Lfalex v1.1

Nice bass! And a tasteful "restoration" to boot. In twenty years' time, I fully expect it to be lime green with gold hardware.. Or perhaps not!

The neck recess/ single cutty bit doesn't get in the way at all, but I play with my thumb on the back of the neck, too... If you play over the top, you'll come unstuck at the 12th fret! As for neck dive, certainly not! It's not in the Streamline's vocabulary! It can sit a bit neck-up, but that's fixable with a bit of strap alteration...

Review of the Streamline added as requested. Here: [url="http://basschat.co.uk/index.php?showtopic=45820&pid=455223&st=0&#entry455223"]Basschat Streamline Review[/url]

Ordered on 06/01/09. Collected on 30/03/09. Cost £1483 due to some requested modifications, plus some straplocks. [i][b]Features:[/b][/i] I think the images help to demonstrate the design elements better than I could describe them. The whole instrument is a one-piece monocoque of woven carbon fibre. It [i]does[/i] have a truss rod in the neck (Accessed at the body end) to allow the neck to be adjusted The Streamline is active only, and runs an 18v sysyem.It uses Status' own "Board 701" Eq, which gives a boost/cut +/-13dB @ 7KHz for Treble and 14dB @ 120Hz for Bass. The controls for tone are the stacked ones. The other two are: Master Volume (Central) and Pickup Pan (Nearest the neck) For some reason I find these counter-intuitive, and am forever changing the pan control rather than adjusting the volume! I had Rob Green fit me switching for Series/Parallel modes on each (Humbucking) pick-up. This necessitated custom-wound pick-ups, and increased the cost a bit. [i][b]Sound:[/b][/i] It was supplied (as requested) with 40,60,80,100 Status roundwound hex-cored Hot Wires Strings. With the Eq left alone and the pan-pot centered, it delivers the typical "Status" sound, quite full, with good note definition. The bottom end might be described as a little lean, but perhaps would be better described as "clean". The sound is warmer than I'd expected (but that's not a bad thing!) ,although not as warm as a wooden-bodied or necked instrument. Using the coil switches yields interesting tonal options. Changing to Series mode gives more output overall, and lessens the "mid-scoop" that parallel mode produces. In summary, Parallel is smoother, Series is harder-hitting. Using the Neck pick-up in series and the Bridge in parallel gives a smooth mid/top and a tight, defined bottom end. Switch them the other way around, and you get a softer bottom end with a tight upper/mid range. You have to use the pan-pot to stop whichever pick-up is in series from dominating the sound. Put both in Series and hang on to your hat, it 's got a lot of clout! The Eq works well, and the 18v system has been used to deliver more headroom rather than an increase in output. It's not super-hot in terms of level, more medium warm. Ultimately, I'd describe the sound as "Modern", although there's an interesting sound available by having the neck pick-up in parallel, the bridge in series, and playing with your (plucking hand) thumb resting on the base of the neck. It's very full, and almost upright-like but with good definition. One point to note: I ordered this on a [i]very[/i] cold day. I went to one (excellent) bass dealer, situated in an industrial unit, early in the morning. It had been even colder overnight, and nearly all their stock gave a very poor account of itself as a result of being too cold. I tried Overwaters, Warwicks, Sandbergs, Spectors, Vigiers, MusicMen, Laklands, and a Fender. Of over 40 basses I tried, only these played well and still sounded good; Vigier Arpege S4 Vigier Passion S4 Musicman Bongo Spector Euro5 LX Oh, and the Highway 1 precision was okay, too. It was even colder at Status Graphite's factory, but all their stock basses were fine! The Graphite necks seem to tolerate changes in temperature and humidity very well indeed, which bodes well for travelling or use in locations where seasonal weather changes cause problems with wonky necks! [i][b]Action Fit and Finish:[/b][/i] The fit and finish are superb! Utterly beyond reproach. The fretwork, in particular, is exemplary. All the controls feel solid, and the tuners (though a little stiff!) are precise and accurate. I reckon they'll loosen a little over time! Rob won't let anything out if the factory until he's given it the once-over, and the instrument was well set-up with a (deliberately) mid-to-low action. If you want to slap 'n' tap exclusively, you'd want to lower it a bit more. If you're a hard hitting rock player, you might want to raise it a bit. [i][b]Reliability/Durability:[/b][/i] Too soon to tell, but I'm not expecting any problems. I look after my stuff, and the build quality, design and choice of materials suggests that it will prove to be very durable. [i][b]Nitpicky bits - Nothing's perfect[/b][/i] I initially used it with my trusty Comfort Strapp, but due to the light weight and lack of headstock to damp it, the neck would bounce about all over the place if I so much as moved! Also, the Comfort Strapp made the instrument hang at a very odd angle, too "neck up" for me, and it was pulling the instrument too far back. The first fret was very easy to reach, but the dusty end of the fretboard was pushed too far back to allow easy access! A simple fix, though! Get a cheaper, longer,less padded, non-elastic strap. I substituted an old Planet waves woven nylon item to good effect. I might change the string gauges to 45,65,80,100, but that's about it... [i][b]Customer Support:[/b][/i] Excellent! Rob and Dawn Green will do everything they can to accomodate your requirements. On the two occasions I've visited the factory, I've spent ages talking with Dawn about everything from round-cored strings to golf and how our respective kids are doing! [i][b]Overall rating:[/b][/i] An excellent player thanks to a combinaton of light weight, superb balance, good ergonomics and a comfortable neck profile. It's very compact, and will travel well as a result. The performance is in no way diminished by its diminutive size. If I were very critical, I'd only subtract a mark for the fact that the sound is determinedly "anti-vintage" , but so is the design, so It fits the overall "vibe" of the instrument. On that basis, it'd be churlish to subtract marks. I realise the design and aesthetic won't be to everyone's taste, but I don't mind it at all. So a confident 10/10 from my perspective! Thanks for reading. Any questions? Drop me a PM.

When you get a new battery, change your strings, clean your frets/fretboard and give your pots a few wipes. Assuming there's nothing else amiss, it'll be as good as new!

[quote name='alexclaber' post='453418' date='Apr 3 2009, 03:16 PM']Cars wear out, basses don't. Alex[/quote] My thoughts entirely. Better still, some instruments do seem to improve with age. Cars most definitely don't! Every time I see a pimped motor on some 18 or 19" Wheels and ultra-low profile tyres, I just think of what a quality bass could be had for the same outlay. But different strokes for different folks, so if it's what they want to do, then fine. I can't see any of my basses being kerbed or on a scrap-heap any time soon, though!

[quote name='The Funk' post='453313' date='Apr 3 2009, 01:06 PM']Yes! Rule of thumb for me: bass should cost no more than 1/10 of the cost of car; car should cost no more than 1/10 of the cost of the house.[/quote] Average UK House price (apparently) is £205,372 That gives Mr Average a £20K car And (more importantly) a £2k bass budget... Needless to say that I've not managed to adhere to this school of thought!

If you think a fiver might suit you, I'd go straight for that. Personally, I find the transition from 4 to 5 and back again more comfortable than drop-tuning and retuning the same bass. That really can be confusing! Yamaha instruments are a sound buy, and before anyone else jumps in, Ibanez are also worthy of a look, too - Particularly something like the SR500. That'd fall into your budget.

If you have a cordless drill / screwdriver WITH A CLUTCH OR TORQUE LIMITING DEVICE, use that. Determine what setting corresponds to "hand tight", and use that for the final tightening. I'm a real pain for overtightening things, and at least it's consistent!

Thanks, guys! Noodling like mad- because it lets me!

[quote name='MacDaddy' post='451766' date='Apr 1 2009, 05:39 PM']Could you do a review of this, once you've got used to it and gigged it?[/quote] I will do just that, but do be aware that I'm not currently gigging (working nights has seen to that!) Having said that, I DO jam along to music a lot, so I'll have a reasonable idea of how it'd sit in a mix...

From the nature of your earlier posts, you've played it, right? And it sounds and feels good? £350? Sounds like a good price for an instrument that sounds and feels good, irrespective of what make it is and what you want it for! Ultimately the value judgement that everyone makes is; "Is the instrument in my hands worth the money that the vendor wants for it?" That's the principal criterion I use when purchasing. Naturally I bear in mind the intended use for said instrument, and whether or not it is "fit for purpose" in that context. If you get a bargain, then great, but perhaps that shouldn't be anyone's main motivation to buy- unless you intend to sell the bass on for a profit, of course! Not intending to be snotty or critical! I'm (desperately) trying to be objective!! If you like it, buy it! (works for me...)

Sorry it took so long... Only got it yesterday! Very good it is, too. My specs; Black Hardware No Front face dots (definitely no LEDs!) Independent Series/Parallel switching for each pick-up - gives lots of tonal options, and hot output on tap in series/series mode.

Ooops. Look what I collected yesterday (No. Not the rug!) That's me out of fashion again But given that the only viable alternative was a Steinberger.... I guess it's not [i]so[/i] bad

I like that... pity if it plays as badly as you say! And when I see Liberator, I think of WWII bombers (of which the Liberator was one). This in spite of being a Blake's 7 fan... OH No! Outed on the Porn forum!!!!

And yesterday's addition... A Status Streamline. An Amazing Instrument. I had custom pickups and Series/Parallel switching for both, which gives some good tonal options!

[quote name='wizbat' post='442137' date='Mar 23 2009, 12:39 AM']Just replace the sponge with springs mounted below the pickup base. job done![/quote] Warwicks are so equipped, but it's not to everyone's taste in terms of the way that the pickups push in and "ping" back up...

The Steinberger-orignated bridge/tuner system is also similar to that used on Statii (prior to the introduction of the Monorail-style bridge units), in that you slacken the tuners to drive the retainers out from beneath the unit cover, insert the ball-ends into the head(less) end, drop the other ends into the retainers and tighten the tuners (causing the retainers to retreat back under the cover again) Sounds complicated, but isn't. Takes all of 10 seconds. I've only got the licensed version on a Hohner B2A fiver. It's still an excellent design, though. Very solid, too. In spite of recent comments (CK, methinks!) about real men not playing headless basses, I really like the minimalist vibe that they offer, plus some of the other advantages (balance, overall weight, a seeming reduction in deadspots, the inability to knock them out of tune etc.)

If it's going to get like that, I may cancel my order!

He-he. Here comes Mr. Minimalist! [b]In[/b]: OLP MM3 ('cos I won it @ the bash!!) : MXR M-80 : I might have bought some strings : Oh yeah! My second Daughter !! [b]Out[/b]: Nothing. As usual. This year? I ordered the first Status of 2009. Kicked Rob and Dawn's door in on 06/01 and demanded a (modified) Streamline. I reckon that'll be it apart from a Korg Pandora and maybe some new headphones...

Without going all "Zen" about this (and I've nothing tuned below BEADGC or BEADG), it's all about contrast between low and high. Just slot the odd[i] low [/i]note into a song, just to remind everyone that they do exist, especially when they're expecting something an octave higher... Works a treat. That said, guitarists hate me, and even on a standard tuned IV, I've been dubbed "The frequency stealer" for charging [i]up[/i] the fretboard and getting too close to their range for comfort!

Bass Merchant... Colchester (Essex)

I only ever buy the instrument I played in the shop. That way, you get to inspect it & play it, so you know [i]exactly[/i] what you're getting. If there are cosmetic issues, haggle over them if it's a great player. Why try a bass, love it, then order one that may be potentially different, even if it's supposed to be identical? This is of added importance if the instrument comes from a manufacturer with wayward QC standards. The only exception to date is my Squier VMJ that my wife bought me for Xmas, and that's been modded.. I get the feeling that the Status I've ordered will be picture perfect, given Rob Green's amazing QC. In your case, the service you've received is way below par. Demand a refund and walk.

Didn't the Warwick Pro M Streamer and Fortress Masterman basses havw separate EQ for each half of the "twinjazz" pick-up? Played the S4 Arpege a couple of months ago. Without guidance/instruction/longer to mess around, I couldn't squeeze what I wanted from it. I could from the S3 Arpege, and I own an S3 Passion....

[quote name='1976fenderhead' post='421088' date='Feb 27 2009, 04:37 PM']Shame they don't list that on their website, hard to know which ones do it... EDIT: Managed to find through the manual for all basses on their website that nearly all of them are switchable in that way... The manual lists which are and which are not...[/quote] Indeed. Most do run in passive by pulling up the volume pot. I don't think any Musicmen run in passive (except the OLPs, some of which are ONLY passive...)