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Leo chose the name “Precision Bass” largely because the instrument was fretted
and therefore had more precise intonation than an upright with its fretless
fingerboard. Fender historian Richard R. Smith says the name also refers to the
“precise” (focused) tone of the instrument and the accuracy of the Fender factory’s
machines.
The prototype had tuning machines adapted from an upright and steel-wrapped gut
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strings. (For the production instruments, Fender ordered flatwound steel strings
from the V.C. Squier Company.) Because the body was so large, Leo gave it
double cutaways for better balance, creating a shape that foreshadowed his 1953
design for the Stratocaster guitar.
The pickup was a simple single-coil design, with one polepiece directly below
each string. There were two knurled control knobs: volume and tone. Anticipating
that musicians would pluck the strings with their thumb, Leo mounted a finger rest
below the strings on the large black plastic pickguard. The bridge had two saddles
made of pressed fiber. Chrome covers concealed both the pickup and the bridge.
These were not merely decorative: the pickup cover provided electronic shielding,
and the bridge cover contained a rubber string mute. The mute deadened the sound
to produce short, thumping notes that mimicked the sound of an upright.
The second part of the equation was the amplifier. Leo quickly determined that his
guitar amps could not handle the low frequencies his new bass generated. So he
set to work creating a new amp, which became the original Fender Bassman.
“Especially designed for bass reproduction” (as the advertisements said), the
original Bassman had a single Jensen 15” speaker and a 26-watt tube amp that
could produce a reasonable bass sound at low to medium volumes.
The Fender bass was also making inroads in the recording studio—especially in the hands of two converted
guitarists, Carol Kaye and Joe Osborn. Kaye had picked up a Precision Bass in 1963 when the contracted
bassist didn’t show up for a Capitol Records session in Los Angeles. She soon realized that a guitarist who
doubled on Fender bass could get more work, just as Leo Fender had hoped.
Kaye’s skill as a sightreader, combined with the tape-friendly sound she got by playing with a pick, soon
made her much in demand as a session bassist. Her early work included pop hits like “Spanish Eyes” by Al
Martino and “Whipped Cream” by Herb Alpert & the Tijuana Brass. By 1965, she was the first-call bassist in
L.A. Her strong playing was featured on dozens of tracks made by famed producers Phil Spector and Quincy
Jones, and her studio log includes the Beach Boys, Ray Charles, Frank Sinatra, Simon & Garfunkel, and a
bevy of Motown groups.
Joe Osborn also became a bass player out of necessity. He explained it this way to music journalist Chris Jisi:
“Roy Buchanan and I were playing guitar in Bob Luhman’s band at the Showboat Hotel in Las Vegas in
1959. While we were there, we borrowed an electric bass and Roy started playing it, since Bob liked the way
I played his country licks. Later, Bob added a female vocalist who sang a lot of pop standards; I didn’t know
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all the chords, so I told Roy he’d have to come back to guitar. I went down to the local music store and
bought a Precision Bass. The next night, I was the bass player—same amp, same settings, same pick and
technique. I played it just like I played the guitar.”
Osborn’s approach gave him a distinct advantage over other bassists. “Eventually, I realized that my bass,
played with a pick, had its own frequency space. Instead of competing with the kick drum at the very bottom,
there was more of a blend. Plus it held up on any kind of record.… There was an attitude about it, a certain
tone that you couldn’t lose.”
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Leo Fender had decided to keep the Precision as his only bass during the 1950s,
preferring to improve it rather than introduce anothermodel. (A ’57 Precision Bass
was different in many important ways from its ’51 predecessor, yet it carried the
same name.) Leo finally changed his mind, probably with some prodding from the
company’s sales office.
The Fender Jazz Bass was developed in 1959 and introduced the following year.
Its name was intended to send the message that this new instrument was a “high-
end” model for advanced players (or at least ones who liked to play fast), because
it had a slim neck that was narrow at the nut: only 1 7/16” compared to 1 3/4” on a
Precision. Of course, most jazz bassists played the upright—which has a much
bigger neck than the P-Bass. The Jazz Bass also had a more elaborate two-pickup
configuration and a sleek, offset body shape. As it turned out, it would not be used
by a notable jazz player for quite a few years—when a guy named Jaco came
along—but it was adopted by many rock and R&B bassists.
Armed with his Jazz Bass, Osborn built a reputation as an innovative player who
always got a great sound on tape. By 1963 he was a top L.A. session man, and he
would contribute his distinctive tone and creative fills to a long string of hit songs
by the Mamas & the Papas, the Carpenters, Johnny Rivers, Glen Campbell, and
1966 Jazz Bass. Photo courtesy
many others.
of Rick Gould.
While Carol Kaye, Joe Osborn, and the surf bands were sending their low-end
messages from California, the range of expression made possible by the Fender bass was also being explored
by a bassist working anonymously in a small studio in Detroit: James Jamerson. Unlike Kaye and Osborn, he
was not a converted guitarist. After dabbling with the piano as a child, Jamerson studied acoustic bass in
high school. He was a quick learner, and before long he was playing jazz and trying to emulate such heroes
as Paul Chambers and Ray Brown. Jamerson’s ability as a club musician came to the attention of several
local producers, including Motown’s Berry Gordy, and he began to get calls for session work.
Because it was heard on so many hit records, Jamerson’s playing reached the ears (and feet) of millions. It
helped to break down the barrier that supposedly separated Pop (white) music from R&B (black) music and
changed the course of popular music. There were many reasons for Motown’s success, but much credit must
go to James Jamerson and his ’62 Precision Bass, known as “The Funk Machine.”
McCartney’s early bass work was solid if unremarkable, but by early 1964 the influence of James Jamerson
began to show in lines that were becoming more melodic and rhythmically adventurous. Another important
influence was Brian Wilson of the Beach Boys. “The band might be playing in C, but [Wilson’s] bass might
stay on the G just to hold it all back,” Paul explained. “I started to realize the power the bass player had
within the band.”
It all came together for him during the Beatles’ great creative outburst of 1965 to 1967—when they recorded
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Rubber Soul, Revolver, and Sgt. Pepper’s Lonely Hearts Club Band. McCartney was given a lefthanded
Rickenbacker 4001S in 1965, and when Sgt. Pepper was recorded, the Rick had become his primary bass. By
then, his playing had progressed to the point where he felt confident enough to try some radical experiments.
“I was thinking maybe I could even run a little tune through the chords that doesn’t exist anywhere else.
Maybe I can have an independent melody? Sgt. Pepper ended up being my strongest thing on bass— the
independent melodies. On ‘Lucy in the Sky with Diamonds,’ for example, you could easily have had root
notes, whereas I was running an independent melody through it and that became my thing. It’s really only a
way of getting from C to F or whatever, but you get there in an interesting way.”
Paul’s great playing on Sgt. Pepper was highlighted by production that put the sound of his instrument front
and center. As Abbey Road engineer Geoff Emerick explained to Howard Massey, the bass on Sgt. Pepper
was isolated on its own track and recorded by miking the amp rather than using a direct input (DI) or a mix
of amp plus DI. “With the studio empty, you could actually hear a little bit of the room ambiance around the
bass, which seemed to help,” said Emerick. “The other thing I used to do when I was mixing—and [previous
Beatles’ engineer] Norman Smith taught me this—was that the last instrument you bring in is the bass. So, at
least through Pepper, everything was mixed without hearing the bass. I used to bring everything to –2 on the
VU meter and then bring the bass in and make it go to 0, so it meant the bass was 2dB louder than anything
[else]; it was way out in front, the loudest thing on the record.”
Paul McCartney’s musical brilliance, highlighted by sympathetic production, gave his bass the dominant role
on what was probably the most important rock recording of the 1960s. Sixteen years after Leo Fender had
decided he wanted to free bass players from “the big doghouse,” his new instrument had transformed popular
music and opened up a world of creative expression for the musicians who would follow.
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