Chris2112

[quote name='Grand Wazoo' post='977913' date='Oct 5 2010, 01:14 AM']and in the rest of the world they are pronounced war-wick[/quote] I always that was such a clumsy sounding name next to the elegance of "worrick"!

Looks nice but I didn't really find the sound to be anything special, pretty dull sounding to me.

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

Just had the pleasure of a weekend bass trade with Geoff, my Alembic Epic for his Status S2. Fantastic to deal with, great to stand and chat with! An honest bloke who I would have no reservations about doing business with!

I recall my Fender Urge Standard. It was nowhere near as good as the US model (not that I expected it to be) but it did't sound great, and it played pretty badly. With a decent set up it could have been a bit better. Didn't keep it very long at all (lovely light weight though).

Pickups probably have secret coils built in that turn up the suck when you mix them up!

If only you could have the bridge pickup as a Bart and the neck as a Nordy!

Sounds like a bright P bass at the start but ends up sounding [i]much[/i] better at the end!

I'd favour the Barts. I've never been overly impressed with Nordstrands in the limited time I've had them. They give brightness and punch, but sounds a little bit brittle. Whereas Bartolini pickups have usually impressed me (their humbuckers are the best aftermarket units I've heard). They tend to let the bass speak but always add their own colour, giving the midrange prominence and depth. This makes for a pickup that is very useable in a live band situation but also sounds great in a sparse mix where the bass is prominent and audible! Contrary to the popular belief, they're not just subtle, dark sounding pickups. You can get some great bright tones out of them, with loads of oomph so it's a useable sound. IIRC the Bartolini pickups used by Zon and Modulus are custom wound for each manufacturer, these really are the jewels in Bartolini's crown IMO.

I'm not familiar with the DBS system, but I've never been impressed with Marshall bass stuff (or guitar stuff).

[quote name='martthebass' post='975340' date='Oct 2 2010, 07:36 PM']I'd agree with above bit say £800 should be looked at as a minimum, on a good day it (in this condition) maybe up to £1k. I think the headed generally do a little worse cash wise than headless.[/quote] FWIW, Status seem to be having a rough patch, there has been a nice S2000 going for £1075 here for a while now and it's just not moving. However, I recall when that price would have seemed excessive for an S2000, the market is in flux...

The best I've played is an Alembic. I'm a big fan of ebony boards on fretless basses, they sound great and are so hard-wearing. I'm not sure if the Alembic is the best fretless bass in the world but it's the best I've played so far!

Well, they deserve this award! They rock!

I think the thing with slap bass is just not to get hung up on it! So many saddos will harp on about it being out of fashion, old hat, tacky etc etc whilst thumping 8th notes on the root. It's another tool in the box and one that is there to be used. If a track requires a relentless 16th note slap line like some Level 42 stuff, go for it. If it requires a shifting groove with double thumb pops and clicks, do that. Collectively, bassists have to become comfortable to be in the limelight again. It was common place in the 80's but we became marginalised in the early 90's. If there is one thing that must go with good slap, it is practice. Do anything poorly and it will sound awful.

[quote name='phil.i.stein' post='969759' date='Sep 27 2010, 05:46 PM']i've posted this previously, good demo here. [/quote] That is an incredible sounding bass, particularly at the beginning of the video!

Typically ebony will be more expensive. I recall some discussion between luthiers over how it was becoming more and more difficult to get ebony blanks of sufficient length and quality for making fretboards. I would expect this to be reflected in the price, it is typically considered a premium wood unlike Indian Rosewood. If you're buying Indian Rosewood blanks it should be about as cheap as exotic hardwoods will get. Brazilian rosewood will cost more, and coco bolo and bocote are sometimes sold as rosewood, though they'll be significantly more expensive than bog standard Indian Rosewood.

True, but with some balancing they're all usable. That said, I don't know anyone who uses the passive modes!

[quote name='urb' post='971054' date='Sep 28 2010, 07:30 PM']I disagree - learn the masters note for note and then use what you've learned to feed into your own style of playing - it's how they did it - ask any top pro and they list the players they listened to and copied - if it's good enogh for them it's good enough for you and I [/quote] back in the day when you were doing those Victor Wooten style lines on your Thumb, that was cool! When I was 16-18 I studied Stuart Hamm's slap lines religiously and leared those, applying the skills I gained there to pretty much all of my slap playing. That was my foundation.

And both mine have been "pre Fender" with the 18V 6 position preamp both with high outputs...

No, mine has a very hot output, amongst the hottest I've had.

For me, the elements are: Bass: usually something modern with a hi-fi sound. Kubicki, Status, Alembic, Fodera with EMGs, Spector etc etc Strings: stainless steel roundwounds (sometimes thin, never heavier than .45 guage) amps: Again some thing a hi-fi sound (or Trace Elliot). I'd suggest something like an Ashdown Mark King setup effects: none (although a touch of chorus can be useful for fingerstyle parts in between slapping)