Das Jahr 1974 hielt für den Jazz Bass bedeutende Änderungen parat. Nur ein Jahr zuvor wurde bereits der Stegtonabnehmer um einen guten Zentimeter näher am Steg platziert und für die vierfach geschraubten Hälse sollte 1974 für eine ganze Weile das letzte Einsatzjahr bleiben. Weiterhin wurde der schmale Ahornhals im „C“-Profil in ein dickeres „U“-Profil umgeformt (und erhielt einen „Skunk“-Streifen aus Walnuss). Zum ersten Mal gab es ein weißes Griffbrettbinding und Blockeinlagen in Perlmutt. Die „Bullet“-Halsstabmutter gab ebenfalls ihren Einstand und schwarze Pickguards ersetzten ihre seit langer Zeit zum Einsatz kommenden Vorgänger aus Schildpatt.
Der American Vintage ’74 Jazz Bass bietet natürlich all diese Raffinessen und ist das einzige Modell in der neuen American Vintage Bass-Familie, das ein Griffbrett aus Ahorn oder ein Palisandergriffbrett in „Round-Laminated“-Ausführung bietet. Alle beide sind mit weißem Binding, Blockeinlagen aus Perlmutt und 20 Bünden im Vintage-Style erhältlich. Zu den weiteren authentischen Ausstattungsmerkmalen zählen ein Erlenkorpus mit Urethan-Finish (Esche beim Modell mit Natural-Finish), ein dreilagiges Pickguard in Schwarz/Weiß/Schwarz-Optik (dreilagiges Pickguard in Weiß/Schwarz/Weiß-Optik beim Modell in Black), neue American Vintage ’74 Jazz Bass Single-Coils, eine weiter oben angebrachte Fingerablage, ein Steg im Vintage-Style mit „Barrel“ Gewinde-Stegeinlagen, mit „Fender“ Prägung versehene, offene Stimmmechaniken im Stil der 1970er-Jahre, eine vierfach geschraubte Halsplatte mit geprägtem „F“ Logo, verchromte Abdeckungen für die Tonabnehmer sowie eine verchromte Stegabdeckung mit aufgeprägtem „F“ Logo und historisch korrekter Platzierung und noch vieles mehr. Erhältlich in Three-Color Sunburst, Olympic White, Black und Natural.
|Model Name:||American Vintage '74 Jazz Bass®, Bound Round-Laminated Rosewood Fingerboard, 3-Color Sunburst|
|Body Shape:||Jazz Bass®|
|Scale Length:||34" (864 mm)|
|Fingerboard:||Bound Round-Laminated Rosewood|
|Fingerboard Radius:||7.25" (184.1 mm)|
|Number of Frets:||20|
|Fret Size:||Bünde im Vintage-Stil|
|Nut Width:||1.475" (37.46 mm)|
|Position Inlays:||Blockeinlagen aus Perlmuttimitat|
|Truss Rods:||Vintage-Style Heel Adjust|
|Head Stock Binding:||weiß|
|Neck Plate:||serialisierte 4-Punkt Halsbefestigungsplatte|
|Bridge Pickup:||American Vintage '74 Single-Coil Jazz Bass|
|Neck Pickup:||American Vintage '74 Single-Coil Jazz Bass|
|Controls:||Volume 1. (Mittel-Pickup), Volume 2. (Steg-Pickup), Master Tone|
|Bridge:||4-Saddle American Vintage Bass with Single-Groove Steel "Barrel" Saddles|
|Tuning Machines:||70s Vintage Fender® Stimmmechaniken, gestanzt, offen|
|Control Knobs:||schwarze Plastikdrehregler|
|Strings:||Fender® USA Bass 7250M, NPS (.045-.105 Gauges)|
|Unique Features:||Mounted Chrome Pickup and "F" Bridge Cover with Vintage- Accurate Positioning, Upper-Mounted Thumb Rest, Four-Bolt "F" Neck Plate, Walnut "Skunk" Stripe, White Neck Binding with White Pearloid Block Position Inlays|
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I have owned Fender Custom Shop basses and American Standard basses, and they never seem to disappoint.
This one, for me, has to be the best bass I've ever played and owned, new, out of the box.
Beginning with the visual, it is nothing short of stunning: The three-tone sunburst is perfection achieved, and with the Urethane finish, it looks more like candy than a guitar.
The neck is perfect for my smallish hands. With a set of flatwound chromes, it feels like I've been playing it for years, and can play it all day without hand-cramping or finger-sting.
Using the control knobs, I found it easy to get any tone from straight-ahead jazz, R&B, Funk, Blues, or Rock that suited my ear. For amplification, I used an older Genz-Benz 6.0, a Fender Rumble 30 for home use, and Fender Bassman. I'd have to say the Bassman was the best overall for me, but the Genz-Benz did have interesting tonal nuances the Bassman did not. It would likely sound good wired to an old transistor radio.
Since I feel no review is truly complete without bringing any negatives, I'd have to say the weight. It is quite a piggy, but I can't imagine how the tone could be so rich with an ash body rather than the standard alder. Probably just my advancing age that complains the most, which would not have bothered me in the slightest about 40 years ago...
She's a 10, and there is no doubt about it in my mind.
rtobias owns this item
I didn't exist in 1974, but with a bass like this, i kinda wish i did. So beautiful and can do you good with any style of music.
TheAmericanJazzPro owns this item
I've not played this particular model. I currently own the older incarnation of this model which is the American Vintage 75 Reissue Jazz Bass. It's one of my favorite basses I own, the craftsmanship is second to none (It's better than any real 70's Fender Jazz Bass I've played), and the sound is huge and spot on to the era. This is due in part to the bridge pickup location, which is a little closer to the bridge than the standard or '60s jazz bass. My only problem with the instrument is that it's not a dead on reissue. It's a very close replica. It's little things like the logo design, the serial number location, and the fingerboard/inlay choices available. Minor things that don't really affect playability, construction, or someone who just wants a great instrument.
Now on to this instrument:
Essentially anything that made the 75 reissue cost more than a standard jazz bass was eliminated all short of the block inlays. The 3 bolt neck with tilt function and the bullet truss rod. In my eyes, this is what made the 75 jazz bass truly stand out in adjustability standards. It could be set up easily, quickly and perfectly every time. Now anytime a set up is necessary on this the neck must go on and off. This is a real pain for anyone who lives in a climate that varies quite a bit.
There was also the strange redundancy between Fender USA and Fender Japan where they were both making a 75 reissue. The Japanese model was even further from a true reissue in that the pickups were in the '60s position.
Don't get me wrong, I love how this looks, and it probably sounds just as good as my 75 reissue. I only wish that instead of making this, they expanded the colors of the '75 reissue. The only ones available before were natural ash with either a maple fingerboard with black blocks and binding, or a rosewood board with pearloid blocks and white binding. Would have preferred a maple board with pearloid inlays like the neck here, but that's splitting hairs. Great bass no matter what it looks like.
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