Leaderboard

This just arrived... ...and some of these to go on it: The shipping box was pretty warm to the touch (it’s 37c here, it must have been scorchio in the back of the UPS truck) and the bass was noticeably warm once unpacked. First impressions? It’s light, well finished and it seems to be set up pretty well, the intonation is almost spot on. I’ll let it settle tonight and put the La Bellas on tomorrow before mucking around with string heights or anything. This will be maybe the sixth Mustang bass I’ve had, I just keep coming back to them. It’s unlikely I’ll gig with it (rarely play live nowadays) but I’m totally looking forward to recording with it, and noodling away to old ska records at home and all that.

It's a shame for those who wanted a new one, I know my brother was looking to put an order down on a new Kingbass. I guess for Rob, he's leaving money on the table; it's hard to image a time when Status doesn't have a group of players that will always want one and his order book would be full forever more if he hadn't made the decision to stop, but for all of us, there comes a point when time becomes more important than money, particularly when you're in your late 60s and have had a cancer diagnosis. I said the same for the recent retirements of Mike Pedulla and the pending retirement of Patrice Vigier who is now clearing his build queue before shuttering his business. A lot of the old legendary brands are shutting down and frankly I don't see much of anything coming to replace them, particularly for a brand like Status who really never had an equal or even pretenders to their throne. Vigier moved away from carbon fibre necks and went with their 90/10 wood to carbon system a long time ago, Enfield would make a bass with a carbon wrap over the wood (so not a real carbon neck), Modulus seem to play to a different crowd. Schack and Bogart were in a similar vein to Status but were much more niche and let's be honest, Status were a niche company even in bass circles. I think of Status as being like the McLaren of the bass guitar world. Forward-thinking, innovative and at a time, they were the cutting edge. You could argue that the lack of innovations in bass construction since the advent of carbon fibre is testament to how good the material is and how good Status were at using it. For the kind of bass they wanted to make, there was no better material and no better construction method. While some other British brands continue pumping out hoary old dinosaurs for sky-rocketing prices, Status would make you a bass that really was unrivaled in many ways and they would do it for an exceptionally reasonable price. I looked at the price of a top of the line bass from their pricelist not that long ago, and my dream bass, all-options ticked kind of thing was only about £3500. Madness really, for something of that quality, made in the UK. We didn't know how good we had it. Will the basses continue, being built under a new team? Maybe. The wording of the statement is very open. The talk of the end of the "current" range, who knows what the future may hold etc. However, based on the tenures of staff Rob names in the statement, unless they started with Status from a young age, they probably aren't spring chickens either and without the main man at the helm, could they carry on without him, albeit under his supervision to a degree? Who knows. It would be really cool if they could take their knowledge and start a new brand to continue on the legacy. This all seems like such a shame because without anything else to take their place, Status are leaving a hole in the bass world that really isn't filled by any other brand. I would say though, that the time to buy a used Status is surely now, if you wanted one, before people start hoarding them and boosting prices because of Rob's retirement.

My new purchase, Jake 4P Custom “Jeff Ament” 😀 Superlight chambered mahogany body (3.27kg) Custom matt orange finish Reverse matching headstock Hard rock maple neck with carbon reinforcing rods for supreme stability Satin finished neck 42mm nut width Haeussel Bassbar 'Thunderbird-style' pickups Hipshot Ultralite machineheads Passive electronics (volume, volume, tone)

Michael V. P., Patrice V., and now... I wish Rob gets best possible treatment.

Then he could eat his hat!

I think the comments are well intentioned and orientated towards keeping his legacy going. I hope he feels some pride that people would like to see the brand continue.

Let the man be and give him some time to decide. Speculation mere minutes after the announcement is just tasteless. I would take Rob back at full health any day over a thousand more Status basses.

I took a bit of a £16.90 gamble on a Thomann Beat Bass gig bag (meant for Hofner violin basses) and can confirm a Mustang fits nicely! The first time it was a bit tight around the upper horn but that seems easier after a day or two. The bag has semi-rigid 20mm padding and can happily stand up on its own, so not at all flimsy. If I end up keeping the Mustang, then I would probably buy a suitable hard case. In the meantime, the Beat bag will more than do!

Blue Suede Choose ～ HRH King Elvis

BIke shop seems to be the usual suggestion for Basses but I reckon for an amp double box it with plenty of bubble wrap. Those large supermarket fruit trays ( loose apples and pears) tend to be quite thick and you could cut one down to fit.

sting needs a mention...he wasn't the virtuoso bass player as such but what he does is spot on for the track every time.

Can’t see the full bass in the pic... but has the headstock been reshaped into a Tele bass shape by any chance? Is there any Sharpie pen on it anywhere? Might explain how this would happen to a vintage Fender. 🤔

As the title suggests... I've moved country and needed a bass to keep me company while the others are back waiting for me overseas. The Tokai came up for a good deal on gumtree, I went to check it out and couldn't leave without it. This thing is mad. It's hot, bling, garish and built like an anvil. Sounds ballsy and plays superbly too. It's like if Arnold Schwarzenegger were a drag queen, but it's a bass. Anyway, here's pics.

Some thoughts on SLB300 First Why bother ? Still the case a standard BD of reasonable quality produces THE tone we all aspire to BUT always subject to; 1. Players competence 2. Sting type ( as we all know, a minefield of expense, frustration, and, occasionally, satisfaction ! ) 3. Where you are playing (natural acoustic of playing space make so much difference) 4. What you are playing ( for me pizz. 99% of the time) 5. Who you are paying with So my comments are broadly based on my playing situation which is usually; 1. Competence - keen amateur, coming from electric bass guitar - fretless electric - double bass ( westone thunder / westone thunder 1A / fender early 70's jazz / squier bespoke fretless, bespoke Zoot fretless / Aria travel fretless / hatpeg Czech Republic(1918 to 1938) carved bass, SLB300 ) 2. Using SLB300 with supplied strings ( D'Addario Helicore Hybrid Light) which are not too different to the Evah Perpetuals I have ended up with on the DB. I have not tried different strings on the SLB yet as I like the supplied strings tone and feel. 3. Practice - large front room, SLB provides enough acoustic volume and tone to use without amp if solo practice. Playing to other music needs amp. 4. Most paid work is in small semi -pro swing band ranging from small festivals, pubs, small and medium sized halls, private functions (indoors and outside) - so never the same except repeat gigs and re-producing the lovely low volume tone the SLB gives at practice is still a struggle the same as for acoustic DB - BUT crucially less of an issue because we can now get Volume without feedback. The bass does not go through the pa for most of our small gigs but obviously does on festival gigs. ( thesultans.org - judge for yourself, don't be mean!) 5. The swing band is two saxes, guitar, singer, drums and moi. - drummer is of the quieter jazz variety but I struggled to get a consistent, tone full front of house sound with the hatpeg - into Ear Trumpet Nadine mic - into Acoustic image with enough volume. Secondary issue is transporting the DB or leaving it unattended anywhere - haven't come to grief yet but come very close many times. How does SLB cope ? For practice, no issues, feels like the acoustic version, plays like the acoustic version, and sounds like a (very quiet)acoustic. I chopped a little off the bridge feet to allow some height adjustment and the action is currently a little lower than my DB but the board will need some Martin Penning ( Frome based - DB luthier ) magic attention if I wanted to go really low (which I don't). I have gone a little lower for playing comfort over longer gigs. I suspect Martin would also thin out the supplied bridge as it is a little chunky - there is some comment on forums on this. For live playing I usually use have "tone" maxed out in favour of one of the supplied tone shapes ( if you don't want these tone maps why buy the SLB300 in the first place ) as opposed to the undoctored piezo tone. I like the ability to boost the volume from the instrument rather than having to access the amp in the middle of a tune or between tunes. I usually have the bass and treble on middle and just use the volume control if a tune needs more upfront bass. There is a noticeable difference between the supplied 3 basic tones but I think the differences get lost as the overall band volume increases. On a number like "Fever" the richer tone is welcome and can be heard given the sparse arrangement, most of the time I leave it on the second option ( quality dynamic mic ? ) which fits best with the wide variety of stuff we do. As the amp volume goes up I usually end up reducing the lower frequencies on the amp to restrict boom, but the SLB bass and treble contols stay close to middle. In a difficult venue with difficult acoustics ( super low ceiling - boomy - etc ) I content myself by having enough volume headroom even if I need to loose a lot of bottom end to get some clarity of note tone so the SLB is easier to use than the hatpeg. The band have started to hear me better due to all this - I usually use a an upshot extension speaker on the opposite side of the stage so all the band can enjoy the bass notes ! Transport and storage obviously less stress. Has accommodated assembly and dis-assembly without issues so far. About 3 minutes to assemble from case if you take your time. SLB battery life - my advice, ALWAYS carry spares, the battery (like all batteries) chooses to start failing mid gig, a red light starts to flash and panic sets in - how many minutes left, will I make it to the end of this set ?. Acquaint yourself with exactly how the replacements must be fitted in the pop out holder, a dark stage, mid gig is not conducive to this . The output starts to fade as the power diminishes and you are unlikely to get by on the unpowered piezo. The SLB produces more sustain than the hatpeg but I damp this automatically the same as for fretless bass guitar. Not sustain to the extent of a fretless guitar but it is definitely there. I purchased the top bout extension ( ouch ) which gives a better playing position to match the hatpeg. SLB seems to stay in tune with itself consistently. Recording - nothing done in a studio with this but I have put the SLB straight into a Yamaha digital recorder ( AWB 16 ) and the result is quite acceptable. On a Festival Stage, make sure the stage engineer gives you full fat foldback sound ( then reduce bass to taste) - if they treat the SLB as an electric guitar they will suck all the bass life out of it - a very nasty onstage experience if you are giving it your all on the first number and all you can hear is ultra tinny. One has to hope the front of house is not the same. Is it worth it ? I think so, the re-sale value is good and as long as I look after it properly its net cost to me will be acceptable and the ability to be heard clearly and with DB tone on our gigs gives me playing satisfaction and suits the stuff we are doing.

I slways set the neck dead straight. Then adjust the saddles.

An occupational hazard when playing a decent car show is the never-ending drive-past / parade happening in front of the band. However, like the consummate professionals we are (oh alright then, semi-pro) we never missed a beat. 😉 The first Basschatter to correctly identify every vehicle that appears in this video will win The Square Root Of Bugger All. Answers on a postcard ...

I remember the Singer Chamois, you washed them with hot water and they dried themselves....

Smx 1020 by VTypeV4, on Flickr Overview: As the decade of the yuppy, Boy George, questionable fashion styles and many other cliches associated with the 1980s was coming to a close, Trace Elliot were riding on the wave of their success of their (then) highly sophisticated and high powered range of bass amplifiers. Noted for their unique sound and unmistakable aesthetics which included a large graphic EQ, green facia paint and a glowing UV strip, Trace amps were seen behind many of the great players of the time. The then current 'Series 6' range introduced in around '88 was still hip, modern and built on the reputation of the previous 'Mark V' series with a notable extension of the 11-band range now up to twelve which were coupled to improved and more powerful (up to 600w) solid state output stages. There was also a range of valve amplifiers with brushed steel panels which had modified versions of the GP7 and GP12 pre-amplifiers and multi-tube output stages up to 380w which were known as the 'Twin Valve', 'Quattra Valve' and 'Hexa Valve' models. These were developed from the equally sought after VA models - high times, indeed. As an ever innovative company, Trace Elliot had not stood still and continued developing their latest range of bass rigs which appeared on the market in around '93. Both 7 and 12-band models had additional features (such as EQ balance, compression and valve stages) and improvements over the previous Series 6 versions. The new range designed by Clive Button was to be known as the 'Sound Management' series with the pre-amp stages now known as the GP7-SM and GP12-SMX respectively. The SM models had an update in '97 (around the time of the Gibson purchase) to become the SMC range now with a simplified dual band compressor whilst SMX models would almost last until the end of the millennium virtually unchanged and to many, represent the very pinnacle of Trace Elliot amplification. Sadly, after 2000, production was being wound off by the bosses at Gibson and the replacement GP12X never saw the same success as its predecessor. Problems in terms of reliability and build quality also became apparent which did little aid the reputation of theses models and by 2002, production had stopped. Fast forward to 2005 and the brand was now owned by Peavey who had developed new 'Trace Elliot' amplifiers built at Peavey UK in Corby and later in the US. These only saw moderate success due to their own reliability problems, the rather steep price tags and weight - the dawn of the lightweight amp was upon us. Today, the Trace Elliot brand still exists and the ELF is one of the smallest, lightest amplifiers on the market and according to many online reviews is solid, reliable and capable of holding it's own at gigs although the question of whether it truly sounds like the amps of old is still somewhat divisive. I can't comment as I've not tried one yet - I've only ever seen one example in the real world. Smx art biyang by VTypeV4, on Flickr Features: The SMX has an array of knobs, sliders and buttons across the front panel which on initial inspection seem a little cluttered and complex. A closer second look will make more sense of things with each stage having it's own section. Initial input on the far left has a single jack socket with an active / passive switch plus there's the usual input gain knob although the input level is metered by a 'traffic light' system for optimum gain. Allied to this, there's a blend control for both transistor and valve stages, each giving a different 'flavour' or a balance of both. Next are the tonal adjustments with two switchable pre-shapes and the switchable 12-band graphic EQ with an independent level control - the status of both are indicated with LEDs next to each switch. Towards the right, there's the 'Sound management' section which, at it's centre has the EQ balance and this acts as a highpass / lowpass filter when turned clockwise / anti clockwise respectively. Flanked either side of the balance control are separate controls for the low band (left) and high band (right) compressors each of which has a different envelope suited for each frequency band. The knobs act as a threshold (and possibly a subtle increase in ratio - difficult to say) control with maximum compression obtained with the controls fully clockwise. Finally, on the far left, an output level adjusts playing volume and unbalanced line out connection levels, a standy switch works as a handy mute / tune plus there's an effects level blend for the FX loop. As a bonus on the non-rackmount 400w and 600w models, a UV strip light illuminates the control panel so even on effectively black stages, the status of all controls are easily seen. The rear panel is different on each version. AH300-SMX: 250 / 300w model is a compact 2u chassis and only has a single DI out (XLR) and a single, mono FX loop. Early 250 models came with a convection-cooled output stage but later 280w 'Bi-Polar Bear' stages were fan cooled. Very late models were fitted with the 320w Clive Button output board after reliability problems became an issue. AH400-SMX: 350 / 400w model is a larger 3u chassis, has two FX loops (one parallel, stereo and high passed; the other series, mono and full range), 3 DI out (two post EQ, one pre) plus a dual mono line out. I can't find any reference regarding differences between the 350w and 400w versions other than their cosmetics. AH600-SMX: 300w + 300w with the rest as above but with additional switching for mono full range, stereo full range or bi-amp operation plus an adjustable crossover with level controls on each power amplifier section. These were unchanged other than cosmetically. Stand alone SMX pre-amp: As AH400-SMX but in smaller 2u chassis with adjustable crossover and high pass / low pass line outputs. Specification: AH400-SMX Hybrid pre-amp & SS output stage 400w at 4 ohm, 300w at 8 ohm Traditional class A/B topology - heavy iron and big capacitors 12-band graphic equalizer Switchable pre-shaped EQ curves Active & passive input Master volume Dual band compressor Series and parallel effects loops Pre and post EQ direct outputs (XLR) Post master volume line outs (Jack) All references forward from here will be specific to the 400SMX. Smx art biyang by VTypeV4, on Flickr Sound Quality: The baked in Trace Elliot sound isn't suited to all tastes, generes and sonic spaces - pre-shape one (general scoop centered at 400hz with slight boosts at 50hz and 2K5) is very '80s and quite harsh - number two is similar but less extreme. This is the usual association with these amps however, they are far more than a one-trick pony - the graphic EQ can be switched in to make some far more useful and real world sounds. Personally I use a combination of shape one and further adjust the sound with graphic for a smooth, more modern sound. With such an array of options and combination, I expect pretty much any sound could be coaxed from punk and rock through to jazz and funk - I've never struggled to get a sound I like. The only potential downfall that could be leveled at the SMX is the lack of overdrive facility but that's not what these amps are about - powerful, clean and loud is where it's at - much like the SWR range albeit a different character. I'm sure a Sansamp before the amp could easily dirt things up if that was your thing. Now to the jewel in the crown of the SMX; that dual band compressor. In studios, multi-band compression is common place and can be very useful in shaping a sound whether that be individual channels as part of a mix or a piece in the puzzle of mastering but is rarely seen on instrument amplification. Trace Elliot saw it fit do adorn the SMX with a dual band compressor so frequencies below 250hz will be treated differently than those above. Judging by ear (so this might be less than absolute fact) the low band has a slow (ish) attack and release and a soft knee which adds a 'solid' feel to each note. Note definition is helped and it gives you something to 'lean' against when digging in. The high-band feels to be a much faster envelope so personally, I use only a little of this as too much seems to kill the note and it starts feel like the dynamics have been all but ironed out. Whilst I'm used to comprehensive compressors, the simple two-knob design of the SMX works just as well in both live and studio situations - I feel like a lot of adjustments and tweaking were done at the design stage to get it right. Given how flexible and tweakable the pre-amp is, it's very difficult to define but in terms of quality, it sounds great . I feel the Trace Elliot with it's extensive options will either help you shine and get you exactly where you want to go or it will hang you out to dry. To get the best out of it, knowing your frequencies and how they sonically 'fit' on the graphic EQ is a massive help plus listening and feeling for the appropriate levels of compression is also key - I always compare EQ and compression to booze; some can be good so more might be better unless it becomes too much - it can be a tricky balance sometimes. Taking the time and really getting to know it is the solution as they aren't really a 'plug and play' amplifier. The single 400 watt output stage is very capable and definitely worthy of it's rating - at the time of writing, amplifiers of three times the claimed power are common place - many which weigh half (or less!) than the old Trace. Personally, I've never needed it 'full tilt' and at rehearsal it barely sits above idle. Despite it's 'modest' rating, make no mistake, this thing is 'proper', capable of rolling with the loudest of situations and finding the limits of most speaker enclosures! Smx art biyang by VTypeV4, on Flickr Build quality and reliability: In terms of build, I can't really criticize it on any level. On the outside, the green 'rat furr' (as many call it?) is bobble free and accurately upholstered, the riveted stainless steel corners are precisely fitted and the flip handles are highly over-spec'd. Looking to the front control panel, the black and bright green contrast each other very well with the writing having a very clean and defined edge - even with the UV light off. All the sliders, control knobs, switches and sockets have a 'solid feel' with just the right amount of damping to feel neither cheap or stiff. On the inside, the story is much the same, most notably the power supply and caps. The transformer is a huge torroidal type which is no doubt where a good percentage of the amplifiers' weight lies - I've seen smaller in higher rated pro spec power amplifiers. Nestled between the transformer and the output board are the two equally over specified filter capacitors. A large (not too noisy, thankfully) fan is mounted on the left side in the centre to cool the internals. It's fair to say Trace Elliot went 'belt and braces' with the supply and output stage of these amps as they're far more impressive looking than their smaller 280w stable mates despite only a moderate claimed power difference. Looking elsewhere inside sees thick, good quality PCBs with a few smaller individual boards accompanying the main three, reasonably tidy wiring all housed in a thick steel chassis. No complaints here. To be clear, this is the second 400SMX I've owned - I foolishly sold the last one in 2006. I've never had an ounce of bother with either example (or indeed the 600 I owned for a while) not even so much as a fuse. 100% trouble free. Unlike the all-valve amplifiers that I own, the SMX doesn't have any quirks or oddities (they all do that, sir!) and whilst this arguably strips it of a degree character, it goes hand in hand with it's truly professional design. This particular example was made in 1998 and have little doubt saying it works just as well today as it did when it came out of the factory. Other observations: It's very difficult for me to accept that production of these things ceased more than twenty years ago - they were the pinnacle of design and something that 15 year old me aspired to one day own along with a Warwick bass. As mentioned on this forum - often at great length, many times over - the world has since moved on and modern amplifiers are now smaller, weigh less; are more capable than ever plus their accompanying speaker cabinets are made from lighter woods plus the drivers contained within can play louder and lower with less distortion than those of even 10 years ago. Mauling 120 Kg worth of heavyweights is now optional! Whilst we're talking of weight, the big SMX weighs something in the region of 24 Kg (we're into valve amp territory here) which is just out of the question for those suffering with frailty or other physical ailments - a modern day ELF weighs less than one kilogram and even something like a Genz Benz Streamliner 900 weighs less than 4 Kilos. Despite of all that weight and physical bulk, the performance is unquestionable and is still more than capable of holding it's own against anything modern (once you've EQ'd the '80s out!) - irrespective of claimed power. Smx art biyang by VTypeV4, on Flickr

I spoke with Dawn today about an unrelated matter but took the time to pass on my own personal gratitude as well as (I hope) that of the wider bass playing community. I'm sure others did too far more eloquently than I other could: a lovely gracious lady who represents her, Rob and the wider Status family. Wishing them all the very best in what I hope will be a long fulfilling future

STOP!! Hammer time. U can't touch this - M C Hammer

It's only a one-watt fan, but it's a Trace Elliot Watt.

There goes a solid 66% of my repertoire.

I hope Rob gets the best treatment & makes a good recovery.

That little caption bottom right. “Need help?” I do now!

This is clarifying something that's troubled me over many years. Once again i find @agedhorse coming forward with valuable insights into this complex issue and simplifying as much as possible for non-techs. Its nice to know how designers think about this subject. This might explain why Mesa amps are solid bits of kit 👍 Cheers @agedhorse Dave

This ☝️ is friggin' genius.

Basschat group buy?

Let's Dance - HRH The Duke of Bowie

Self storage companies - Big Yellow, Shurgard et al - sell large strong cardboard boxes. I bought a couple of dozen for my recent house move and they did the job.

Quick release - absolutely. I'm with you there too. So there are at least 2 of us loonies ! Interesting. I have used and liked the dual band comp on my old SMX trace. I do use multiband compression, so I shall have some experimentation with different attack times for different bands. Already there. I use a Hypergravity. Mujltiband and uber-configurable. Completely designed for a compression fusspot like myself. Attack times up to 100ms are available.

Fruit boxes are what I use - that. and PVA glue to stick the parts together. Two joined lengthways made a good box for a banjo (and the section on the middle was cut to make a neck rest). As for the amplifier, insert puns below about Orange amps, Apple Music, or a Pear of speakers...

Choosey Susie. Stranglers

I well remember when at Panasonic that a certain company (Korean company beginning with S) claimed a huge brightness figure for their Plasma screens. How did they do it? By reducing the size of the white area measured. The power supply of plasma screens could not maintain full brightness over the whole screen so the smaller you could make the measured square, the brighter the picture. They reduced the square from 2.54 x 2.54cm to 1 x 1 cm and hence the power supply could maintain a higher brightness. Your calcs on the Bugera are about right.

So after falling in love again with graphite necks I decided to have a bit of a switch around and picked up a 2021 S2 thru neck with a stunning walnut top and it also has the pickups fitted in the same position on the Chris Wolstenholme model. It's absolutely stunning and absolutely spotless too. Ergonomically it's very different to the Kingbass and feels a little bit more "traditional" to me and my usual Fender derivatives; I feel a lot more comfortable with it on a strap than the Kingbass, but the 32" scale and 16.5mm spacing on the Kingbass is just amazing to play.

I had the seniors recline on the sofa. You know, them being old and all.