LeftyJ

I use Status Hotwires strings on both of my Status Graphite headless basses, and all but the G-string are tapered. I can't offer a good comparison because the graphite neck on both is very snappy and gives a wonderfully quick attack, but it definitely feels like the strings contribute to this. They sound tight and clear, with none of the muddiness I get from the B-strings on some of the other 5-strings I have owned and with a well-defined "space" between notes when I've had trouble distinguishing the notes on the first 3 frets of the B-string with some other, more rigid strings when I played in a full band mix. When I still had my Yamaha TRB5II I used Elixirs with a taperwound low B and had a similar experience: quicker response, fast attack. I think @Kev is onto something with the cleaner break angle explanation.

LOL, accurate! I've heard singlecut basses being compared to sperm whales too, and I do see the resemblance I must admit.

I'd like to add there briefly was a Stingray neck-through, and there were some wonderful limited editions and anniversary models that are hard to come by. 20th anniversary: The 4-string got a mahogany body, quilted maple top, red tort pickguard and no control plate. Quite sexy! Stingray 5 20th anniversary (yes, specifically for the 5's birthday): this one really hit the ball out of the park in 2007 with a flamed or quilted maple top, natural maple faux-binding (just veneer-thin but enough to add a beautiful contrast). To me this is the sexiest Stingray ever built; 30th anniversary: like your regular Stingray 3EQ but with a mahogany body, and a gloss finished neck in matching colour (dark red); 35th anniversary: arguably the second-sexiest Stingray ever made, at least in my opinion! Based on the current Stingray Special, these have an ash body with a spalted maple top in sunburst, with a natural faux-binding, ebony fingerboard with "copper pearloid" block inlays and they look business; Stingray 5 30th anniversary: white, tort guard, roasted maple neck and fingerboard and white fingerboard bindings; The elusive 2001 NAMM 100th anniversary silver Stingray with Status Graphite neck, harking back to the pre-EB 1981 Cutlass 1 basses; Many, many very nice limited "colour of the year" limited editions, Premium Dealer Network exclusives and Vault-exclusive finishes that could only be ordered directly through EBMM's own webshop.

Can confirm. (I'm assuming autocorrect messed up the word "Detuning" here - putting a Stingray in drop D definitely made me play RATM)

I understand the idea of the singlecut bass is to build a more rigid neck by having it meet the body earlier. This should mean a tighter, more focused sound - but that won't necessarily be a good thing for many bassists. I've always thought singlecuts can be very sexy, ever since seeing Edsel "Touché" Eusebius with his Elrick in Intwine. I didn't like the band but that bass left a lasting impression with me. And I've always loved the look of Benavente, their SCB and SCD shapes look amazing to me. Sleek, elegant. The SCB is very Fodera-like, but the SCD's upper bout is just different enough to look unique IMO. SCB: SCD:

I'm curious about that as well. Someone on a Dutch bass forum that I frequently visit has just imported one of the Indonesian SB700's from Japan in a sale and I'm looking forward to his review. He hasn't said a lot about it yet, other than it's a good and very solid bass, plays great, but the ergonomics and the way it balances require some getting used to (coming from mostly FSO's). Looks very authentic, appears to have the same barely-tapered string spacing as the original (he measured 17 mm at the bridge and it's not exactly narrow at the nut).

Cool! Is the magazine related to the Dutch magazine "De Bassist" and its sibling "Gitarist" in any way?

Agreed! I also associate Cliff Burton more with the SB Black 'n Gold, and not with this more "plain" SB reissue. There have been earlier signature models and tributes, and they were all based on the Black 'n Gold.

I had to double-check if this was an older thread and if I had already replied to it, and lo and behold: I did, in july 2024. Maybe somewhat to my surprise (as it can change quite often for me) the above is still accurate I did grow more and more curious about fanned-fret basses, and would love a combination of fanned frets and headless at some point (an Ibanez EHB1005L is on my "to try-list"), but deep down I'm sure I'd prefer something more traditional.

There was a thread about them earlier, but no personal experiences as far as i can tell! Hagstrom Nekromant bass - Bass Guitars - Basschat

They did! The earliest models, from 1978 until 1982, had REALLY big necks, both thick and wide. I've had two MC924L's from that period. They were great, but incredibly heavy and while I was comfortable with the big neck, I prefer a thinner and narrower neck these days. Which is why I've only got my 1983 model anymore: it's the later model with the bevelled edges, and PJ pickups in soapbar casings. Coincidence has it this is my year of birth, the serial number dates it to December 1983 which makes it only a month younger than me.

That does indeed look like an early 1980s Precision Bass Special. The routing channel to the battery box on the back checks out, even if (strangely!) it is not being used and the battery for the EMG's is in the control cavity! Edit: Most likely a refinish, the Special never came in Antigua - although custom finishes have been known. John Deacon of Queen had one in Sahara Taupe (which was used on Under Pressure, among others), but the standard colours were only Lake Placid Blue, Candy Apple Red and Arctic White, according to Google. I must add the finish does look convincingly like some aged Antigua basses from around 1980 that I've found online.

These are a Chicago Music Exchange / Andertons exclusive, and indeed somewhat limited. And thank god! That Lavender Haze sure isn't pretty.

That shouldn't be how it's wired. I've had three of these, and they were volume, tone, preamp gain and 3-band EQ, so you could boost or cut the EQ curve without having to change 3 knobs, and so you could match the output to the passive level. There is no pickup balance, only the 3-way switch. The gain knob only works in active mode, obviously.