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'54 Precision vs '60 Precision
- Thread starter tb-player
- Start date
Of any P Bass model...I've only loved the single coil P Basses. The single pole per string gives a much harder attack like a StingRay, and to me really rings out nicer of you use rounds on it. If you use flats its a heck of a thump.
Yes you will get some noise from the single coil, but on a gig you don't even notice.
Yes you will get some noise from the single coil, but on a gig you don't even notice.
The only thing you'll lose is a little volume. There's a pretty substantial jump in volume if you switch the stinger into single coil mode.
Ron Wood used a '68 Tele bass on Beck-Ola which was basically the same bass as the 54 except it was a slab. They can really rock with Rotosound strings.
It's .8" , or (for those in the modern world) 2 cm further from the bridge. It is enough that the bass has a deeper, throatier sound with the original pickup position on the A and E strings - the D and G are very different than a split coil. The 51 position is is dead on 1/5th of the way from the bridge to nut - if you play the 5th harmonic on an open string on a 51P, you can hear it acoustically (not plugged in), but you won't hear it electrically (through an amp). The Split P position acts differently - you can hear that harmonic electrically just fine.
I have a couple Jazz basses I built, where one is 60's pickup spacing, and the other is "50's spacing" - the neck pickup is in the 51 P pickup position, and the bridge is moved out proportionally. To someone in the audience, they probably both sound like basses, but I can hear the difference. If you do the math on what it does to the comb filtering, it's about the same as detuning your bass a couple half steps, and then capo-ing it up 2 frets - which is also the same thing as a short scale with the pickups placed the same physical distance from the bridge. Anyway, after playing the two different basses, I gig the one with the "50's spacing" - the other body is mothballed.
The pickup on a 51, besides not being a hum canceller, is lower impedance, and has pole pieces right under the strings - not offset like a split P or a J. The result of all that it it has more high frequency extension and "attack" on the start of the note. It's a bit more "primitive sounding" to my ears, which, of course, is sometimes just the thing you want.
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Loved my 60 P. With labella flats it just sang beautifully. Recorded really well too. I personally had the blue one with a mint guard. Loved every second of owning that bass until I had to sell it. I have a 65 P being restored now and it will most definitely take the role of “P with flats”, but something tells me I’ll be buying another blue avri 60 P again. Great basses.
The neck btw is listed as a “substantial C”, nonsense. It is a wide nut but actually pretty thin front to back. VERY pre cbs-esque.
The neck btw is listed as a “substantial C”, nonsense. It is a wide nut but actually pretty thin front to back. VERY pre cbs-esque.
They can be angled and provide a lot more adjustment than you’d think.
This.^ Might take a bit more back & forth but with a little effort you can dial in proper intonation.
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Get the one that looks the best to you. The looks are the main difference between the two that is set in stone.
We have knobs on our amps for a reason: to make basses sound how we want them to sound.
We have a plethora of string choices.
We have setup.
We have playing technique.
We have a fair variety of aftermarket pickups for both basses, as well as several custom pickup builders who build to spec.
We have a never ending supply of outboard effects, noise suppression devices, etc.
If you can’t take any “regular” 4-string bass and get it sounding exactly like you want it to sound, then the problem is not your bass selection. It’s your tone shaping abilities.
So, again, get the coolest looking one.
We have knobs on our amps for a reason: to make basses sound how we want them to sound.
We have a plethora of string choices.
We have setup.
We have playing technique.
We have a fair variety of aftermarket pickups for both basses, as well as several custom pickup builders who build to spec.
We have a never ending supply of outboard effects, noise suppression devices, etc.
If you can’t take any “regular” 4-string bass and get it sounding exactly like you want it to sound, then the problem is not your bass selection. It’s your tone shaping abilities.
So, again, get the coolest looking one.
Turnaround
Commercial User
They can be tilted, but not angled. You can get replacement saddles that can be angled for intonation, but not the stock fibre ones.
These are an exact fit for the vintage II 1954 bass. I bought one because I don't want to ruin the fibre bridge with Rotos.
AMERICAN DELUXE 4-STRING BASS BRIDGE ASSEMBLIES ('04-'10)
AMERICAN DELUXE 4-STRING BASS BRIDGE ASSEMBLIES ('04-'10)
These two basses are very distinct in sound, feel and neck shape. In cases the ‘51 iterations can feel more rigid than a P.
I played a Telebass since 1971 and never had intonation problems. When you start changing things to “improve” a ‘51+ you’re taking away what makes it special. Leo kept creating yet kept selling the originals. They are that good.
Hum not an issue. Never studio and rarely live. Now some buildings were are so old and bad electrically that you aren’t the only one with issues.
Which one calls to you? Which do you hear in the music you do? They aren’t remotely similar except for being Fenders.
I played a Telebass since 1971 and never had intonation problems. When you start changing things to “improve” a ‘51+ you’re taking away what makes it special. Leo kept creating yet kept selling the originals. They are that good.
Hum not an issue. Never studio and rarely live. Now some buildings were are so old and bad electrically that you aren’t the only one with issues.Which one calls to you? Which do you hear in the music you do? They aren’t remotely similar except for being Fenders.
I've thought that the SCPB pickup would be a great add to a Stingray - pole pieces directly under the strings. Sort of like the HS version of the stingray but with the S pickup a bit closer to the bridge for a more P like sound.
I'm half tempted to buy a pickup & selector switch and dig out my router.
Once upon a time, I had the opportunity to play a Vintage 1951, a Vintage 1956, and a Vintage 1959. All of them were for sale at very reasonable prices. The 1958/59 (it’s cosmetically a 1958 with a maple neck but the serial number is for 1959) The feel, tone, and look of the 59 spoke to me. To my ears it’s the sound that I love from all the recordings I listen to.
Wrong. I have intonated plenty of 2 saddle bridge’s with full success.
The SCPB sounds more wide open, and some might describe it as “woody.” The split coil has a bit of a low mids hump that the SC doesn’t have.
The 54 will be punchy because of the single pole under each string, the 60s mellower.Yeah, anytime I have ever bought a Fender bass, I've stocked up on copper tape.
I watched a couple of videos and I dig that '54 tone a lot. I also like the look and the fact that Fender ships them with flats.
The 54 in the shot has a 2x2 bridge, meaning that each saddle is shared by two strings. Intonation will be a compromise between the paired strings.
I have the ‘54. The neck is fairly thick if that matters. Comparing it to my American Performer neck it is a lot thicker. No worse no better but on the thick side. It has a gnarly sound that I love. I have a Lollar single coil installed.
