three

Hahaha, thank you but not the way I play it!

I've been promising to stick this in the Alembic thread but it might fit here too

A very kind comment, and this is possibly gratuitous, but here's an image of the SII (with a Streamline just visible behind it). Also, an image of the Steinberger - a truly lovely bass

I've owned 4 streamlines (including a 5 and a fretless) and one XL2 transitional. The Streamlines were nice basses - I liked them but didn't love them (some had very expensive options too - I bought second-hand). I was initially fairly impressed - they're light and compact and the tone is ok/acceptable. They're very easy to transport as you'd expect. That said, the Status bags aren't good in my opinion - a bit cheap and nasty. They also mark the bass - one of my Streamlines was seafoam green and another sonic blue - both ended-up with difficult to remove black marks. I only re-bought Streamlines because of their portability... then gave up. For me, they're nothing like the quality of an SII. Now that's a bass that I love - solid, heavy, fantastic hardware and incredible tone. I still have the SII. Onto the Steinberger. In a different league to the Streamline and an incredible example of superb industrial design. Solid, heavy, truly innovative in so many ways and biblical tone. Really, unbelievable power and poke. I loved the Steinberger but only had it a couple of months. The balance was awkward for me - really awkward - and it exacerbated back pain. The neck is solid as others have noted and whilst twists/warps have been reported, these are unusual. The board is fascinating - really quite flat, and as there's no truss-rod, the relief is built-in as the neck is constructed. Ned really did re-think the bass from the ground-up with the vision and detail that only the best industrial designers bring to their creations. I wish I could get that tone out of a short-scale conventional bass. To address the OP's question, when you have a Steinberger in your hands, you can see/feel why they were so expensive. To resurrect the original would be horrendously expensive and I suspect that there's a really limited market at present.

Wow, absolutely stunning! I'm a big fan of Jon's work and that looks sublime. The facing and body binding are beautiful. Three frets short for me and I'm not a big fan of the B bridge, but overall incredible example of Jon's work

Old school class. Mighty

just had a great deal with Derrick on a very nice amp. Really quick payment and great communications throughout. One of this community's fine, upstanding and honest members - flawless transaction and fully recommended!

An extremely sensible approach. I've had a couple - you may have played the fretless 4 and fretted 6 Andy - both Paul Herman period I think? After loving Wals since the late '70s (I used to play the Pros in Barrett's in Manchester when the latter, as distributor, had a shop full), I found that owning them didn't really live up to my expectations. Still absolutely gorgeous basses and beautifully constructed, but I think my tastes must have changed

Just completed a deal with Warren on a US Lakland Bob Glaub. A genuine pleasure throughout. Great communication all the way through and good fun to chat and share stories (there are strong commonalities in our taste in basses). Warren sorted a case and handled the courier to have the bass transported down to him. Everything was extremely easy and straightforward. Warren is clearly a star member on here and I can only echo the plaudits from earlier entries - most highly recommended and a pillar of our community.

Congratulations - it looks beautiful! The white J cover is a lovely touch. The neck joint looks like a bit of a seating issue - I hope Jon can resolve it quickly

I realised that I should have qualified my post by saying that when I used lines and dots, I sounded like a demented clanger. Now I just listen, my intonation and touch has improved to the point that I sound like a squiffy clanger with a cough

I think Beedster’s idea is a really good one, though as many have suggested in other threads, it may just be easier to listen and try to ignore the dots/markers/lines. They just tend to throw me out, though in noisy conditions with poor monitoring, dots can be useful

PMd

Chris and John at Bow are, for me, absolutely the best in the business. This came back last week - it needed a really high-quality polyester polish job. The work (again) was staggering. Really easy to work with, communicative, obsessive attention to detail, and skilled beyond belief. Not the least expensive but the results are phenomenal

A DB750 and 751 in the same day - delightful