1. Fender Marcus Miller Jazz Bass

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Fender Marcus Miller Jazz Bass

Just like Marcus Miller himself, the Fender Marcus Miller Jazz V 5 String Electric Bass Guitar is soulful and astounding. Fender Marcus Miller Jazz V 5 String Electric Bass.

For Fender during the turning point era of the mid-'60s, check out Body and Neck Dates Through much of Fender's production history, Fender workers would print or write a production date on both bodies and necks where the two pieces meet. These dates will tell when the original part was manufactured, but are not exact indicators of when the guitar was actually put together and finished. Here is what the neck date and body date look like from a 1952 Telecaster: If you're not comfortable removing the neck of a guitar to peek at the date marker, I encourage you to take it to a local tech or luthier. I will also mention briefly pot-codes as a resource (numbers on the internal potentiometers of the guitar). These can definitely be useful in cases where no other numbers exist, but just tell when the pot itself was made. Who knows how long it was waiting in the Fender factory before finding its way into a Tele?

For his watermark work on Chaka Khan’s 1980 disc, What Cha’ Gonna Do for Me?, Anthony Jackson tuned his J-Bass down two whole-steps (thus the odd tab markings here). 7 is from the outro (at 3:37) of “Night Moods,” where Jackson makes the most of his fill space with tasty note choices from the Fmaj7#11 chord.

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The most important thing to keep in mind when dating a Fender is the highly modular nature of the designs. Like Henry Ford, part of Leo Fender's genius was in optimizing the company's production efficiency. His guitars were built en masse by an entire factory, not a single luthier toiling over one instrument at a time. Features like bolt-on necks and pickups wired into the pickguard all helped the Fender factory churn out guitar after guitar, day after day. This also means that various parts used on a particular guitar may have come from different points in time, so no single number can absolutely define when the instrument was built. Instead, the best approach to dating a Fender is to combine indicators from the design of the instrument, the dates found on the neck and body, along with the serial number.

This article needs additional citations for. Unsourced material may be challenged and removed. (January 2010) () Jazz Bass Manufacturer Period 1960–present Construction Body type Neck joint Woods Body Neck Fretboard Hardware Bridge Fixed Usually two Colors available Various 2- or 3-color sunbursts Various shades of white, blue, red, green, etc. The Jazz Bass (or J Bass) is the second model of created. It is distinct from the in that its tone is brighter and richer in the midrange and treble with less emphasis on the. [ ] It has a more focused tone than the Precision Bass, with less low end and low midrange. [ ] The sound of the Jazz Bass has been fundamental in the development of signature sounds in certain musical genres, such as,,,,, and.

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We also have some other blog posts related to Fender that can hopefully be of some help. There's and that follows the evolution of the most popular Fender guitar of all.

Richard Smith postulates, “There were two factors going on at the dawn of the J-Bass: Leo Fender wanted to improve the notion of what the electric bass was, and Don Randall in marketing wanted something new to sell, as he always did. There really wasn’t much to compete against except the Danelectro Bass in Nashville— which led Fender to make their 5- and 6-string basses—and the late-’50s Rickenbacker bass, which really didn’t get popular until Paul McCartney used one with the Beatles. Leo was also very concerned about the P-Bass blowing up speakers in his amps, as a result of the percussive spike you get when plugging in the magnetic Alnico pickups. For him, it was about the evolution of guitars and amps, so he’d go back and forth between them all, making refinements. In the case of the J-Bass, for which he likely he felt he needed to introduce something new, improve on the P-Bass, and appeal to a wider audience.” Session legend Jerry Jemmott was part of that audience.

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Some people may swap necks or bodies.). If there is not anything written, all the parts will have to be analised and compared to the models showed in Fender Japan catalogs over the years.

What do you guys thinks??? Thanks a lot, S.

Effects react differently to the rear pickup, too. Sonically, the J-Bass sits solidly with the bass drum. Overall, bass became meaner and more profound in the band when the J-Bass came on the scene.” So what does the future hold for the Jazz Bass? Predicts Willocks, “There are certain basic principles that won’t ever change and other aspects that will. We have vintage platforms that are extremely popular, and other platforms we use for evolution, like the American Standard and Deluxe series, and artist models. All of these will keep growing as long as we have great, creative ideas coming in.” A DOZEN GREAT JAZZ BASS MINDS, 11 GREAT J-BASS LINES Although jazz-monikered, the J-Bass steadily made its presence felt in all styles of music, led by an array of forward-thinking thumpers featured in the following examples. 1 recalls the main riff of Jimi Hendrix’s “Little Miss Lover” [ Axis: Bold As Love, 1967].

This is a variation on the traditional Jazz Bass design—differences being that it has only one master volume and tone, but additional on/off switches for pickup selection, series/parallel switching, and a two-band active preamp with bypass switch. The Jaguar bass retains the slim Jazz neck, bi-pole pickups, /Jaguar body design and the trademark Jazz Bass growl. As of 2008, the Jaguar Bass comes in Olympic White and three-colour Sunburst finishes, together with a four-ply brown tortoise shell pickguard. These colours were previously available only for the Japanese domestic market.

The American Deluxe series was discontinued in 2016. The American Elite Jazz Bass, introduced in 2016, sports a compound modern C-to-D neck shape, fourth-generation noiseless pickups, a 'spoke-wheel' truss rod system for easier neck relief adjustments and a new asymmetrical neck heel. It is offered with a compound radius rosewood or maple fingerboard, in 4 and 5-string versions. The Mexican Deluxe Active Jazz Bass combines many of the features of the American Deluxe models with a traditional Standard Jazz Bass body, vintage-style hardware, a contoured neck heel and a 12'-radius 20-fret rosewood or maple fingerboard.

After 2009, the letter changed to a format starting with US then two digits that tell the year of the current decade. Here's the breakdown of Post-1976 American-made Fender serials. Fender Japan serial numbers can usually be found on the back of the neck near the neck joint. Though examples also exist with the number on the headstock or the neck-plate in the case of certain early reissue models.

This sound is the product of certain frequencies from both pickups being out of phase and cancelling each other, leaving a 'scoop' on the midrange. This is similar to what happens on some guitars when you blend the sounds from two different pickups, such as the Fender Stratocaster. Some 'Deluxe' Jazz Bass models feature an active pre-amp (usually with three bands of equalization) in place of a single passive tone control; these basses have three separate equalizer controls: bass and treble responses are controlled by the base and top of a stacked double pot, while midrange is controlled by a second knob. They came with 22 frets, abalone dot position inlays and an 18-volt power supply on some models.

I call it a ‘bark’—just another aspect that Leo got so right.”. Tal Wilkenfeld, whose J-Basses are a ’74 alder/rosewood and a ’74 ash/maple, adds some prudent perspective on vintage basses. “For a musician, it’s not wise to buy solely by the year of the bass or its condition. There are great old J-Basses and notso- great ones. Often the mint ones turn out to be duds, and that’s why nobody played them much; the best ones have the wear on them.

It is the second year of the Marcus Miller Jazz bass models.

Turning to a bonafide bass anthem from the ’90s, Ex. 10 contains the opening four bars of Marcus Miller’s “Panther” [ The Sun Don’t Lie, 1993]. The section is rubato, with an E minor tonality; try to match Miller’s phrasing and breathing. 11 is Geddy Lee’s raucous opening bass line on “Malignant Narcissm” [ Snakes & Arrows, 2007]. Keep the open A string ringing, and mind where the downbeat is and isn’t pushed.

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It comes in 4 and 5-string versions and sports a three-band active circuit powered by two dual-coil ceramic Noiseless Jazz Bass pickups and an 18V power supply with an active/passive switch (as of 2016). The Custom Classic model was made at the. This Custom Shop Jazz Bass was a cross between the American Vintage and the.

Here are the rough serial number ranges for the early Esquires and Telecasters. 161 to 357 1951 299 to 619 1952 0001 to 0160 1952 0161 to 0470 1951 - 1952 0475 to 0840 1952 - 1953 0848 to 1897 1953 - 1954 Also, for the first half or so of 1954, the inaugural run of Stratocasters had a distinct number sequence all under number 6000. Classic Serial Numbers - 1954 - 1963 By mid-1954, Fender began using a universal serial number sequence for all its instruments. At this time, the location of the serial number also shifted from the bridge to the neckplate (the metal plate located on back of where the neck meets the body).

I typically make a small adjustment to the truss rod, then give it a day or so to acclimate, then recheck and re adjust. The frets are now dressed and feel fine. The tuners are ok, but again not anything special.They seem to hold their tuning pretty well, but are quite tight tension wise I wish they were still using the Custom Shop PUPs though. The vintage PUPs in the Ged aren't bad, but they are not anything special either. They definitely have a some shiny top end on them, but sound somewhat sterile to my ear. I am contemplating some Nordstrand's, but Im in no rush for a pickup swap really. The Vintage PUPs get the job done.

After considering the name “Deluxe Model,” it was renamed Jazz Bass to appeal to jazz bassists; unexpectedly, though understandably, converted upright players preferred the wider neck of the P-Bass. In addition to being narrower at the nut (1w' to the P-Bass’s 1e') and having a rounder neck shape, the 34'-scale bass featured an “offset waist-contoured body” that was sleeker though heavier and longer than the P-Bass, and two separate single-coil eight-polepiece pickups that hum-cancelled with both on full. The phase cancellation of certain frequencies in this setting provided the instrument’s signature mid-scooped, punchy sound. From top to bottom, the original J-Bass sported a fourbolt/ 21-fret maple neck and headstock (with a strap button), clover-shaped tuning keys, bone nut, rosewood fingerboard, Fender flatwound strings, clay dot position markers, an alder (or on occasion, ash) body, white or tortoise-shell laminated plastic pickguard, G-string-side finger rest (for pick-playing or thumb-plucking), two stacked pots with volume and tone control for each pickup, chrome bridge and pickup covers (the former adorned with a large “F”), top-loaded bridge with adjustable string mutes, and a bottom strap button. In addition to sunburst or blond, there were 14 custom color options, which included a matching headstock.

Up until 1997, the serial was paired with the words 'Made in Japan.' In 1982, Fender expanded operations with a series of instruments produced in Japan by the Fuji Gen Gakki company. Like the US serial numbers, MIJ (made in Japan) serials start with a letter or pair of letters that indicate the rough year of production. This system, however, is notoriously inconsistent and incomplete, which makes dating by serial number even less reliable for MIJ Fenders. Here's a breakdown of serials for the 'Made in Japan' era.

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Known as the 'S-1 Switch', this feature allows the pickups to operate in standard,, or alternatively in when the switch is depressed. While in series, both pickups function as a single unit with one volume control, giving the Jazz Bass a sound more similar to the Precision Bass. The two pickups are built to be opposite from each other in both magnetic polarity and electrical phase, so that when heard together, hum is cancelled—the effect.

Block-shaped fingerboard inlays and an optional maple fingerboard were introduced after 1966/67. At first necks with rosewood fretboards received pearloid blocks/binding and maple fretboard necks received black. Fender switched to pearloid blocks/binding on all necks in mid-to-late 1973. Fender also switched to the three-bolt neck 'micro-tilt adjustable' neck and the 'bullet' in mid-to-late 1974 before reverting to the more standard four-bolt neck fixing and dot-shaped fretboard markers in 1983. White pickup covers and a pickguard/control plate were introduced the same year. In 1986 Fender introduced the Japanese-made, also with micro-tilt neck, designed by John Page and intended to be an Elite version of the Jazz Bass; however, the radical styling was not popular and production ceased the same year.

The sleek design. I am SO glad I purchased this bass. It can do absolutely anything from being behind the mix for an R&B track or right in front with some added mids and highs for a nice rock stone or Marcus Miller slap tone.