Fender American Professional Series

[Lowness]

No, it's not.

Well, what is it?

 

[SanDiegoHarry]

Meh. Nothing new to see here. Move along.

 

[Linnin]

Well, what is it?

A simple treble cut. Not a modification.

 

[Thuddy Waters]

That is correct. On passive Fenders the tone control is a very simple treble cut. It doesn't modify the tone in any way. It simply cuts treble. Not modify it.

I understand that passive tone controls do not do nearly as much as tone controls on an active bass, but isn't cutting the treble a type of tone modification? Furthermore, If I turn down the treble on my amp is that modifying the tone?

 

[Linnin]

I understand that passive tone controls do not do nearly as much as tone controls on an active bass, but isn't cutting the treble a type of tone modification? Furthermore, If I turn down the treble on my amp is that modifying the tone?

No. Changing the tone isn't modifying the tone. This is modification:

 

[Linnin]

or this

 

[Linnin]

This is tone sculpting

 

[Lowness]

A simple treble cut. Not a modification.

I understand that passive tone controls do not do nearly as much as tone controls on an active bass, but isn't cutting the treble a type of tone modification? Furthermore, If I turn down the treble on my amp is that modifying the tone?

Yes, it is a type of modification.

I really don't know how people think otherwise.

 

[Thuddy Waters]

No. Changing the tone isn't modifying the tone.

One of the definitions of the word modify is "to change." Definition of MODIFY
Maybe in the universe of bass guitar tone modification jargon and nomenclature those words cannot mean the same thing and I'm just not hip to it. Otherwise, I disagree with you.

 

[Linnin]

I'm just not hip to it

This is correct, and you are tragically unhip.

Otherwise, I disagree with you.

I don't care.

 

[Thuddy Waters]

This is correct, and you are tragically unhip.
I don't care.

....And you're still wrong.

 

[rmars]

Can someone, explain to me.. What tall narrow frets feel like. Vs my 50's series road worn p bass ? Thanks

Stole this chart from the Warmoth website. Some of the frets that Warmoth uses run a bit shorter than the Fender equivalent and I tried to note the differences below.

Your Road Worn will be something close to the 6230 which are .045" tall, .083" wide. The Warmoth equivalent is .037" so they will look a bit shorter in the chart but the Fenders will be about the same height as the 6105's in the chart.
Invalid Link Removed

The American Standards used something like a 6150 is .046" tall and .103 wide. In this case the Warmoth equivalent is almost identical to the Fender.
Invalid Link Removed

Haven't played the Professionals yet but narrow tall usually means something like the 6105. I'm assuming they are using these which are .055" tall and .090 wide-
Invalid Link Removed
The Warmoth 6105 equivalent in the chart is almost the same width as the Fender at .090" wide but is actually almost as tall as the Warmoth 6100 (which is .058").

For reference Sadowsky uses narrow/tall frets (I think they do their own custom size (?)) and if I recall Bill Nash uses 6105's but he sometimes levels them down quite a bit. What G&L calls medium jumbos are actually a full jumbo fret like the 6100.

Again, I'm guessing on what Fender is actually using for the Professional series but narrow/tall usually means .090"-.095" wide and .045"-.055" high depending on the manufacturer. Sorry, this won't really answer the "feel" question unless you've played basses from the examples I listed but at least you can get a visual idea of the differences.

Edit: The same frets heights may feel slightly different on rosewood and maple. This is because the lacquer/poly finish is applied over the frets on maple boards and the thickness of the finish can vary.

 

[mattattack187]

I'm really digging that antique olive. Only American made instrument I own is a 90's EBMM. I'd love to have one solid go to Bass for any style of music. I have a SBMM & a Warmoth that I'd probably put up in a trade for one.

 

[123Nil]

I'm really digging that antique olive. Only American made instrument I own is a 90's EBMM. I'd love to have one solid go to Bass for any style of music. I have a SBMM & a Warmoth that I'd probably put up in a trade for one.

I would look at a 50's road worn P.. Blows my American Pro, out of the water... Really let down..by the Fender American Pro.

 

[mattattack187]

I would look at a 50's road worn P.. Blows my American Pro, out of the water... Really let down..by the Fender American Pro.

I have the Classic 50's Lacquer which I truly believe is a hidden gem in the Fender line. Got it brand new $300 off retail price because the store owner simply didn't want it for himself.

 

[BillyH]

I'm really digging that antique olive. Only American made instrument I own is a 90's EBMM. I'd love to have one solid go to Bass for any style of music. I have a SBMM & a Warmoth that I'd probably put up in a trade for one.

I would think that EBMM would be a go to bass. Wanting one bad here

 

[mattattack187]

I would think that EBMM would be a go to bass. Wanting one bad here

Yeah it is don't get me wrong but it's one of those ones I don't like to take out of the house all that much!

 

[Lownote38]

I have the Classic 50's Lacquer which I truly believe is a hidden gem in the Fender line. Got it brand new $300 off retail price because the store owner simply didn't want it for himself.

Nice score!

 

[murphy]

Ok...I have now tried the Jazz bass, the Precision, The fiver Jazz V and fiver Precision V

I am wowed and love them
The Precision was so nice feeling...has got me considering becoming a P bass player

The jazz 5ver and Precision V gave me GAS

I love the neck shapes and satin feel
Could get a nice smooth thumpy tone also
Nice weight too...fairly light

 

[Pet Sounds]

I was kind of underwhelmed by the specs when they were first announced. But having played the P several times, I think there's an Olympic White rosewood Pro in my future.