And I thought you might interested to hear my conclusions.
I went into my local HW for a scout around for Fender and Fender-style basses, ideally Jazz but possibly P, and ended up trying them all out. I tried them all through a Marshall MB 4210 set to a relatively transparent sound on the Classic mode with the boost switch off.
So, in order:
Squier Deluxe Jazz Bass V Active (5-String)
Now here's a pretty bass. The one they had in was Olympic white, and pre-owned at £179 (RRP around £250), but the previous owner either took excellent care of it or only had it for eight minutes, because it looked brand sparkling new. It's a quite modern bass in appearance, maybe closer to something you'd expect of a high-end Fender clone rather than from the brand itself. It feels very balanced, comfortable and easy to play, extremely well-made and very solid. Not quite sure about the slightly plasticky look of the ebonol composite fingerboard, but at that price I'm not going to complain, and the low-gloss black colour works quite well with the colour of the body.
Unplugged it has good resonance, a bit sharp possibly due to the ebonol, but quite even overall. Plugged in, the first thing I did was check out the "slap switch". Now I'm not clear on exactly how they've wired this thing, but it seems to me to not only considerably scoop the EQ, but also to kick up the volume by about 2 or 3 db. Not a bad thing if you're trying to cut through a mix you normally sit behind, but not sure it would work in a more laid-back or funky setting. As it is, I actually found myself exploring the tone of the bass with it on all the time, as the sound seemed to be a little richer and fuller, played slap, fingerstyle or picked. Playing around with the three-band cut/boost knobs and the concentric "noise" pots (again, new to me) produced a range of sounds that were all usable, punchy and smooth, but with good definition.
If I had to criticise this bass at all, which I'm finding very, very difficult to do given the low price, I would say that it's slightly lacking in character, and it doesn't have much of an individual voice. The range of tones you can get from it are all quite conservative, and although extremely satisfactory from a technical point of view, they don't have much personality.
This is such a minor niggle compared to the considerable plus points that this bass has to offer that it's barely worth noting, however, and it certainly wouldn't put me off purchasing a bass of this quality. I wouldn't hesitate to recommend this model to any beginner or intermediary level player who is looking for a solid five-stringer to cut their teeth on.
Fender Made in Mexico '70s Jazz Bass
Looking at this bass is a real pleasure. There's something about block inlays on a bound rosewood neck that just screams "class", and when associated with the legendary look of a 3-tone sunburst Jazz Bass with a black pickguard, you know you're in for a treat.
As such, I was actually quite disappointed when I plugged this bass in. Fender claim to have created a replica with a "bright, full sound", which would make sense, since according to them, "Seventies-era Jazz Bass guitars are widely regarded as the basses built for funk." Despite that, the bass I tried out was marginally dull-sounding, with a quite lacklustre tone. Even dialling in more treble on the amp didn't seem to awaken the brightness I was expecting.
This was all the more disappointing, considering that the bass feels as good as it looks. The "C"-shape of the neck combined with the 9.5" radius fretboard just invites you to explore it... But all you discover is an average Fender Jazz sound, only a bit less sparkly, with some mud on it.
Could it have been the strings, you say? Apparently not, since the guy in the store claimed to have restrung it only a few days ago. The strings certainly look relatively untouched.
At £499 RRP, I expected a little bit more from this bass. I loved the look and feel of it, but the tone was the deal-breaker.
Fender American Standard Jazz Bass
What can I say about this that hasn't already been said? Well, I'll give it a shot.
There's a lot of discussion about the merits of US Fender models versus their cheaper Mexican counterparts and some Squier models. What I found on close examination of this particular US Standard was an extremely high-quality build with a flawless finish, the classic feel of a Jazz, but with all the mod-cons you'd expect from a recent bass. Plugged in, the sound was immediate, recognisable, full, punchy, with that unmistakable Fender character. If it can be said of a bass that it practically plays itself, then for me this would be the bass.
And therein lies the problem for me. I absolutely see the point of spending £799 RRP on such a well-made instrument that will retain a good amount of value. I also absolutely see the value of nailing that exact Jazz bass sound. I wouldn't hesitate to recommend this bass to anyone who was looking for an absolute classic for less than a grand. Moreover, if I had to name my favourite type of bass, it would be the Fender Jazz.
But, for some reason, in this particular model, none of that does it for me. I liken it to driving a high-end saloon car. It does what it does with the utmost confidence and expertise, and so it should, because you've paid a lot for it. But you don't feel like you're participating as much in the experience.
I appreciate that this is a very personal thing, but from my point of view, I wouldn't choose this particular model of Jazz bass. It feels too refined, too "pro". Not enough like a working-man's tool, which is I feel one of the greatest appeals of Fender instruments.
Fender '50s American Precision Bass
The interesting feature of 50s reissue Fenders is that they tend to have a more delicate sound, less in-your-face than their '60s and '70s counterparts, which to me is a great thing.
Even this Precision, which is not a model one normally associates with delicate sounds, is a good example of that. I'm not a fan of the butterscotch/maple association, but I must admit this that is an impeccably styled bass.
The Precision version of the American vintage pickups also found on the '70s Jazz bass do not disappoint, in this case. They are clearly-voiced, with a firm and precise low-end, nice harmonic-sounding mids and crips trebles. Though not as punchy as later-model reissues, it still packs some well-articulated dynamics and even a very pleasing slap sound (although a tad boomy if you get too heavy-handed). Fingerstyle is where it comes into its own, with a fluid, smooth and warm thumping soud that really gets you where it matters.
The build on this bass is again very high-quality, with a great finish, fantastic balance and all the P-feel you could want. The neck in particular is very comfortable compared to some of the Mexican Standards I have tried in the past.
With the same £499 RRP as the '70s Jazz, I would say this is definitely the superior model, and well worth the money if you're looking for a retro-styled, retro-sounding bass.
Squier Affinity Jazz Bass
This was my happy surprise of the day. At £140 RRP, I really wasn't expecting much beyond a Jazz-shaped instrument that sounded something like a bass.
I did find that, but also a very well-built instrument with great character, a fantastic playing feel, clear and responsive pickups, and a good, satisfying overall sound.
It almost makes me wish I was still an entry level player. No, strike that, I wish that these things had been around when I was an entry-level player. Back then, for that kind of money, all you could hope for was a plank nailed to another plank with some frets and some sort of bargain-bin pickup, finished with housepaint and carpet tacks. This is something else entirely.
A side-by-side comparison with the American Standard Jazz weighs well in favour of the "real" Fender - obviously - but that's not the point. The "real" Fender costs around £650 more than the Squier Affinity, and do I feel like I'm getting £650 more bass?
The Squier has its faults, naturally. The machine heads, although they hold the tune well, are pretty cheap and nasty, as is the bridge. The knobs feel like they might break off if you turn them too hard, and cosmetically the maple neck seems almost pink when compared to the warm vintage-looking amber of the US model.
The truth is, however, that if I had £140 to spend on a bass, I wouldn't save up for another year and get the US model. And if I had £799 to spend on a bass, well - If it was a choice between these two, I'm not sure I wouldn't get the Squier and spend the difference on a killer bass combo.
Squier Classic Vibe '50s and '60s Precisions
These are good-looking beasts, there's no denying it. The '50s P-Bass comes in a very fetching Lake Placid blue with an all-maple neck, the '60s in a Sonic blue with a rosewood fretboard.
The reason I've reviewed these two together is firstly because they're from the same Squier line, and secondly because, oddly, they feel and sound almost exactly the same. There are slight differences (the main one being the ever so slight brightness of the single-coil on the 50), but beyond the obvious cosmetic ones, I guarantee that you'd never be able to tell just by hearing or even playing them.
This is not a bad thing, because the sound these things produce is genuinely excellent. Warm, dynamic, smooth and fluid, with good clear highs and a slight scoop in the lower midrange. A special mention for playing these basses with a pick - they're the best picked bass sound I heard from any of the basses I tried today, no joke.
They're also a pleasure to play, not just easy and comfortable to handle, but good fun as well. Maybe it's the blue, it just makes me happy.
At around £250 RRP, a couple of absolute gems, and I don't know why you aren't out buying them instead of reading this.
Jim Deacon PJ and P-Basses.
I saw these lurking, and since I was plugged in, I gave them a whirl.
Now I have to say that first I didn't like them at all, and for one very good reason: The pickups are completely awful. The PJ is mildly better than the P, merely because it has a wider range of sounds on offer, but that's not much better because those sounds are all really bland, tinny and completely without presence.
On the other hand, one massive mitigating factor is that these basses cost £115 RRP (even though the PJ is exactly the same as the P, but with an extra pickup - for free). Now I'm no math wizard, but even I know that you could get this bass and kit it out with really great pickups, all for less than £200. If you're smart you could even get the whole thing rewired for that money.
And to be honest, I don't know why you wouldn't. Because other than the pickups, there is nothing wrong with these basses. Unplugged they have as much presence, resonance, balance, warmth and feel as a Mexican Fender, for instance. To me, that means that when you put something good and beefy in the pickup route, you're going to have a very serviceable Precision for almost no money. Which, I'm sure you'll agree, is worth every penny.
In conclusion
What this testing round has done for me is tell me one thing: I absolutely have to try out the Squier Classic Vibe Jazz bass. If they've managed to make the Precisions as good as they are, and if the quality of the other two Squier Jazz basses I tried today is anything to go by, it's bound to be a good one. Hopefully good enough to put down some money for.
I hope you've enjoyed my little reviews. Please feel free to add your thoughts.
I went into my local HW for a scout around for Fender and Fender-style basses, ideally Jazz but possibly P, and ended up trying them all out. I tried them all through a Marshall MB 4210 set to a relatively transparent sound on the Classic mode with the boost switch off.
So, in order:
Squier Deluxe Jazz Bass V Active (5-String)
Now here's a pretty bass. The one they had in was Olympic white, and pre-owned at £179 (RRP around £250), but the previous owner either took excellent care of it or only had it for eight minutes, because it looked brand sparkling new. It's a quite modern bass in appearance, maybe closer to something you'd expect of a high-end Fender clone rather than from the brand itself. It feels very balanced, comfortable and easy to play, extremely well-made and very solid. Not quite sure about the slightly plasticky look of the ebonol composite fingerboard, but at that price I'm not going to complain, and the low-gloss black colour works quite well with the colour of the body.
Unplugged it has good resonance, a bit sharp possibly due to the ebonol, but quite even overall. Plugged in, the first thing I did was check out the "slap switch". Now I'm not clear on exactly how they've wired this thing, but it seems to me to not only considerably scoop the EQ, but also to kick up the volume by about 2 or 3 db. Not a bad thing if you're trying to cut through a mix you normally sit behind, but not sure it would work in a more laid-back or funky setting. As it is, I actually found myself exploring the tone of the bass with it on all the time, as the sound seemed to be a little richer and fuller, played slap, fingerstyle or picked. Playing around with the three-band cut/boost knobs and the concentric "noise" pots (again, new to me) produced a range of sounds that were all usable, punchy and smooth, but with good definition.
If I had to criticise this bass at all, which I'm finding very, very difficult to do given the low price, I would say that it's slightly lacking in character, and it doesn't have much of an individual voice. The range of tones you can get from it are all quite conservative, and although extremely satisfactory from a technical point of view, they don't have much personality.
This is such a minor niggle compared to the considerable plus points that this bass has to offer that it's barely worth noting, however, and it certainly wouldn't put me off purchasing a bass of this quality. I wouldn't hesitate to recommend this model to any beginner or intermediary level player who is looking for a solid five-stringer to cut their teeth on.
Fender Made in Mexico '70s Jazz Bass
Looking at this bass is a real pleasure. There's something about block inlays on a bound rosewood neck that just screams "class", and when associated with the legendary look of a 3-tone sunburst Jazz Bass with a black pickguard, you know you're in for a treat.
As such, I was actually quite disappointed when I plugged this bass in. Fender claim to have created a replica with a "bright, full sound", which would make sense, since according to them, "Seventies-era Jazz Bass guitars are widely regarded as the basses built for funk." Despite that, the bass I tried out was marginally dull-sounding, with a quite lacklustre tone. Even dialling in more treble on the amp didn't seem to awaken the brightness I was expecting.
This was all the more disappointing, considering that the bass feels as good as it looks. The "C"-shape of the neck combined with the 9.5" radius fretboard just invites you to explore it... But all you discover is an average Fender Jazz sound, only a bit less sparkly, with some mud on it.
Could it have been the strings, you say? Apparently not, since the guy in the store claimed to have restrung it only a few days ago. The strings certainly look relatively untouched.
At £499 RRP, I expected a little bit more from this bass. I loved the look and feel of it, but the tone was the deal-breaker.
Fender American Standard Jazz Bass
What can I say about this that hasn't already been said? Well, I'll give it a shot.
There's a lot of discussion about the merits of US Fender models versus their cheaper Mexican counterparts and some Squier models. What I found on close examination of this particular US Standard was an extremely high-quality build with a flawless finish, the classic feel of a Jazz, but with all the mod-cons you'd expect from a recent bass. Plugged in, the sound was immediate, recognisable, full, punchy, with that unmistakable Fender character. If it can be said of a bass that it practically plays itself, then for me this would be the bass.
And therein lies the problem for me. I absolutely see the point of spending £799 RRP on such a well-made instrument that will retain a good amount of value. I also absolutely see the value of nailing that exact Jazz bass sound. I wouldn't hesitate to recommend this bass to anyone who was looking for an absolute classic for less than a grand. Moreover, if I had to name my favourite type of bass, it would be the Fender Jazz.
But, for some reason, in this particular model, none of that does it for me. I liken it to driving a high-end saloon car. It does what it does with the utmost confidence and expertise, and so it should, because you've paid a lot for it. But you don't feel like you're participating as much in the experience.
I appreciate that this is a very personal thing, but from my point of view, I wouldn't choose this particular model of Jazz bass. It feels too refined, too "pro". Not enough like a working-man's tool, which is I feel one of the greatest appeals of Fender instruments.
Fender '50s American Precision Bass
The interesting feature of 50s reissue Fenders is that they tend to have a more delicate sound, less in-your-face than their '60s and '70s counterparts, which to me is a great thing.
Even this Precision, which is not a model one normally associates with delicate sounds, is a good example of that. I'm not a fan of the butterscotch/maple association, but I must admit this that is an impeccably styled bass.
The Precision version of the American vintage pickups also found on the '70s Jazz bass do not disappoint, in this case. They are clearly-voiced, with a firm and precise low-end, nice harmonic-sounding mids and crips trebles. Though not as punchy as later-model reissues, it still packs some well-articulated dynamics and even a very pleasing slap sound (although a tad boomy if you get too heavy-handed). Fingerstyle is where it comes into its own, with a fluid, smooth and warm thumping soud that really gets you where it matters.
The build on this bass is again very high-quality, with a great finish, fantastic balance and all the P-feel you could want. The neck in particular is very comfortable compared to some of the Mexican Standards I have tried in the past.
With the same £499 RRP as the '70s Jazz, I would say this is definitely the superior model, and well worth the money if you're looking for a retro-styled, retro-sounding bass.
Squier Affinity Jazz Bass
This was my happy surprise of the day. At £140 RRP, I really wasn't expecting much beyond a Jazz-shaped instrument that sounded something like a bass.
I did find that, but also a very well-built instrument with great character, a fantastic playing feel, clear and responsive pickups, and a good, satisfying overall sound.
It almost makes me wish I was still an entry level player. No, strike that, I wish that these things had been around when I was an entry-level player. Back then, for that kind of money, all you could hope for was a plank nailed to another plank with some frets and some sort of bargain-bin pickup, finished with housepaint and carpet tacks. This is something else entirely.
A side-by-side comparison with the American Standard Jazz weighs well in favour of the "real" Fender - obviously - but that's not the point. The "real" Fender costs around £650 more than the Squier Affinity, and do I feel like I'm getting £650 more bass?
The Squier has its faults, naturally. The machine heads, although they hold the tune well, are pretty cheap and nasty, as is the bridge. The knobs feel like they might break off if you turn them too hard, and cosmetically the maple neck seems almost pink when compared to the warm vintage-looking amber of the US model.
The truth is, however, that if I had £140 to spend on a bass, I wouldn't save up for another year and get the US model. And if I had £799 to spend on a bass, well - If it was a choice between these two, I'm not sure I wouldn't get the Squier and spend the difference on a killer bass combo.
Squier Classic Vibe '50s and '60s Precisions
These are good-looking beasts, there's no denying it. The '50s P-Bass comes in a very fetching Lake Placid blue with an all-maple neck, the '60s in a Sonic blue with a rosewood fretboard.
The reason I've reviewed these two together is firstly because they're from the same Squier line, and secondly because, oddly, they feel and sound almost exactly the same. There are slight differences (the main one being the ever so slight brightness of the single-coil on the 50), but beyond the obvious cosmetic ones, I guarantee that you'd never be able to tell just by hearing or even playing them.
This is not a bad thing, because the sound these things produce is genuinely excellent. Warm, dynamic, smooth and fluid, with good clear highs and a slight scoop in the lower midrange. A special mention for playing these basses with a pick - they're the best picked bass sound I heard from any of the basses I tried today, no joke.
They're also a pleasure to play, not just easy and comfortable to handle, but good fun as well. Maybe it's the blue, it just makes me happy.
At around £250 RRP, a couple of absolute gems, and I don't know why you aren't out buying them instead of reading this.
Jim Deacon PJ and P-Basses.
I saw these lurking, and since I was plugged in, I gave them a whirl.
Now I have to say that first I didn't like them at all, and for one very good reason: The pickups are completely awful. The PJ is mildly better than the P, merely because it has a wider range of sounds on offer, but that's not much better because those sounds are all really bland, tinny and completely without presence.
On the other hand, one massive mitigating factor is that these basses cost £115 RRP (even though the PJ is exactly the same as the P, but with an extra pickup - for free). Now I'm no math wizard, but even I know that you could get this bass and kit it out with really great pickups, all for less than £200. If you're smart you could even get the whole thing rewired for that money.
And to be honest, I don't know why you wouldn't. Because other than the pickups, there is nothing wrong with these basses. Unplugged they have as much presence, resonance, balance, warmth and feel as a Mexican Fender, for instance. To me, that means that when you put something good and beefy in the pickup route, you're going to have a very serviceable Precision for almost no money. Which, I'm sure you'll agree, is worth every penny.
In conclusion
What this testing round has done for me is tell me one thing: I absolutely have to try out the Squier Classic Vibe Jazz bass. If they've managed to make the Precisions as good as they are, and if the quality of the other two Squier Jazz basses I tried today is anything to go by, it's bound to be a good one. Hopefully good enough to put down some money for.
I hope you've enjoyed my little reviews. Please feel free to add your thoughts.
