LeftyJ

I always hated the look of those paddle basses and other headless basses when I started playing bass. The headless (and more specifically, Status Graphite) virus hit me when I spotted a beautiful, pure white S2 Classic with Roman numeral inlays for sale. It looked so utterly beautiful, the modern and elegant bodyshape looks so good with the headless neck. And the white of the body with the all-black fingerboard with white numerals and black hardware just looks stunning. Sadly it had just been sold... It took me another 11 years (!) of waiting until that very bass popped up for sale again, but this time I snagged it. That was 3 years ago now, and I'm hooked.

I was going to say Roscoe Beck too. These originally came with a Gotoh 206 bridge, but that was discontinued at some point and Fender replaced it with the above bridge.

I guess I'll have to get a second uke for re-entrant tuning then 😆

It is not, it just has one saddle that all strings rest on. Asjustability is limited. But then intonation is never perfect all over the neck on any fretted instrument with straight, parallel frets.

I would only be comfortable with a neck without a truss rod if the manufacturer could guarantee ZERO movement, even when switching string gauges or tunings. 030-090, as many slappers prefer, is quite a difference in tension compared to a 050-110 set when both are tuned to E. And obviously changing the tuning does a lot too. My 5-string Status S2 Classic neck definitely straightened a little when I changed the tuning from low B to A for a doom metal gig.

I've been thinking about it before, but earlier this week I got a really strong urge to buy a ukulele. I went on the net to compare, quickly decided a tenor uke was the way to go (I'm 1,96 m tall and have fairly big hands, and I want to be able to play more than just open chords), and found a nice solid spruce top Kala KA-STG on gear4music for a fair price. I have yet to convert it for left handed use and have been playing it with the strings upside down for some time yesterday, and it's a lot of fun! I probably will, at one point, replace the re-entrant string with a proper low G, the examples I've heard on Youtube sounded a lot more natural to me with a bit more body and depth.

Nice! How would you describe the neck, compared to the slight V-necks on their acoustics? Does this have more of an "electric" feel?

Carvin LB75 5 Cort NTL-B fretless acoustic 4 Ellio Martina Forza 5 Esh Stinger 1 4 Fender Japan 1975 Jazz Bass reissue Ibanez MC924 1981 Ibanez MC924 1983 Ibanez RS924 1981 Ibanez ATK305 5 Longbow American Classic fretless 2-string Status Graphite S2 Classic bolt-on headless 5 Status Graphite S2 Classic bolt-on headless 4 Warwick Streamer LX5 And a couple of guitars (two MIJ Squier Strats, a Carvin DC727 7-string, a Tokai ES-60, a Crafter D7 dreadnought, a Taylor GS Mini and a Taylor Baby).

I don't know how serious the intentions were when this abomination was released, but it's AWFUL. This kept popping up on a metal forum I used to be a member of.

Fender Mustang Bass Fender early 1960s Jazz Bass Fender 1970s Jazz Bass Wal mk3 fretted 5-string Wal mk3 fretless 5-string F-bass AC6 fretless Ken Smith Black Tiger 5 Status Chris Wolstenholme 5 headless Zon Sonus 519 5-string Warwick Streamer Stage I 5-string Warwick Thumb NT 5 Dingwall 5-string (as a lefty, I'm limited to the Combustion and NG models - but if I would win big, I'm sure Sheldon could arrange something? 😛)

The lacquer line is present on most USA Ernie Ball instruments, but stands out more on the roasted maple necks. I don't know why it looks glossy in this picture, when the back of the headstock appears to look matte. I never liked the styling of the Bongo, and this one is no exception. I kinda like the look of the fingerboard, I don't see the point but I do like the visual effect.

VERY cool! I had a Legacy Special (g**t*r) in that finish. It had air bubbles under the finish in the cutaways (looked like a foil wrap with a clear coat over it) but otherwise looked great. Great guitar that I bought for only €250 (because someone had once mounted a Roland GK-2 and removed it again, leaving two small holes in the pickguard and body) and stupidly sold again.

I'm still very deeply impressed by the two S2 Classics I bought 3 years ago. My 5-string is my clear favourite at the moment. There's a new player on the graphite neck market that I'm interested in, that will hopefully be released later this year: https://klosguitars.com/pages/electric-bass

He used to have one 6-string outfitted with more frets, to add microtones. But I guess that's now the fretless 6 with the Asian ebony fingerboard.

Well, if you can't be a good example, just be a terrible warning 😅

Why? Is it supercalifragilisticexpialidocious, even though the sound of it is something quite atrocious?

Picture on the left appears to be of a USA Music Man Sterling, not to be confused with the "Sterling by Music Man" basses (of which series the SUB is a part). Edit: When you click the one of the left you're taken to a page picturing the right bass. Does not explain the difference in price though, the description is indeed of the same bass.

I meant this one: https://www.warmoth.com/Bass/Bodies/Deluxe5/Deluxe5J.aspx It's identical to the old American Deluxe.

Warmoth still produces a (replacement) body in the old USA Deluxe style with the smaller body which might fit a Fender neck.

None, I've gathered all kinds of separate tools and I have quite a collection of spare parts (various kinds of screws, knobs, strap buttons and stuff). Stuff I carry to gigs is limited (small flashlight, multitools (Gerber Multiplier 600 Deluxe with bit driver, Cruztools Groovetech), spare batteries and a microfiber cloth for cleaning my bass and the strings after playing). For maintenance at home I have a whole lot of separate tools (and indeed a neck cradle too, but mine is a one-piece Harley Benton made of cork).

I don't know for sure about their single ball strings, but all my double ball Status Hotwires strings are taperwound (all except the G).