Anyone owned a Fender Jazz that was a dud?

[wyleeboxer]

just curious.. as I've had and still have several Jazz basses, all of which sound slightly different. In the past I've had a couple (even new mia Fender jazz basses) I wasn't sure if it was because they sounded so different or that it might be a dud tone wise? I just couldn't coax the magic out of them. Even swapping pickups and strings didn't ever seem to get the notes to pop off the fretboard like would've liked, and the tone felt dull or lifeless.

Anyone else experience this, did you just work through it or sell off the bass?

 

[JTE]

Didn't own them, but when I managed a store from '77 -'88 we had two really awful ones. First was an International Series in Sahara Taupe with maple that sounded dead and lifeless unplugged and amplified. Complete re-setup involving truss rod, new nut, neck removed, reinstalled, and retorque, pickup adjust, inspect wiring, and bridge removed and reinstalled. The store was broken in to, and it was one of the things taken. But, alas, it was left in the parking lot.

Other one was a few years later, 'burst/rosewood with the same issues plus really inconsistent response from the neck PUP. We did the same complete re-assembly and set up, tried several sets of strings, and replaced the neck PUP, and only got marginal improvement. Guy who bought it didn't seem to care, because it was sunburst, had a blocks 'n' binding rosewood board, and the covers for it...

 

[BioDriver]

The only one I owned that flat out stunk was sold to me as a re-fin with upgraded electronics but was actually a parts bass. The neck pocket was too wide for the neck, the neck itself was an All Parts P spec (AKA a baseball bat), the pickups and preamp had wiring issues so they hummed nonstop, and the whole monster weighed well over 10 lbs.

I miss my 08 MIA J more and more.

 

[MrBKerth]

I have owned a decent number of J's and P's. All but one of them was either sold or relegated to backup detail. My main bass, however, has been my white 2011 Am Standard Jazz for years. I hated it when I got it and thought I had wasted 1100 dollars on it when my Ibby SR700 was functioning, but it grew on me. I had to give it time to learn how to really fly on it.

I've owned 10-15 basses since then with almost every single one of them being resold within 6 months because my J just couldn't be de-throned. Nowadays I've been picking up Ric's but it's a totally different breed/sound goal.



I seem to remember a TB'er mentioning going from a Fodera to a standard Jazz and hating it at first even though it had been their main. They had to get used to playing without the active pickups and other quirks. Upon returning to the Fodera they had the same adjustment problem.

 

[kmon]

I've probably experienced more crushing disappointment and unexpected elation with Fenders, USA or otherwise, than with other basses. I've also probably owned more Fenders than any other brand I suppose, so maybe it's just a larger sample size than something to do with Fenders.

I had an American Pro Jazz that played great, but seemed to be lifeless in the way you describe. Reallyyyy low output which I think is a thing with some of those. If I was playing a different style of music I might have loved it but it was massively disappointing given what I paid and my assumptions about what I'd be getting. I'm feeling @MrBKerth though...that may have been as much a function of my impatience and particular needs at that moment, as opposed to any fault with the bass. Given some time I may have grown to love it, it felt absolutely great as I recall. I flipped it quick

I've also been hugely surprised in the other direction. I've had MIM Fenders that were incredible. One of the basses I held onto the longest was a Highway 1 Jazz with a Geddy-esque neck that I bought locally years back. Sold it when my twins were born. A few months back a 60s Roadworn Jazz popped up locally for $400. I said what the hell and ended up with a fantastic instrument...my expectations were wildly exceeded...across the board, it's fantastic. The tone...

So anyway ya, maybe it's a function of expectations. I've had more disappointment with higher end Fenders, and more stunning surprises with the lower end ones, than I've had wih other brands. YMMV.

 

[MrBKerth]

I've probably experienced more crushing disappointment and unexpected elation with Fenders, USA or otherwise, than with other basses. I've also probably owned more Fenders than any other brand I suppose, so maybe it's just a larger sample size than something to do with Fenders.

I had an American Pro Jazz that played great, but seemed to be lifeless in the way you describe. Reallyyyy low output which I think is a thing with some of those. If I was playing a different style of music I might have loved it but it was massively disappointing given what I paid and my assumptions about what I'd be getting. I'm feeling @MrBKerth though...that may have been as much a function of my impatience and particular needs at that moment, as opposed to any fault with the bass. Given some time I may have grown to love it, it felt absolutely great as I recall. I flipped it quick

I've also been hugely surprised in the other direction. I've had MIM Fenders that were incredible. One of the basses I held onto the longest was a Highway 1 Jazz with a Geddy-esque neck that I bought locally years back. Sold it when my twins were born. A few months back a 60s Roadworn Jazz popped up locally for $400. I said what the hell and ended up with a fantastic instrument...my expectations were wildly exceeded...across the board, it's fantastic. The tone...

So anyway ya, maybe it's a function of expectations. I've had more disappointment with higher end Fenders, and more stunning surprises with the lower end ones, than I've had wih other brands. YMMV.

I've had friends with very similar experiences to yours that I use regularly as examples with musicians (or "to be" musicians) that ask about getting gear. To me, the higher price only correlates partially to construction quality/parts.

More importantly, when selling newer musicians on mid level gear, I emphasize that up to a point you will get better stuff, but the more important thing is that a higher price just usually means an improved chance that the instrument isn't a total dog. It doesn't hold up all the time, but my rule of thumb is just that I'll spend longer looking for a great Squier Classic Vibe/VM than an American Standard while still emphasizing that there are great instruments in both lines. In some cases, even comparable instruments in both lines.

 

[Warpeg]

I had a '62 AVRI Jazz that was absolutely beautiful and very comfortable to play, but it sounded just dull and lifeless no matter what strings, pickups, or preamps I put on it. It was disappointing, but I ended up trading it for what has become my #1 go-to bass (which is not a Jazz Bass).

 

[kmon]

I've had friends with very similar experiences to yours that I use regularly as examples with musicians (or "to be" musicians) that ask about getting gear. To me, the higher price only correlates partially to construction quality/parts.

More importantly, when selling newer musicians on mid level gear, I emphasize that up to a point you will get better stuff, but the more important thing is that a higher price just usually means an improved chance that the instrument isn't a total dog. It doesn't hold up all the time, but my rule of thumb is just that I'll spend longer looking for a great Squier Classic Vibe/VM than an American Standard while still emphasizing that their are great instruments in both lines. In some cases, even comparable instruments in both lines.

Agreed. In general, you probably have better odds on getting a good one, but no guarantees on a great one, at the higher price points. And there's a small chance you'll get a dog. It seems like the higher the price, the higher the bar for the bass leaving the factory.

But try 100 CVs and you'll find a few absolutely great ones. More dogs will escape the factories, but I've never had any problem recommending the Squiers VMs and CVs to anyone.

 

[wyleeboxer]

I've had friends with very similar experiences to yours that I use regularly as examples with musicians (or "to be" musicians) that ask about getting gear. To me, the higher price only correlates partially to construction quality/parts.

More importantly, when selling newer musicians on mid level gear, I emphasize that up to a point you will get better stuff, but the more important thing is that a higher price just usually means an improved chance that the instrument isn't a total dog. It doesn't hold up all the time, but my rule of thumb is just that I'll spend longer looking for a great Squier Classic Vibe/VM than an American Standard while still emphasizing that their are great instruments in both lines. In some cases, even comparable instruments in both lines.

This certainly seems to be the case for most if not all brands. And this is not a Fender bashing thread nor criticizing QC of Fender, hell I've got Fenders with Grand Canyon size neck pocket gaps that sound and play amazing. But yeah some high end Fenders play and feel amazing but doesn't guarantee great tone, especially when when you roll the dice on an internet buy.

 

[MrBKerth]

This certainly seems to be the case for most if not all brands. And this is not a Fender bashing thread nor criticizing QC of Fender, hell I've got Fenders with Grand Canyon size neck pocket gaps that sound and play amazing. But yeah some high end Fenders play and feel amazing but doesn't guarantee great tone, especially when when you roll the dice on an internet buy.

Certainly not a bash. I've owned more Fenders than anything else (16 year old me would be appalled), and my main for the last 6 years has been a totally stock 2011 AmStandard J. That thing has outlasted a custom G&L as well as 2 AVRI J's, and a few parts basses. For TB I find though, that most everyone in these threads has at least encountered both the example basses just by having been in a Guitar Center.

Regarding the neck gaps, I've never really experienced issue with something such as that. I've read about it on here, but in my experience bolt-on's regardless of neck gap seem to be economically smart if you're gigging out. I find that being able to shim a neck or replace a damaged one are more convenient than advantages of having a set/through neck, but that's factoring hazards of dive-bar gigs.

 

[InhumanResource]

just curious.. as I've had and still have several Jazz basses, all of which sound slightly different. In the past I've had a couple (even new mia Fender jazz basses) I wasn't sure if it was because they sounded so different or that it might be a dud tone wise? I just couldn't coax the magic out of them. Even swapping pickups and strings didn't ever seem to get the notes to pop off the fretboard like would've liked, and the tone felt dull or lifeless.

Anyone else experience this, did you just work through it or sell off the bass?

Yup. For an American standard once in a trade that was dog. I really wanted to like it but the tone just had no bite. Traded it for a Lakland skyline, traded that for an unlined fretless MIJ jazz. Now that baby has bite! Sounds like Geddy Lee with no frets.

 

[ultra60]

In the late 80's I owned one of those Gold Jazz basses with the gold hardware, and white pickup covers. I tried several different pickups in it, and could not get a tone out of it that I liked. Not sure I'd call it a dud. It just sounded unlike any other Jazz I've owned, or heard for the most part.

 

[Spirit of Ox]

I feel like the neck makes the biggest difference. I know pickups are really the key to the tone coming out but I put the neck at a really close second.
Think about it, your changing pickups, strings, set ups, and etc. These issues with dead tone are from the necks.

 

[rocmonster]

I know there seems to be love for '70's era jazz basses but having owned a '78 that weighed so much I think it had its own moon, I'm not very fond of that vintage. My perception was reinforced when I picked up a similar one in a music store and the bad feels came rushing back. I really love the thin necks of post 2009ish Jazz basses.

 

[Hundred proof]

For me it's always been easier to find a good sounding Pbass ... the right Jazz tone/vibe eluded me until I found "the one" it turned out to be a 73 maple neck, same as the Geddy Lee.

 

[diegom]

Don't know about a Jazz in particular, but I have played some instruments that were just -flat out- DEAD.
I like to feel the wood resonating. Some basses I played (Ibbys for the most part, with glorious flame and/or figure), it felt like they were made of foam!!! No resonance at all!
Then, pickup another Ibby, solid color, and the thing was ALIVE!

Go figure! That's why it is best to PLAY before you BUY.

Diego

 

[OptimalOptimus]

It is wierd ... I never heard of someone play 100 Warwick or whatever other brand before getting one that is fine ...

I must but stupid lucky because as a lefty I never played before hand and never been disappointed ...

 

[deste]

ME!
Around 1990 i bought a late 80's MIA J: my first Fender, almost new and at an incredibly low price, I was so excited! 3t sunburst rosewood, beautiful neck, but... lots of dead spots on both G and D, sound dull, incredibly heavy. Then I found out why it was so inexpensive... It started in me a sort of hate against the Fender world that lasted almost twenty years (until i tried a Squire CV and love came back: now two of my main players are J).

 

[Spidey2112]

I have an '06 Highway One and a '15 Geddy Lee, both USA made...

... both sound amazing, but only when someone else is playing them.

 

[Keger Jupit]

Yes, but only with active electronics. I can't bond with them. Last one was a gorgeous '05 Jazz 24. On paper, it was killer! In the "flesh", it was killer. Tone, on the other digits, was disappointing. So, I traded it for this...which ironically, is active (with a passive switch). One of my better purchases.

'02 L-2000 Tribute. (This is some stock picture of a US built L-2000, but mine looks just like it)