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Pickup/bridge covers

I searched around with no luck so...do you all remove the metal pickup and/or bridge covers on your P's and Jazz's? If so why? If no why?

Do they effect the intended sound? What's up with those things?

Thanks,
Nick
Most, including myself, take them off because they get in the way while playing.

The pickup covers are supposed to be shielding. The bridge covers are there so you can put foam around the strings as a mute and not be visible.
+1
 
I keep & use the pu cover. It protects the pickup & provides a perfect thumb rest option. I've used bridge covers in the past but prefer without.
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The pickup covers are supposed to be shielding. The bridge covers are there so you can put foam around the strings as a mute and not be visible.

The covers will only shield if there is an connection with the ground in the wiring of the bass.

Some of the 50s P Basses have an anodized guard and the pickup cover can make a ground connection.

The old slab body basses like 2saddleslab bass have a wire in the pickup cavity that makes contact with the cover.

And, the pre-CBS P Basses have an aluminium shield plate in the same shape as the guard and the cover screws can make contact with it and be grounded (not always).

The bridge cover is not grounded at all nor on the Jazz Bass.

Kind of hard to see but here is a photo of a 1952 P Bass and you can barely see the ground wire for the chrome cover.

1952-fender-precision-bass-blonde-3-YRa8etT.jpg
 
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Where you pluck the string relative to the bridge, affects the tone. That cover on the p-bass is right in the way for most of what I like to play. It bother slappers alot. When playing with a pick, a bridge cover works for me as a I can rest my hand on it and not corrode the bridge.
 
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I'm in the camp that prefers the pickup cover on (for my Jazz Basses*, at least).

Most of the time when playing fingerstyle, I place my thumb in front of the cover and my fingers behind, and sometimes when playing with a pick, I palm-mute just behind the cover and my thumb and forefinger hold the pick in front. This positions my plucking fingers in between the pickups and my pick between the neck pickup and fingerboard; in a sense, the pickup covers help me keep my tone consistent across all the strings. Never had any issue, they don't get in the way for me, and I don't feel they affect my sound in any way.

I don't have the bridge cover on, though. Unlike my neck pickups with the covers on, when soloing my bridge pickups, I prefer to have my thumb directly above the pickup. Plus it's easier to palm-mute directly at the saddles.

* I can only use this method for Jazz-sized covers, my fingers aren't long enough for the wider Precision-sized covers
 
Of my four Fenders (3 basses and a Tele), only the '76 P originally had covers. They were long gone before I bought it in '86. I would have probably taken them off it it had them. For sure in the 80s everybody removed them; at that point nobody I knew was fetishizing 60s-designed chrome covers. Most players use different technique than Leo intended when he invented them, e.g. on a P bass using the pickup as a thumb rest. So the covers just get in the way and add weight.

Nowadays seems like a lot of collector types want their 60s-designed instruments to look like Lord Leo intended, and that's fine if you like that sort of thing.:thumbsup:
 
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I searched around with no luck so...do you all remove the metal pickup and/or bridge covers on your P's and Jazz's? If so why? If no why?

Do they effect the intended sound? What's up with those things?

Thanks,
Nick
My 1965 Jazz had both covers in place when I bought it in 1966. I took the neck pickup off because that's pretty much the spot where I like to pluck the strings and it was in the way. In 1965 the "ashtray" cover with the giant F on it had a foam strip glued to the inside of the cover. When the cover was in place, that open-cell foam strip contacted the bass strings and acted as a mute. Evidently Fender was still trying to make the electric bass sound more like a stand-up bass and over the years they used different muting methods to try to achieve that.

What those string mutes really did was kill the sustain on the strings. I liked that big ashtray cover at the time but didn't like the mutes. So I cut and scrubbed that foam strip off. Don't know that I ever got it perfect, but it didn't really matter. I removed enough so that nothing muted the strings and, since it was on the underside of the ashtray, you couldn't see that part anyhow. I ended up playing with the center cover removed and the bridge "ashtray" cover in place right up until my bass was stolen in 1976 when the house we were staying in was burglarized (also stole my amp and mics).

Below is a shot of me playing my '65 back in about 1972. We typically played 5-nights a week and my bass is pretty smudged up here...sorry 'bout that:

414232271.jpg

In 1985, when my current bass was traded in towards another purchase at the music store where I was working, The covers were inside the case and still in their plastic bags - they were never mounted. The fellow who took in the bass immediately removed them from the bass case and put them into our accessory case by the register to sell them separately. So they didn't come with the covers a month later when I was allowed to buy it. Actually that sounds bad, it was actually good. The owner wanted to try to sell it at retail for a month before he sold it to me. It didn't sell in that longest month I ever lived through and he gave me a very good price on it at the end of that month - very grateful to him for that.

I do not use the covers on my current jazz at all and never will. The pickup covers/protectors drastically inhibit where you can pluck the string and as a result, they drastically reduce the variation in sounds that you can get out of it. The crude basics or it are that if you pluck the strings up by the bottom of your neck you will get a warmer and darker sound. If you pluck them back by the bridge, you will get a very bright and percussive sound. If you want to make your Jazz growl, dig into the strings over the bridge pickup. So, knowing what I do know about how to get different sounds out of my Jazz Bass, I would never use the covers they came with. They are just too limiting to my choices of sounds.

And below is my current bass, which is a 1982 Jazz with the same neck profile that my '65 had. I'm going for the warmer/darker sound plucking the strings as you see here. Notice I have lots of choices on where to pluck the strings to get different timbres to the sound from them.

DSC01550_vertical_600x848.jpg
 
The covers were meant to mimick the car designs of the era. They look classic and offer no functional benefit. Remember that Leo was not a player. He assumed all bass players would be thumb-only players.

They do look cool, I can't deny that.
I have to mention that back in the early 60's, they pretty much were all thumb players. That's how I started out in 1965. Then went to a pick shortly afterwards and in 1968 started using finger-style.
 
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I think the pickup cover gets in the way.
I had the bridge cover on my Jazz for a couple years, but took it off, and never put it back on.

I like the look better with no covers...

I know a couple guys who use a bridge cover on a P Bass as a place to stuff foam.
 
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Jamerson!
Seriously, to get that Motown/Stax/Soul sound you need the ashtray and the pickup cover! WHY??!???!!
Because it clearly establishes the 'preferred' picking areas for that particular sound (Between the pickup and the fingerboard for slower passages and between the pickup and the bridge for the faster, or 'treble-ier' sections) The ashtray, as many have mentioned, is for a foam mute.

Yes, the covers do limit the full potential of the instrument. In my opinion, they focus the sound for a particular style...

As always, IMNSHO, YMMV, IANARS...

Diego