Weekend bass trade: Status S2 through an Ashdown MK500

[Chris2112]

Afternoon all,

Just thought I would report back with some thoughts about a a lovely Status Graphite S2 that I've had the pleasure borrowing over the weekend. It belongs to Basschat's own "Conan" aka Geoff, who kindly lent me the bass in exchange for my Alembic Epic fretless.

Without further ado, here are a couple of naff iphone photos I took of the 1986 S2 #263:







and it was being played through this amp...my inexpertly photographed Ashdown MK500!




[b]sounds[/b]: The sound is perhaps the biggest talking point for me. I've long heard the talk of these old skool S2's with the thru neck and no truss rod, and how overtly aggressive they sound. I can confirm this to be true, it positively growls. The sound was very snappy, very bright and very articulate. 16th note runs could sound like a piano! I left the EQ set flat and didn't touch it and I also bypassed the Ashdown's EQ. Naturally, it has to most incredible even tone across the board. Every note rings true and is truely useable, unlike on some basses where things can sound a bit mushy past the 12th fret! I was intrigued to see it has a passive switch, although I didn't use the passive setting. It sounded good enough, but the bass was clearly made to be played active, with all that characteristic pop and sizzle coming through. However, the passive mode is a nice backup incase things go pear shaped at a gig! Coupled with the Ashdown MK500, it was very close to the sound Mark King is getting live these days. Plenty of top end and a powerful, solid low end with a characteristic delivery that is akin to being hit over the head with a shovel. Of course, Mark's tone these days is a bit fuller sounding and this replicated it perfectly (although this was generally with both pickups engaged). Switch the bridge pickup and you're instantly back with the sound Mark had from his Statii in the 80's. Almost thin, but still useable and very burpy. It had so much burp it didn't do a bad job of an album playalong to Rush's masterpiece [i]Hold Your Fire[/i]. I was especially impressed with the dynamics of the bass; particularly when you pluck harder you get more bite and burp from it. This makes for an entertaining bass. I will say that it is not particularly versatile in a sense: it makes the Status sound and that is it. However, it is a sound so unique and so useable that it needs little else. It could fit in anywhere and sound great and be instantly recognisable.



[b]Playability[/b]: It plays very well, as is to be expected. Even after 24 years, the neck has not moved at all I'm told! I can quite imagine, it feels as stiff as a board and the tuning is as stable as you'll find! Geoff tells me he has the action set relatively high. It worked well for me, though I did find it wore on the popping finger as you went on. I'd perhaps have it lower but it is a matter of choice; and even in the state it was in it felt effortless to play. Chords were a doddle and rang true with no mushiness, slap felt clean and precise and fingerstyle was also great fun. It has the famed "square" shaped neck seen on these 1980's Status basses. Despite sounding strange on paper, it comes off as being very easy to play and feels very natural. It is a thick neck compared to a jazz bass, but given the effortlessness of the action it doesn't tire the hand. The bass is very light thanks to the materials used and the headless construction and balances well. It was clearly made to be worn high on the chest like Mark King does and I get the impression a standing gig with it would be easy!



[b]Construction[/b]: The construction is as excellent as one would expect. The quality of the woods and the woodworking is top notch, and the graphite thru neck is a joy. I can't say anymore than has already been said about graphite necks but I can't imagine how "space age" this must have appeared in the 80's! Little aesthetic touches like brass side dots appear throughout, adding to the "boutique" quality. The heel is superbly playable meaning upper register work is always comfortable. The hardware is excellent and there was very little crackle in the pots, showing that the electrics are well made and in good order. The flightcase it comes with is well made, but it's as heavy as boat anchor! If I were gigging it I think I'd keep it in a hardcase to spare my back! Still, that appears to have survived over 20 years of gigging too so one can't criticise the build quality of the case!


[b]What did the amp have to do with it?[/b]: Well, being Mark's signature combo one would expect it to get on well with this bass. It most certainly did and sounded fantastic run flat in my bedroom. It has a "harmonic emphasis" control, a system that allegedly generates new harmonic content and adds "sparkle" to a sound without it being flat or fake sounding. It really works too, but I left it switched off here. Coupled with the S2, it was jus too bright and could shear your ears off! I found a similar issue with my Status Stealth bass through my old Trace Elliot rig; the bright switch on it was just too much and never really got used. However, the switch certainly livens up basses that aren't already generating 80's sparkle and sizzle! Generally, I found the amp to go brilliantly with the bass. It really put it's best foot forward and gave me the classic Mark King tones alongside his modern tones, proving if anything that the Status sound is timeless.


[b]Closing thoughts[/b]: I've greatly enjoyed having this bass over the weekend and giving it a bit of a spin when I had the time. I consider the 80's S2 to be a "holy grail" type bass, and I think something has been lost along the way with these basses. The S2 Classic I'd say is more useable and appealing to the average bassist. The mid control is a useful tool, as is the truss rod for easy home adjustment. However, I don't find the construction as appealing now. I'm sure there are many who will say they now look more elegant with the straight monorail bridge and the bookmatched rear wood facings. However, I find the graphite thru neck distinctly flash and appealing in way that is missing now. The modern S2's are amazing but they are a different bass in my eyes. They don't have the relentless, ferocious growl of the 80's S2. It's like putting an elegant Mercedes Benz next to it's snarling, race ready AMG cousin. Both are amazing, but thrill the soul in different ways.


It has also made me look closely at my own basses. I've decided that I really won't find anything better than a Kubicki. Rob Green is a master of his art and Status basses are incredible, however I just feel they are in some strange way pipped to the post by Kubicki basses as my favourites. Both are high tech, over engineered 80's slap machines, but the Kubicki feels at once more simple and yet more complex. It sounds a bit different, it feels a bit different, it's a bit more flexible given the 6 position preamp. If anything, it has strengthened my resolve that I won't let my Kubicki go again. However, it has hit me over the head as being the Status bass I love. Something that my Matrix and Stealth didn't quite do. The Matrix was fun and very useable in a band, the Stealth was beautiful but I just didn't want a 6 string. I've already been on the phone to Dawn at Status about ordering a MK1 Kingbass Artist if I can't find one for sale in the next few months. I figure that the MK1 Kingbass is the closest thing to the aggressive old S2 and Dawn reckons Rob can accomodate a few of my aesthetic requests.

It's also made me look closely at Status basses. I can see why some people would find them too unique, too aggressive, too bright, too flash and dare I say, too 80's. However, the S2 is a timeless shape and still looks fresh. It still sounds fresh. And unless you're playing a bass made in California by a guy named Philip Kubicki, you won't find anything that plays better either. This brief foray has driven me on with my Status adventure and once again kickstarted my search for a Kingbass. It's been a pleasure!



Chris

[zero9]

Like the review Chris. Thanks.

Wil

[gazhowe]

Nice review. I've always loved the look and shape of the S2 since seeing a review years ago in Sound on Sound magazine. I borrowed a similar older S2 from a friend for a few days last year before I ordered mine and was blown away by it's punch, clarity and sustain. Needless to say he wasn't remotely interested in selling it.

[Fat Rich]

I think the newer S2 Classics are a more versatile bass and if you max out the bass and treble control (leave the mids flat) they come close to the older Status sound.

But I still play my old Series 1 (no trussrod), it's just got a certain something the new ones can't do, I think it's more instantaneous and aggressive.

[BassBus]

Thanks for the review, Chris. Very in depth. I think if you had time to play around with the sounds a bit more and use it in a band setting you might find even more that suited your taste. I dearly love my S2000 and it's my first call fretted bass. Rob has refined the design of the SII/S2 bass over the years and having a fretless S2 I can hear what you mean about the sound. I've never tried a Kubiki so I can't compare but my Status basses give me everything I need in a bass, looks, feel and sound.

Oh yes, and I'm just back from seeing Mr. King and the boys at Gateshead. All on top form as ever. The lights on his new basses are amazing.

Edited October 6, 2010 by BassBus

[Wil]

Those old Statii have a certain something about them. Very cool basses.

[essexbasscat]

A very nice review Chris, informative and interesting.

Wasn't Conan a nice guy to loan it out ?

[Conan]

[quote name='essexbasscat' timestamp='1288291559' post='1004269']
Wasn't Conan a nice guy to loan it out ?
[/quote]And yet, incredibly, I'm now thinking of selling this bass! I must be mad...