Fender Bass guitars

This 50's P-Bass is an American classic. Its features include, typically, a maple neck, an alder body and a split single-coil Precision Bass pickup. It has a vintage golden pickguard and vintage hardware. It also features a volume knob, a tone knob, and a 1/4" input. UTILIZATION This bass is somewhat heavier than a Jazz Bass, and can be somewhat large and long, but it was never too awkward for me to handle, and I'm less used to playing bass than most. A well-maintained P-bass will play and feel great, and the top notes won't be too far out of reach for anyone. If anything, the lowest notes will be more strenuous for someone with shorter arms. Everything on this bass is smooth and stable. SOUNDS I like using this with a Peavey tube bass amp, but I've heard many good combos with it. I like a nice, smooth, fat tone, one that isn't gonna pop too hard, but fat enough to hold down a heavy groove. This bass is definitely more low end thud than the J-basses smoothness, but it has plenty of both. It's pretty versatile and can really hold down a fat groove. Distorted, it is particularly nice because it doesn't get too fuzzy, and it doesn't lose the pop of the low end. I really like using this for rock music, as well as some of the heavier funk and R&B. Most of the rock I play isn't too heavy, more in the vain of Dire Straits and Wilco in terms of heaviness and dynamics, and I think that the bass is just deep and round enough for those genres. OVERALL OPINION The old P-basses, in my opinion, are some of the best instruments made in the 20th century. These will certainly cost you a pretty penny nowadays, too. Getting a good used one is a good lifetime investment for the true bassist. I think it's worth it in the long run, before they get even more expensive. They sound absolutely phenomenal, and if they are well-maintained, they play great too. The P-bass is certainly in a league of its own, and going classic is definitely the best choice.

I don't have the natural finish bass, I have it in Olympic White (cream), but that's the only difference. It was 'crafted' in Japan and has the classic fret number, the grand total of 20, with two vintage style single coil Jazz Bass pickups. Along with quite a thin maple neck, with lovely pearl inlays and a nicely varnished surface. The bass has the added bonus of a Leo Quon Badass Bass II bridge - a big chunk of metal that helps sustain. The addition of an active circuit within this bass is great (and hence the weird shaped pick-guard). You have the ability to control the volume of each pickup, and with the active circuit engaged (flipping the active/passive switch) you can boost the deep lows and sparkly highs for a crisp and clear tone. The neck pickup cover can also be removed, as it isn't for everybody. UTILIZATION This bass is a pleasure to play. With a thin and well varnished neck, you'll have no trouble playing. It's set up pretty much like any other Fender Jazz Bass, so access to the high notes is easy. It seems to weigh more than your average Jazz Bass, but a good strap should sort that problem out. SOUNDS Firstly, this is a very bright sounding bass. I currently have a set of DR Marcus Miller Fat Beams on it, but even with an old dead set it still has a trebly crunch to it. I have the action quite low, so fret buzz does tend to be a problem- but that all depends on what type of music you're playing and how you intend to use it. Since there's no tone control built into the bass, you only have the ability to mix the sounds from each pickup, and boost the bass and treble, but that's all you'll need. There is one problem however. This bass seems to be rather susceptible to hum and interference. This is because the bass isn't shielded properly. I got someone to help me fix this using this guide ( https://www.talkbass.com/wiki/index.php/Silencing_the_Noise_on_a_Marcus_Miller_Signature_Bass ). It's well worth doing it, as I now have a very silent bass (see the results here ( http://basschat.co.uk/index.php?showtopic=40480&st=0&p=418288&#entry418288 ))! OVERALL OPINION Overall, a great bass. Somewhat limited in it's versatility, so I wouldn't buy this expecting to get a warm vintage sound, that's not what it's for.

(Originally written by cykklop/translated from Audiofanzine FR) - Where was it made? (USA, Japan, Mexico, France...) Entirely made in the USA. - How many frets, what kind of pickups and what is the pickup configuration? 22 frets. The guitar was made in 1989 and 22-fret necks were trendy. Like most Jazz Bass models it has two passive single-coil pickups. - What about controls (volume, tone, pickup selector...)? Two volume and one tone control - What kind of neck? C profile neck with rosewood fingerboard. UTILIZATION - Is the neck comfortable? Wow! It's the third bass I own and I had never heard such a sound. I previously owned a Fender Precision (it was my first love... different!) and an Ibanez SR series (awful... I don't like active instruments!). This bass guitar is in a whole new level! This neck is a incredibly fast! You feel immediately comfortable with it, your hand slips smoothly allowing you to play accurately. The neck is very narrow at the nut... Perhaps it's somewhat bothersome for some people but it was one of the reasons I fell in love with this instrument... It's all a matter of taste! - Is the access to the upper frets easy? No problems to get to the upper frets. It's just PERFECT. Since the neck has two more frets than a standard Jazz bass, access to the upper frets is even easier and it opens new musical horizons... - Is the instrument ergonomic (body shape, weight...)? I think there are many reasons why this old bass is still a standard. The weight is also perfect, neither too heavy nor too light! The balance is perfect both sitting and standing. - Is it easy to get the right sound? It couldn't be easier... and what a sound!!! Great! You can play everything from jazz to rock, punk and funk... Everything is possible and the sound is always very good!!! I don't think it's a coincidence that it's the favorite bass of musicians like Matt Freeman (Rancid), John Paul Jones (Led Zeppelin), Tim Commerford (Rage Against the Machine), Flea (Red Hot Chili Peppers) and many others. SOUNDS There's nothing left to say about this instrument. OVERALL OPINION - How long have you been using it? I played this bass one and a half years. I just sold it for a P Bass which matches my style better. - Which feature do you like the most / the least? I like almost everything about this Jazz Bass: first of all the sound, the neck, the playability, the looks, etc. However I find it has a disadvantage: the pickguard is not a standard pickguard. The number of holes is not standard and it's too wide in the neck area. It's not a problem regarding playability and sound but there's no way to change it unless you pay for an expensive custom-made pickguard. - How would you rate its value for money? I bought it on ebay (the Fender case was included). It was in perfect condition and I couldn't find a better deal... it's nearly 20 years old and it's better than most modern Jazz Bass models I tried. I wouldn't buy it again only because the (very good) sound doesn't match my taste. I prefer a MusicMan, Precision or Rickenbacker sound. Then again it's only a matter of taste. PS: I give it a 7 because 9 would be the mark for a Precision Bass with a Jazz maple neck, Gibson-type inlays and MusicMan pickup ... and 10 would be the mark of the Rickenbacker 4003!!!

The first time I saw this bass was many years ago, when watching a Led Zeppelin video. I fell in love instantly. The color, the sunburst tone and punch of this Jazz bass captivated me. As any bass player would, I listened carefully to John Paul Jones' basslines and wondered how many different basses he had recorded with (in early Led Zep recordings), cause the sound was so different every song, sometimes deep and expressive and then aggressive and harsh. Then I read that he used the same Jazz bass for all those songs! I was determined to get this bass, and when I finally did, I was delighted with its versatility, punch and feel. My bass is made in Mexico, but it sounds perfect and overall quality is excellent. The electronics are great and the tone controls give you a lot of sound-shaping options. It has an alder body, (so it's fairly heavy) a 'C' shaped maple neck and rosewood fingerboard. Like the original 60's bass, it has 20 frets and vintage-style reverse tuning machines, which you have to get used to tune the other way, but this is obviously not an issue. It also features 2 Jazz bass single-coil pickups and purple shell pick-guard. UTILIZATION This bass has a very nice feel; the neck is very slim and this makes it very easy to reach all the notes in the fretboard easily. However mine has a fret buzz in the F# note of the second string, even if the bass has been recently adjusted. I don't know if this is production related or the previous owner had something to do with it. The most important flaw my bass has is that the neck has to be readjusted somewhat often, otherwise the strings feel too high and playing gets a little uncomfortable. I will have to change the truss rod soon, the luthier that recently fixed the bass said it had had a bad time with humidity, so maybe this flaw is the not the factory's fault but the previous owner's. However I have heard some other owners of this specific model also complaining about this issue. Anyway, I hope that after the truss rod change the neck will remain straight longer. The tone controls are: Volume 1. (Middle Pickup), Volume 2. (Bridge Pickup), Master Tone. I usually set the tone I specifically want for a determined situation by balancing between the 3 controls and the amp's EQ and bass and treble controls. I love the design of this bass. As a 60's and 70's music fan, I love the vintage look, slim body and the sunburst color. It's a little heavy but not too much. SOUNDS I play this bass through a Hartke HiDrive 112C and the sound is wonderful. But I feel it sounds slightly better through a BA 112 Ampeg ,because this amp has middle and high frequency controls that make the bridge pickup really shine . Anyway, it sounds excellent through both amps and it's incredibly versatile. One issue when playing with a lot of treble is that you get some hum, but if you balance it well with the tone controls and the amp this won't be an issue. I think it's also a part of the 60's sound. The growl of this bass is true vintage and when played with a pick it will sound harsh and percussive but also warm and full. I usually don't play with effects, apart from the built in EQ and compressor my Hartke has. I play indie rock but with a 70's style too, and this is exactly the sound I want. OVERALL OPINION My first bass was a P-Bass, and while I really liked the sound, I needed something with more mid and high end, and as I said before, this Jazz bass was just what I was looking for. Regarding sound quality and precision I could not be happier. Perhaps the only issue I have had with this bass is the truss rod thing. Apart from that everything is superb, I bought it used for $600 and it was some of the best investments I have made. However if you want to buy it new it's also not too expensive and you get a much better sound that most basses at that price range. If what you want is a true vintage 60's growl and warmth, you shouldn't be looking for another bass. Definitely would buy again. In conclusion: Pros -Good tone -Good feel -Vintage Sound -Versatility -Great pickups Cons -Truss rod needs to be adjusted often.

This is a great bass for the money. Made in Mexico. The electronics are quiet and clear. The P/J pups are a great way to go. The controls for the active pups offer a great range of sound. I upgraded the bridge to a bad ass bridge to offer out standing sustain. I also had to upgrade the bad gold pic guard. The combo of a jazz bass neck and the precision is the best of both worlds. I have an American Fender Deluxe Bass as well that cost 3 times as much and I play the Mexican bass more. UTILIZATION Easy bass to play. It sounded great before I had it set up. The sound is crazy great very crisp and sharp on the high end and powerful low end. This is a very light weight bass. It is much lighter and smaller than my American deluxe or Arodine bass. SOUNDS I use the Fender Rumble 350 and 150 as a kite. This bass is great for sharp heavy rock sound. I keep the active gain up all the way for ease of play and a crisp sound. OVERALL OPINION I love the weight and look most. The price is very reasonable. I have payed much more for less. I have a few fender basses and this is one of my favorites.

Fender has been known to take a popular and re-introduce it to the public with minor variations and changes to impress you enough to buy the same thing twice. Well since the economy is in the state it is in Fender made their new Special series that is still made in America it just doesn't have all the bells and whistles of the US model. I demo'd this bass at my local music shop. I owned a Standard Made in Mexico Fender Jazz Bass as well as a Made in America Standard Fender Jazz Bass. When I picked this up and saw the $980 price tag I wanted to compare the differences between all my basses. The Special has the same 70s retro throwback logo as my MIM Jazz Bass and a near identical finish on the neck. I love the look and feel of that neck so that was a big plus. The bass was a light and comfortable weight also like my MIM Standard. I didn't notice much of a difference between the new Grease Bucket tone circuit nor do I see why it is applicable to a bass. The bridge is a cheaper bridge similar to what is also found on the MIM Jazz Basses and the bass is not string through the body like most American Jazz Basses. Alder body with a glossy Urethane finish. The one I tried out was black, I have also seen them in Candy Cola (Red) and a 3-tone Sunburst. The neck is maple with a maple fretboard. 20 medium jumbo frets in a satiny smooth finish. Now for my rant on the Grease Bucket Tone Circuit; it claims to not add bass to the signal when your tone is rolled off like the old Fender tone knobs, yet if you know anything about passive circuitry you can't add anything anyway you can only remove frequencies. That is just what the Grease Bucket tone circuit does it cuts bass frequencies, I don't know about you but I don't see a need for that in a bass! After a long demo I decided I felt this bass was too much like a Fender Standard Made In Mexico Jazz Bass to warrant spending the extra dough. Still an excellent playing and sounding bass it just wasn't right for me. This review was originally published on http://www.musicgearreview.com

This is the Geddy Lee Signature Jazz Bass by Fender. You are probably well aware of Geddy Lee's work with classic rock gods Rush. The snotty, distinct fat bass tone can be had now in Geddy's signature Fender. These have been out for a few years now. I'm going to guess since 2008. It is still in production as of 2011 and is now offered in a vintage 3 tone sunburst.I picked up a used black Geddy Lee bass with gig bag for $500. <a href="Resource id #1">Resource id #1</a> I really like the look. A black jazz bass, maple neck and black block inlays just really looks sharp. None at all. The two features that give the Geddy Lee model its distinct tone is the bridge, a Leo Quann Badass II Bridge and the wider spacing between the two single coil jazz bass pickups. The body is made from alder wood. The neck is a one piece neck made from Maple and is shaped in the popular C shape. Sound just as cool as you look with this strapped around your neck! This review was originally published on http://www.musicgearreview.com

This is a 2008 Precision Bass by Fender. This is after Fender did the S1 switching (the switch built inside the volume pot which was a series parallel mod to the pickup wiring. The 2008 model came with a new high mass bridge and the limited Candy Cola finish. Candy Cola is similar but just a shade or two darker than Candy Apple Red. I went to a local music shop to try out the new Hartke Hydrive bass amps and told the salesman 'Get me a P-bass' I loved the sound so much I picked up the amp and the bass! I believe I paid $1000 for the bass with an SKB rectangular case. The bass itself feels light. Not cheap light, just a comfortable, 'Hey I think I can play this all night' light. The neck is new, but I don't really think it is any better or worse than the older ones. The Candy Cola red finish is stunning. No improvements needed. The Precision bass is a time tested masterpiece. Fender really paid attention to detail with the neck. The fretting is really nice. The neck feels really smooth and has an almost worn in feel, but no it isn't one of those power sander relic basses. I also hadn't mentioned elsewhere Fender used new Hipshot tuners for this model. They are a bit lighter in weight and take up less space on the headstock. A bass I can't put down. It thumps and plays great up and down the entire neck. This review was originally published on http://www.musicgearreview.com

Briefly: Hot Dang this bass is cool! Well, OK I'll elaborate. This is the Fender Precision Fretless Tony Franklin signature 4 string bass. I have a think for sunburst basses. This bass also came with a hip red tort pickguard. Other colors are Olymic White, a Natural Amber color and Black. Actually there is a fretted version out on the market too, but I have not played that yet. A studio I was recording at had one of these beauties so I was able to play it off an on for a few weeks. Normally these will cost $1700. The price tag is a bit hefty but you are getting alotta bass for the price. It is rare that you see a fretless Precision, but even rarer that there is an extra hot Jazz bass pickup added in the bridge position. Throw in a 3 way pickup selector like what is on the early Stratocasters and you have endless options of tone. It can do the Jaco sound as well as just sound like a thumpy fat P-bass. The C-shaped neck is nice and full, but not a baseball bat. Sometimes really thin Jazz bass necks cramp my hand, this neck is perfect. The electronics are passive, so no fooling around with batteries here. The fretboard is ebony. What's so good about that? You can use any strings you want since Ebony is a hardwood roundwound strings will not leave marks as they would on a rosewood board. There is a Hipshot D-tuner which lowers the E string down to a D. This feature is note-worthy, but not really essential to my playing. There are not many ways this bass could be improved. If I made more money or if it were cheaper I'd but the fretted model as well. Well built. They through of everything. The D-tuner, ebony fingerboard, hot wound Jazz pickup. The neck plate is unique. It features Tony's signature which can be removed if you are not crazy about it. I could care less, it's a neck plate, no one sees it anyway. Tony Franklin dreamed it up and Fender built it! A great fretless P/J bass. This bass can do a fat warm ballad or a cutting rocker. This review was originally published on http://www.musicgearreview.com

Play small ensemble, small venues, prolly not your typical P-Bass player, but it's not my only bass. We play American songbook, blues, yaydayyada ... This ax had a major clearance price drop, and I never had a real P-bass, so I figgered WTF and played it. Turns out it's one of the very few basses that sounded good to me with it's factory RW strings on it. Usually, I hafta mentally project how a bass will sound with my flatwounds. It's your basic sunburst finish, with maple FB and uglee PG. I didn't buy it right away cuz I really didn't need it ... but I did really like it. Then came the "20% Off All New Fenders" sale, and "clearance" is still "new", so at the combined priced drops I finally took it home. So I give thanks for GC's crazy corporate mentality ! The neck is large and comfy, and the edges, including the fret ends, are flawless. Has good balance and not too heavy. Tuners work better than most. Better than on any of my EBMMs or GnLs, or most any other "large peg" tuners I can recall. These are Hipshot UltraLights, a sort of hybrid between small precision tuners and big open gear tuners. The 3-band EQ is cool. I set the bass and treble for whatever limits are right for the room and the speaker cab, then I use the midrange as my variable from tune to tune, to set the mood, etc. Really easy. No other 3-band I've tried works out that simple for me. Seems quite immune to electrical noises. Output jack is on the body instead of on the plastic PG. Much safer that way. The tone is generic, yet versatile. For me thaz good, cuz I wanna sound good and do my job. I don't need an attention-getting bass tone. I don't need applause ... I need zero complaints from the Diva, and like to make the people dance. Without the multiple discount programs it would be more than I can afford. Maybe it could weigh a bit less. Has a pair of stack knobs. Never liked that idea, on any bass. Bridge PU is not adjustable, and too loud on the bass side. I will hafta mod that, to lower the bass side. Prolly easy mod, but it should be built to be adjusted. Construction quality seems similar to a MusicMan, but there's less switchgear, fewer PU coils, simple little bridge, alder instead of ash, etc, compared to MM ... yet Fender costs more ?? But it's really is a cool bass, and some players just gotta have a Fender. An interesting change from my more usual MusicMan tone, two different but equally usable voices ... yet for features and price, I'll be staying with MM. This one-time impulsive bargain purchase was not a bad move, but I am NOT really converted to Fender. I'm in a sorta "no strings attached" romance with it, for now. This review was originally published on http://www.musicgearreview.com

3TSB, maple/rosewood neck with pearl block markers, black scratchplate. I have been playing bass for 20 years and play in a 4-piece rock band on the local circuit. Classic rock, prog, metal and some blues pretty much sums up my tastes. This bass is made in Japan. Bought off eBay in December 2007 for £305. A bit of a gamble as it had apparently been sitting around in a garage for a while and was the worse for it. A bit of a whim having seen RUSH live - considered the Geddy Lee model but this look so much nicer. I'm normally a Precision player but most of mine have Jazz necks and a couple have the J-pickup, so wanted this for variation. As a good looking, retro bass, I think you'd be hard pushed to find anything nicer. The 70s stylings are authentic, it looks and feels right. I'm glad I opted for the sunburst/rosewood option over the Geddy Lee model - both are, in effect, Japanese 70s reissues, and if aesthetics are important, this wins hands down. Tonally, it is of course different to my P-basses, but I like the toppy feel of the bridge pickup which cuts through the bass rumble. I have a real problem with the bridges that Fender continue to fit to most of their basses. I know this is a reissue, but, like all my others, it was immediately replaced with a BadAss II (that Geddy Lee thing again). Again, authenticity over practicality, the tuners have straight posts (I'm not a fan) and I have had my doubts about tuning stability - so they may have to go eventually. I'm not convinced the logo is correct for the period but I'm nit-picking really. I immediately took this bass completely to pieces to overhaul. What was immediately apparent was the quality of every single part. It's a 2-piece body that weighs a ton but the resonance is amazing. I think it has USA pickups in the usual configuration and has a very high output for a passive bass. The bound neck is very slim with a gloss finish and pearl block markers, bullet truss rod and vintage tuners. The scratchplate (but not the body) is drilled for thumbrest and pickup cover. The neck is held on with a 3-screw plate with microtilt and the tuners are authentic to the period. It's as solid as you like and, although many parts were heavily corroded, the body hardly had a scratch on it thanks to the thick finish. Having decided to get a Jazz, the options were £450+ for the Geddy Lee model or £305 for this one (plus £45 for a new bridge). Despite being in a sorry state when it arrived, the quality was obvious once the bass was stripped down and renovated. It is what it is and, since my other basses are Precisions, I don't really have anything to compare it against for playability. However, it's loud, versatile and looks fantastic. I defy the purists to find reasons to favour the US models over this and it's streets ahead of any Mexican model I have ever seen. Fairly hard to come by, but worth the extra money for the build quality and finish. This review was originally published on http://www.musicgearreview.com

I play everything, bass, guitar, drums, keys, vocals... mainly bass though! I've been playing nearly 4 years, and in true bedroom-artist style I have practically stayed in and learnt music for pretty much most of those 4 years... I bought it online from Soundslive.co.uk for about £475. It arrived but with a horrific dent in it that had taken the lacquer clean off! Quickly sent it back and got one straight from the Fender shop. There is a certain good feeling about playing a Fender, its a brand you can trust, its a brand that has those around you (of my age anyway) going "ooooh" and wanting to stroke it in various ways, some a bit more worrying than others. But anyway, it gets a brilliant range of warm tones, from bassy to treble, and with a good mid. The pickups are beautifully noiseless and with no hum, the action is comfortable (however I had to tweak it a lot, as it was all over the place when I got it!) and the neck is smooth and great to play. The active pickups with the 3 band EQ are great for on-the-fly tone adjustments. The tone pots are in easily accessible positions so you can just modify your tone on the spot and keep playing. For the money I paid, I expected something great. Its a Fender. Its a Deluxe series. Its a Jazz bass. But, whilst it suits many styles of music, I find myself constantly going back to my beaten up... I mean "well loved" Yamaha RBX 774. The Jazz simply does not beat it. It's a case of value for money really, the Yamaha (£375) offers AMAZING tone etc, but that's not part of this review, whereas with the Jazz, I find myself a bit... lost. I feel like its built for the bassist who wants to disappear. The tone is either bassy or treble. Whilst you can get a great range of tones, you can't get that certain treble growl atop a bass sound. Almost perfect! Its INCREDIBLY heavy though, another reason why I go back to my Yamaha for the sheer lightness. But other than that, the construction is great, except the volume pot seems to "scratch" on the scratchplate as I turn it, which doesn't scream Fender quality to me... A great bass. A great to play, great to listen to. But its not really for the bassist that wants to stand out and be original, its for those content with standing at the back letting the guitarists do the work (and we all know that's not how it's supposed to be!) This review was originally published on http://www.musicgearreview.com