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Professionals using a Squier

#121
WokenDeer said:
Man if you like it. Do it! No reason not to at that point.

Edit: also of its like you said and will fit the situation perfect. Than that's all the more reason to use it.
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Ok. I am re-thinking the situation in light of reading this thread. I will reconsider using the Squier for next Thursday's gig.

Since my band-mates like it, it has a very simple tone, which sounds perfect for a pure jazz setting, and it has a comfortable shape, I will not rule it out.

Because, honestly, I don't think a Bongo would sound good. I don't think my MIM jazz with EMG's would sound right. A Rickenbacker might work but I don't want it to get damaged. That leaves the fretless Warwick, which I used last year at these gigs and I didn't like the way it sounded. There was all high-mids and no bass.
 
#122
I've had absolutely no problems with any Squiers I've had in the past....but, there's a good chance I'll never buy another one unless it is to flip for a profit. Here's what happened.
I used to walk in my music room on the days I was playing and grab a case. Didn't matter whether it was the MIA Fender I had at the time or the Squier(both jazzes), I'd grab a case and go....until the fateful day when I was sitting around with the Squier plugged in and I decided I was going to take the MIA out and play her for a little. No comparison whatsoever....so much so that I put the Squier up for sale the same day. I've since replaced both basses. The Fender with a MIA Fender Precision Deluxe 5 string 60th Anniv(humbucker and all) and a Peavey BXP Grind 5 string. The Peavey is a better sounding and playing instrument then any of the Squiers I've ever owned.
 
#123
jimc said:
I came to this thread to mention Steve Evans but you beat me to it! Great player and that Squier sounds amazing.
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I heard Steve play that Squier Jazz live a few years ago. Honestly, it was one of the best Jazz tones I have ever heard. I talked with him about that bass. (super nice guy) He said it's 100% stock.

Russell L said:
For instance, my MIA Jazz has a graphite reinforced neck, rolled fingerboard edges, and very smooth fret ends, better tuners, better pots and pickups, for starters.
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But just think, 60's Jazz basses that people pay several thousands for, had none of this going on.

kraigo said:
Spend more time looking at the fingerboard and less time looking at the headstock.

KO
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Can't be said any better that that!

I picked up a Squier Deluxe Jazz 5 for an inexpensive spare. I didn't care for the electronics all that much, so I did modify it. That basswood body, ebonol fretboard wearin' $300 bass, is one serious tone monster!
 
#124
I have a Deluxe J V and I made it passive with Sadowsky pickups and a Hipshot bridge and tuners...

It just may be the best bass tone I've ever had. And I also own a US Deluxe with an East preamp. The Squier gets more play.

What drove me to it was the fact that there are no FENDERS that have the aspects of this bass that are so desirable...

Ebanol board - sounds, looks and feels great, keeps the neck more resistant to weather changes.
19mm spacing - it's quite nice.
3.7" wide pickup cavities - What pickups do you want? There are tons made to fit that! Dimarzio, Nordy, Duncan, EMG, Delano, etc. It's like a blank canvas.
Rear control cavity - (though Fender has a few) Pick a preamp, it should fit, no problem.

There's more, but the fact remains... Fender doesn't make what Squier has for this kind of bass. Granted, this is one aspect of a product line that includes many basses without the features, I'm just saying why I picked mine.
 
#125
soulman969 said:
I'll tackle this one for the other side. There's really no difference in the sonic qualities of alder vs basswood. Basswood is a softer wood but it's not tonally inferior to alder. Maybe on a case by case basis you may find one better than another but in general, no.

The neck, frets on my CV are finished just as well as any MIA Jazz I have ever owned and I can have the edges rolled for $50 if I thought I needed it.

I've heard and done A/B comparisons between the stock pickups and my bass and those on a 62RI. Soloed you'd have a hard time telling them apart blindfolded and in band mix, never. There are full size pots in a CV that sound just fine and if I chose to change them it would cost me about $10.00

I'd say that it's pretty much the same with the tuners but if I did decide to replace them that's $80.00

I'll spot you the graphite reinforced neck.

So, by my count I could upgrade all of the components listed on my CV for about $100 or less and have the edges of the fret board rolled for another $50. Roughly $150 in upgrades.

An MIA Standard Jazz lists for roughly $1700 and a CV Jazz for $580. Is that graphite reinforced neck really worth around $1100? I could replace that too and have enough left over for a bass amp.

From my perspective it's about value and at $1700 list and a $1300 selling price vs about $300 for the CV to me that MIA just isn't worth $1000 more because if it was I'd be playing that instead of my CV because I take pride in my craft and I won't play a crappy instrument no matter whose name is on the headstock.
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+1,000,000,000

You sir. Are. Awesome. However, those P-necks that are 1.75" at the nut are worth it - which the MIA standards don't have - but those MIA Vintage basses... Hmm... That alone makes it worth it. Then again, MIM Classic Series FTW! :D
 
#126
I've played both 'MIA jazzes, MIM jazzes and Squier CV jazzes and I'll tell you this. The people who claim Squier is crap, weren't playing a well set up bass. Yes, I play a MIM Fender, but I got it for $200 (poor thing'd had a hard life before t met me). Spent another 200 in pickups and hardware for it. At $400, it's still cheaper than a new MIM jazz. But if it hadn't been available, you can bet the headstock on my bass would likely say, Squier.
 
#127
I've found that putting neck shims ( two 1/8" strips cut from a medium gtr pick) made my Squier P 5 string just explode. it has tighter string tension w lower action. I did this after reading Bill Nash's blog at nashguitars.com. also shimmed my pino p bass, same result. even though there is a slight airspace between neck and body there seems to be no loss of sustain or fullness. the shims increase string angle at bridge ( yes you have to raise action at bridge after shimming. I also had to raise my pickups). in Bill Nash's words, the bass just seems to "pop" more. much livelier. and the B string got WAY better.
 
#128
brad houser said:
I've found that putting neck shims ( two 1/8" strips cut from a medium gtr pick) made my Squier P 5 string just explode. it has tighter string tension w lower action. I did this after reading Bill Nash's blog at nashguitars.com. also shimmed my pino p bass, same result. even though there is a slight airspace between neck and body there seems to be no loss of sustain or fullness. the shims increase string angle at bridge ( yes you have to raise action at bridge after shimming. I also had to raise my pickups). in Bill Nash's words, the bass just seems to "pop" more. much livelier. and the B string got WAY better.
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The nice thing about Fender designs like Squier is that they are the guitar equivalent of the old Volkswagen Beetle. There's a large amount of improvement to be had simply by tweaking and some judicious replacement of wiring, pots and pickups if necessary. Proof that Leo was not a luthier, but a machinist with great ideas.
Of course, you could play a broomhandle, a bucket and.piece of string and sound great, Brad!
 
#130
I may not be famous, but I pay my bills playing music, so I guess that makes me "remotely professional". My main bass for years was a MIJ SQ series Squier. It was edged out recently by a tricked out MIM with upgraded pickups (Fender '62 RI), CS pickguard and CTS pots, mostly because I like the color combo of the MIM (white/tort) better than the B/B Squier. The Squier felt and played as good as any MIA I've laid hands on.

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I host a few jams sessions, and nobody, I mean nobody has refused to sit in because I was playing a Squier.

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#133
The reason a pro world touring bass player might pick a squire is same reason one might pick an import Ibanez, Esp Ltd, Bc rich, etc. Is simple really, sometimes players find they prefer the electronics of the imports sound wise and they find the qaulity of build is just as good for playing and tone purposes. The neck profile might also be liked more then on the "american version". A player might also prefer the body wood used in the import tone wise. A player who would replace the stock pups and or electronics and hardware/bridge is better off getting the import versions as well imo.
 
#134
people love to buy things that they can`t afford. most everybody maxes themselves out to the hilt financially; they are the same peeps that buy $300 jeans...
who cares-learn to play and then it won`t matter much on what you play.
if you suck, you will suck on a fodera and if you are good, you will sound good on stringed plywood.
and vice versa.
 
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#135
gigslut said:
I may not be famous, but I pay my bills playing music, so I guess that makes me "remotely professional". My main bass for years was a MIJ SQ series Squier. It was edged out recently by a tricked out MIM with upgraded pickups (Fender '62 RI), CS pickguard and CTS pots, mostly because I like the color combo of the MIM (white/tort) better than the B/B Squier. The Squier felt and played as good as any MIA I've laid hands on.

Link Removed

I host a few jams sessions, and nobody, I mean nobody has refused to sit in because I was playing a Squier.

Link Removed
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Is that Tom Jones?
 
#138
Look, the truth is that when many of the discount brands were first made and earned their reputations, Japan, Korea and China were putting out crap/rubbish so bad that it was automatically stigmatized. The original release of the Aria Pro II series and some of the Ibanez Musician stuff met with a big thud here in the US because at the time ('70s) anything with Made in Japan on it was clearly cheap and poor quality. Even though these instruments were of Alembic quality.

Now, in most cases, we revere the Matsumoku and Fujigen stuff FOR its quality. But back in the day? No way.

Squier was originally beyond crap. The first Bullets were complete horse$%^t. I purchased one when they were first released and the grounds were not connected properly, there were cold solder joints, the neck pocket was like a neck surrounded by a moat, yada yada. The tuners were really weak. After putting some elbow grease into it played fine, and was definitely decal friendly. ;)

Today, most imports are as good as CBS era Fenders in quality. So the argument today about quality and tone is very subjective.

However, as many have stated here, the first time you are in a real pro environment, and someone sees the logo, unless you are already really famous or known, you take away status points and reputation gets a coffee stain. Has zero to do with your playing, zero to do with the actual quality and tone of the instrument.

In this business, on the studio level, if you walk in with a vintage P or J, with a little mojo on it, and maybe lug in a Sadowsky or Alleva-Coppola, well, they look at you as a man who knows his business. Walk in with a Kramer DMZ, Danelectro Deadon 58 Longhorn and an Epiphone Viola (and that is truly what the session calls for) and, well, they will immediately search the studio for the MIA Jazz they keep around for guys who aren't good in the studio. No matter how amazing you really are and how perfectly those instruments will capture the songs and the tracks.

Rep is everything in this business. I know. I've made a career faking it successfully, even though just about every other bassist here on TB is actually better then me in technique (and most in looks...)
 

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