dedication you are putting in already. It just comes down to people at the end of the day . As has been said , be yourself and see what gives . A lot of bands looking for people to join them are not as dedicated as you . Best of luck anyway !

Now they just need to find some customers. I love Steinberger but I fear this bass is a bit too "niche" to be a success. A better marketing plan would be if Ned were to manufacture a faithful and definitive version of the classic XL2 bass and then introduce new and innovative models as well as that recognised classic model. This Finn bass would stand a better chance under those circumstances. However, many years ago Ned told me there was zero chance of him ever making the XL basses again for a whole host of reasons, and that probably hasn't changed, so it's all just wishful thinking on my part. It's just that a headless graphite six string with fanned frets has a fairly narrow appeal. Ned will need to convince some technical metal dudes with deep pockets that they need to invest in his bass rather than an established market-leader like Dingwall. I wish him luck, though, I hope he proves me wrong.

G4M are great ! Nearly had a heart attack when you asked if they're still going . Can’t lose anymore top retailers .

I'm gonna jump in on this and offer my unwanted 2p about this as I've been a mostly Dingwall user for a few years now, and have been lucky enough to play Canadian exclusively and not import, my only foray into headless territory has been with an ehb1505ms and it has been disappointing to say the least(will not go into this but price is unjustified by the quality of what arrived) From information gathered from the few videos they put out about the headless, Dingwall have said this will currently only be a custom, so no import on it, I assume because it would probably break the bank even as an import, or they can't justify changing their designs with the Chinese factories that easily. Either way, everyone is bashing on the design, but to me it seems like a very good combo of both old and new, maintains the AB shape, which one could say is the definition of modern basses currently(subjectively from Dingwall users and some others as well), and introduces a bridge and nut that are somewhat marrying the old design with new technology, the Kubicki like "headstock" redesigned and the bridge with the tuners(wheels on it), that i personally have only seen used in 2 basses, and older one which I can't remember the brand of rn and Alusonic Doom). Obviously everyone is picking it apart and rightfully so, expectations for this design and bass have been like the second coming of JC for some of us, and it's normal to be somewhat disappointed, you cannot please everyone, and at the end of the day look at Fender and gibson and all the other big players, do you think they listen to their mass market...hell no. Overall i think it's a cool bass, looking forward to finding out how much i need to re-mortgage my house for to get one that I will most likely sell at a loss because i can't get used to the lack of a headstock that i have also been hating for 20 years, anyway, i think we are way off from receiving one anyway, what's their waiting period for custom shops, 18 months? We'll probably see some in the wild in a year or so...gives us all time to get used to the idea that we want/not need one and start saving for it :)))) just so we can complain that it's not the same level/quality/bla as the other custom shops or, gods forbid, the imports. That is all from me atm, will report more as we go along PS: i only capitalized the companies i respect

Also not a Dingwall fan, but I like the innovations here. The flip thing for hanging is pretty neat, and when you consider how guitars are displayed in the majority of shops, it's probably going to help them stand out.

It sounds like if they keep going the way they are , the gigs will dry up . Not sure how long they've been gigging ,from what you said . If it was the first or second gig, then maybe advise gentle constructive criticism if asked . I must admit you did make me laugh at your observations . I would keep out of it otherwise if it were me . I don’t know if you could be washing the cat 🐈‍⬛ the next time he asks you to go along 🤔. Alternatively they could do some show stopping songs when the audience dwindles . Tracks such as ‘don’t leave me this way ‘, ‘ if you gotta go now ‘ ‘ should I stay or should I go ‘ etc musos react differently to criticism as we know . Having said that ,you have to keep on improving. This includes taking criticism not in a personal manner , but something to spur you on to improve . Trouble with that is , when most of the band are poor , not all take the constructive criticism kindly ..

Thanks Phil - typo? "Hum can be transmitted..." Just to prove I read your comments word for word, haha!

Whoops, forgot that, for now at least, I'm a two Thunderbird household, so have another Epiphone in your face!