Steinberger L2

The EMG pickups are as strong and clear today as they were when I acquired the instrument on April 1, 1982. In spite of two volume and one "tone" controls, the ability to vary sound still amazes me, and other musicians I perform with.

I have used this instrument for pop, funk, jazz, big band, classical, and musicals. It works in all settings. Mainly, I use the bass with a Trace Elliott amp (300 watts)with a multitude of frequency possibilities. Speaker configurations have varied over the years, but that has never seemed to affect the sound outcome. I can get any sound I wish. An interesting effect with the instrument is duplicating a bass line played by a keyboard, using the pickup closest to the bridge. It really brings out the keyboard line. I've done some recording with the instrument. The sound was clear and rich.

Action was fine when I first used the instrument. I made some minor adjustments of the bridges to fine tune intonation. That was in 1982. It's not uncommon to go for weeks without having to tune the instrument.

I've used this instrument since April 2, 1982. On a job shortly after acquiring the bass, the band took a break. Wires were tangled all over the stage. Without thinking, I jerked on a wire that I thought was free. I watched the bass rise into the air, flip over and bounce on the stage. No problems whatsoever. Today, hardware is still fine. Strap buttons are the same as when I acquired the bass. I've never used a backup instrument, although I have one. These days, I often play sitting down. I find it easier to play without the attachment used for a sitting player. It's comfortable.

I never had to deal with the company.

I've performed on bass since 1969. I started on a Hofner and moved on to a Gibson EB-3 in 1972. In 1982 I wanted a bass that could produce a more "synthisized" bass sound that I could not get from the EB-3. I was interested in Alembic, but I could not aford what I wanted at the time. The Steinberger was it. I also own a Martin fretless(model ?). I've used it on occasion, but the Steinberger is my instrument. I like it for the sound it produces, but also, because of its sustain. I have to control the sound with the left hand. I have to really play the instrument. It's just a delight to play and hear. I can't imagine being happy using another instrument.

Steinberger L2--serial number 692 (although the only way I know that is it had a circular sticker on it with the number 692 handwritten on it). So probably made in 1980? 1981? I bought it new at one of those cutthroat music stores on or near Peachtree in Atlanta, I think it was Rhythm City, for $1400 new (believe it or not, that was a good price bc it was a hot item that had just come out and the list was a few hundred more. Some people reportedly paid higher than list to jump ahead in line).
Anyhoo, no need to rehash the features, the other reviews lay these out. The lore on these basses was that Ned Steinberger experimented with different materials trying to get a combination that resonated evenly. Hard to give a score for features because by today's standards it doesn't have a lot of control over the electronics. But then, it has the killer ergonomic body wing suspension that is unique, and it's tee-tiny. Oh, I should add that this is a great bass for someone with small hands (like me) or someone who plays mainly guitar but wants to switch off on bass. The strings are pretty close together and it is EASY to play. Another reviewer thought you couldn't pop the strings very well--it's just a matter of getting used to the bass.

1. This is the only bass I have ever played that has NO PROBLEMS. It seems to resonate at every frequency with approximately the same volume. Meaning, no notes seem softer than others, and no notes boom out. Really.
2. This bass doesn't have the personality that a great wooden bass has. It's more of a chameleon. It can produce radically different sounds depending on how much you dial in the pickups (this is not unique, lots of great basses do this). I never roll over the tone control (as others have pointed out, the tone control seems to be passive). Live, I turn both pickups up all the way -- incredibly full range, complex, all you want. If I'm playing some Stanley Clarke picallo bass style I roll off the bridge pickup. Sounds like a rubber band on steroids. Recording, the bridge pickup is the best for getting a classic tone. Also--it's great for recording due to the even volume across frequencies. It twangs sweetly when popped and I wouldn't know how to even try to make it sound bad.
It seems to have some kind of natural compression, because really strong pops don't blow out of proportion to plucked notes.

Been so long, I don't know how the set-up was when I got it. Fit and finish were topnotch. The pivot on the body wing (which integrates with the strap) takes some getting used to before you get the right tension on it. The action and intonation change radically if you change your string gauges, but once you settle on your strings, the intonation and action are like a Ron Popeil product -- set it and forget it. In and out of the case, fall over on stage, whatever, nine times out of ten it's STILL in perfect tune.

It's the only bass that comes with a gig bag that I didn't feel needed a case. When I was gigging fulltime, though, I didn't throw it on the truck--well sometimes somebody else did, but it took a lickin and kept on tickin. The hardware will corrode if left in the damp for months but it cleans up ok. Only damage I have seen is that I cracked the case over the battery compartment by honkering down too tight on the screws. Oh, and the rubber lining on the inside of the leg support is starting to come unglued.

Never even thought about customer support.

Damn, like 30 years.
If stolen I would try to find another one. It's SO light and easy on the shoulder, you can carry it on the plane, and it's the easiest bass to finger that I have ever played. Even when I let my chops go for a while I can still pick this bass up and whomp up on it.
This bass was really hot but then fell out of favor, and I don't know why--the only shortcoming I can think of is that it doesn't sound "woody". If you play it through a shitty amp it can sound cold and clinical, but play it through anything decent and you'll be smiling.

Purchased in 1982, new. 24 frets, no headstock, tuners at bottom. Black face plate, paddle shaped. Bayonet leg rest. Pivoting, boomerang shaped strap pin assembly. Padded gig bag.
Neck is narrow and deep. Sort of the opposite of a Fender Jazz Bass which is wide and shallow.
Two volume controls and a tone control.
Came with active EMG pickups, which I found a little gutless. Replaced with active Alembic pickups which really growl.

Sound is linear across the entire spectrum. There are no live or dead spots. Sustain is virtually infinite. With Alembic pickups, it has a bite, and less of a sterile sound.
The active electronics leave something to be desired. They behave more like passive electronics, in that you cannot boost frequency ranges, like bottom or mids. You can only cut the highs like passive guitars. Independent volume control of each pickup allows you to mix the sources, but when both are full, there is some cancellation and a drop in output level. (This was for both the EMG and the Alembic pickups).
The sound is beautiful and full range on its own, but when used in a live band, is easily wiped out by distorted, raunchy guitars. Not a rock bass. Better for funk, where there is space in the midrange to hear the overtones of the bass.

Looked like a prototype, but built like a tank. A very odd instrument.

The bass is indestructable. The neck is still arrow straight after 24 years. It stays in tune for weeks on end. The bass looks the same as the day I bought it. The gig bag is a mess. I used a gun case to carry it around when the gig bag broke, but got pulled over by the cops. I fixed the gig bag after that!

The bridge is composed of blocks made of brass. The brass wears and develops sharp edges. I used Superwound doubleball end strings, which are wound in the play part of the string, but reduce to the core only when crossing the bridge, purportedly to produce better sound. The strings would snap regularly because of the bridge wear.
It is harder to find double ball end strings nowadays, at least in brands you like. You have to use set screws to install regular strings on it. These can damage the strings if you are not careful. The set screws are easily lost, but can be replaced at any hardware store.

I have never dealt with the company.

I have been playing 30 years. Owned a Kramer headless bass before buying the Steinberger L2. Liked the transportability of the Kramer, but not the sound. Moved up to the L2. Used it for 18 years. Acquired a Fender P-bass Lyte, which felt very strange after using the Steinberger. Now I use that exclusively and find the Steinberger strange! The P-bass Lyte is too large for my car's trunk, but has good active electronics. The wide neck allows for more dynamic playing. That would be my main complaint about the Steinberger now. It has a guitar neck, not a bass neck. It is very fast but you cannot get any power on your downstrokes when finger playing. The sound cannot cut through because of that.

Mine is a 1983 L2 lined fretless 4-string. Obviously it's the headless oar-shaped carbon/graphite composite construction. Face plate bolted on from the front. 2 EMG humbuckers, active electronics, volume, balance and tone controls. The gig bag wore out years ago and is gone, as is the plug-in leg rest. The logo sticker is intact. It's the only bass I've ever owned that I could take to a jam on a bicycle.

The sound... ahhh, the sound. PERFECT for a fretless. The construction allows for ridiculous amounts of sustain for that weepy vibrato that makes a fretless electric bass unique. Warm and cuddly to Jaco bright (if the strings are new). Quiet electronics make it a studio favorite. I heard -that- sound for the first time on King Crimson's "Beat" album... Tony Levin drawing sensuous growlings out of it like I'd never heard. That's when I knew I had to have one... plus it just looked sooooo cooool....

I didn't touch the factory setup for years, it was that good. Flawless.

23 years of live and studio playing and the hardware is still perfectly functional. It even withstood a small accident invloving battery acid in the trunk of my car. Tune it and it stays there, for weeks at a time. No "summertime blues" for this bass. My MusicMan requires seasonal adjustment, not this beauty.

The ergonomic, center-of-gravity strap mount system is incredibly comfortable. There's no "hold the guitar in position and play, too" going on here. Put it in position and it stays there. It's a light instrument, too. After the gig, I'm still the same height on both sides when playing this bass. -NOT- the case with the StingRays, which weigh in at 10 pounds for the 4-string and -11- for the 5-string!

About three years after I bought it, one of the EMG pickups failed. Replaced it with an exact replacement and that's it for work done on it. The fretboard is starting to show wear from 20 years of round wounds and there is a tiny crack in the face plate just in front of the back pickup at one of the mounting screws. It's been like that for a decade. The material that makes up the fret lines has broken in a couple of spots. The 11th "fret" is about 1/3 missing and a -tiny- bit of the 6th is gone as well. Play is not affected at all.

I had a bumper sticker once for my Atari STe computer... "Atari support? We doan need no steenkin' support!" That could have read Steinberger. I didn't bother with trying to get warranty work when the pickup failed as I needed it -NOW- so I just took it to Steve's Music in Toronto, bought the pickup and had them install it. An afternoon without the bass. Besides Steinberger is gone... (sniff)

I've been playing almost 40 years. My other basses are a pre-EB StingRay, an EB StingRay 5, and a Peavey MIDIBass. I've owned Precisions, Rickenbackers, Jazz-es (?), an Alembic, and even an EB-3. Actually, the L2 neck reminds me of that guitar a lot, so there's a nostalgia factor at work, too. I don't know what I'd do if it were lost. I'd never find another like it. They only made about 15 of the lined fretless L2s. Sonically, it's serious perfection. What I -don't- like is that it's almost impossible to play sitting, even when it had the leg rest. Still, I can't imagine a fretless I'd love more...

Its a 1982 L2 toploader (face plate is bolted on front - not rear) made in Brooklyn. 4 strings is all real bass players require as this baby has 24 frets which sing in tune in all positions. The stencilled ID has long worn away and the leg rest was missing before I bought her. The strap trapeze lives on however and this girl will not dance sitting down.

This bass sounds like a Steinberger L2 toploader - there's not much more to it than this. If you like the clear deep harmonius sound of the bottom of a superior quality grand piano this is the electronic version mounted on a black stick for your listening pleasure. I havn't heard anything else come close. If you enjoy the sound of a bison on heat in a sleeping bag this ones not for you...

The design of this creature is space age and Uncle Ned jagged the perfect combination of pickups to match. The passive EMG's appear slightly out of phase when both pickup volumes are turned to full setting - This gives the instrument a touch of spacial ambience which gives it it's distinctive signiture tone which is always recognizable. The action is reasonable (I have played better) and the electronics whisper quiet. The battery seems to last for ever which is an added bonus. The neck is reminicent of the Gibson style - thin between strings, but fat and round in your palm.

This instrument is considered indestructable by most owners. I havn't put it to the test as I have too much respect for it! It is also true that this baby NEVER goes out of tune due to neck variation with temperature. You can almost leave the tuner fish at home for jamming and do a cursory check for the gigs.

I bought it 2nd hand and do not expect any customer support as such. It will probably need a new set of lower frets in the next couple of years as I never put the thang down.

I have been playing for 23 years and also gin around on 6 strings to keep myself from becoming a fool to myself and a burden to others. I have a 72 custom SG, 76 strat, 84 custom explorer, 73 ovation acoustic and a gibson 135 to keep me company. If this bass left me I would have to find a replacement quickly (where possible) as it would be like having an arm chopped off. I spent 8 years masturbating on a Headway copy before marrying the L2. I have had many basses (and rigs) and enjoy ska, jazz, reggae and hard picking R & R. If you like clarity, thunderous tone and can handle 3 testicles find yourself one of these baby's. I believe they are an appreciating investment due to their limited availability and historical significance.

1983 Steinberger L2 bass. One of the classic basses of all time.

I play in a top 40 cover band and we play a very wide variety of music. This bass will cover all the bases. (no pun intended) It is easy to dial a good sound with the L2. The EMG SS pickups are some of the best sounding pickups EMG has made. I really like that the bass is compact and I have more room on stage with less worry about hitting one of my bandmates.

It is easy to set up with low action as the bass is solid composite. After 21 years the bass still plays beautifully and still draws comments.

This bass is awesome. I prefer the L2 over the XL2 which came out in 1984. It has withstood numerous live gigs and stays in tune extremely well. The strap system is a work of art. The bass is very dependable and I rarely use a backup bass. I do always take extra strings/cords/batteries though.

I've emailed Mr. Steinberger on occasion and he is very helpful with information regarding these basses. My primary reason for owning an L2 bass is the late Dee Murray. After seeing him perform with Elton John on SNL back in 1982 I knew I had to have one. And I was lucky enough to catch Dee with Elton during the 1984 "Breaking Hearts" tour. A tremendous talent!

Since only around 1500 of the original L2 basses were made they are getting harder to find at a good price. I was very lucky and was at the right place at the right time to find mine. I've played for over 25 years and own several other traditional basses, but the L2 has fast become my favorite. I don't know what I'd do if the bass were lost, probably try to find another. My favorite features are the sound, compact size and reliability.

Original Steinberger L2
Active pickups EMGs
Simple/standard features

Sound is GREAT.
Warm tone, Variety tones (I like warm/dark sound)

Set up easy to do. Go to steinberger fan sites for set up info.
Got this bass used but good condition.

This Bass it the Bomb!!!
No truss rod adjustment needed, Stays in tune,
Always wanted one, got it now this bass is my main 4 string.

N/A
but Yahoo and other Steinberger user/fan sites on the net give plenty of useful info.

12 years
If lost, I would try to find another L2
Simple controls. Great tones.
This bass took a little getting used to. Fat neck and no head (of course).

This was one of the first ones, made in Brooklyn, NY in 1981 or 1982. Later ones were made in Newburgh, New York or Nashville, TN, and are actually caleed XL2's. There are 24 frets, and the bass is of all graphite construction,has 2 EMG humbuckers. The controls are simple, just 2 volumes and a tone control. Electronics on these things are often a source of great confusion, because the pickups require a battery to power them, but the EQ itself is passive on this model. An "A" at the end of the model name denotes an active EQ model eg XL2A. This is the familiar boat-oar shaped model.

I bought it just to have one, and had no idea that it would become my main bass, but when I brought it to the gig, the band were blown away by the sound. After having owned over 50 basses, I am finally at home with this one. I can't rate the sound highly enough - it's perfect! The graphite gives clarity that has to be heard to be believed, with no wolf notes or dead spots at all, anywhere. Those of you who have played any of the copies ( Hohner etc.) or any of the Steinberger Spirit models need to know that graphite, because of it's density, is neccessary to provide the resonance for a bass with such a small body. The wooden ones don't have the mass to provide any true depth, and amplifying them, or adding active eq does not give the same results. The bass also has a strap pivot so that it hangs from it's centre of garvity, and this also serves to eliminate the problem the cheap one s have, whereby the bass sits on you funny,with the first fret further away from you than is normal.

This bass was almost 20 years old when I got it, and was filthy and unloved, but it cleaned up beautifully, and all the hardware works immaculately after all this time.

This thing is like a cockroach - some might say they're ugly, but they will withstand a nuclear war. The neck is so stable, it does not require a truss rod. I had a brand new Musicman Stingray whose neck moved to an alarming degree depending on the temperature of the room. None of that nonsense here.

Never had to, but Steinberger are gone anyway.

I have been playing 16 years, 14 of those professionally. If it were stlen or lost I would die. I also own an XM2 and an XP2, but the L2 destroys both of them in terms of playability, and sound. If you see one, buy it. If you can get over the headless thing, you wil love it to death.

1980 L -2 bass. I bought it new. 1200 dollars. years of service.

great, kind of like a Ricky, but way better.
some engineers love it.
some clients get greaky with how it looks, say "bring your precision.

set-up fine when new, easily adjusted thereafter.
no wood.

great. years of semi-abusive playing. knowing it could withstand cavalier treatment, sometimes in heat of performance throwing instrument across stage. bad theatre?

here's where i need help. body, fretwork fine. A-1.
electronics questionable. uneven string response. are replacements available? are there any repair people who actually bench check instruments? are there manufacturers'
spec sheets and service procedures available?

Steinberger L2 Serial# 761 made in Brooklyn, NY Made in the early 80's this all graphite headless bass features boat oar design, EMG pickups, patented steinberger bridge tuner that uses double balled strings, and 24 frets. Came with a gig bag and removable leg rest which are both long gone.

This bass has a great sound. It has a biting sound that cuts through the music. The electronics are very quiet. I've heard some people say they do not like the sound of the graphite Steinberger bass but I love it. I guess you either love it or hate it.

The balance and feel of this bass is incredible. A true engineering marvel. I must say it takes a little getting used to if you have never played a headless bass. I got this bass in 1984, used, and it is the one I play when a song requires complex fingering or speedy playing. It is very easy to play fast because the strings are spaced so close together. I wouldn't recommend it for slap though. I find it hard to get the plucking finger in between the strings due to the close spacing.

This is without a doubt the most durable and reliable instrument in the history of the universe. You can spread 2 chairs out, place the bass between them, sit on it and the bass will not only support your weight but will still be in tune when you pick it up and play it. You can leave the bass in the corner for 10 years and it will still be in tune when you pick it up. When I was a young man my freinds and I were leaving the rehearsal studio after consuming many frosty beverages and in all the confusion of loading the equipment I forgot my Steinberger on the roof of the car. We heard a thud on the trunk of the car about a mile down the road going about 50 MPH. No one knew what it was until about 5 miles later I realized it was the bass. We went back and there it was, still laying in the middle of the street. It fell off the roof at 50 MPH only protected by a canvas gig bag. The only thing that was wrong with the bass was broken strings. After I put new strings on it I realized the graphite under the bridge was cracked. I sent it back to Steinberger, which at that time was in Newburgh, NY and they fixed it for very little money. Any other bass would have been destroyed. This is one tough bass!!!!!

Customer support used to be great but now the company is owned by Gibson, I guess. They seem to only make the lower end basses now like the spirit bass.

I have been playing for 20+ years. I also have a Fender American Deluxe Jazz Bass Fretless and American Deluxe Jazz Bass Fretted which I love too. I have bought and sold many others as well including Hartke, Ibanez, Washburn, Warmoth custom made, Peavey and Kramer. This bass I have had longer then any other. Anyone who wants a good idea of the sound of this bass should go out and rent RUSH Grace Under Pressure. Geddy Lee uses the L2 bass on that video. The reason I rate this bass an overall 10 (fantastic value) is it will last forever. If an atomic bomb hits the only thing left will be roaches crawling on the Steinberger L2 bass.