Sounds great, and nice playing! From my perspective the Custom Shop basses sound a lot brighter and seem to have a much faster response than pre CBS basses and I think it's because of the quarter-sawn neck. All the old Fenders had flat-sawn. I also think 60s Jazz Basses had much more mid range than 70s ones.
That finish on 2-pc ash body is special. I suspect "bleached" means a faded three-tone burst on a 60-year-old instrument could be bleached out UV/sun exposure. These are also sometimes referred to as 2-1/2-tone burst. The red tint used in the lacquer middle band of color is also the most vulnerable to fading from UV exposure over many years. That's just a fact of life--certain paint, stain, and dye/tint colors are less fade-resistant than others.
You can really hear the Ash…ringin’ and a pingin’. The 2014 Relic ‘64 P run also featured Bleached 3-TSB finishes as well…so it’s not a new thing by any means. Very attractive looking Sunburst.
@@brentheathersimons7042 FYI 1: That's largely because two 220K ohm summing resistors were eliminated by converting from pre-CBS VTVT/stacked knobs to VVT/three knobs. '60 and '61 VTVT Jazz Basses were made with 220K ohm summing resistors between the pots and the output jack to allow both tone pot controls to fully function independently for each pickup. To see a schematic drawing of this search for "60s Stack knob Jazz Bass wiring?" FYI 2: Fender reissue Jazz Basses made since the early '80s, including Custom Shop, with stacked VTVT controls, do not have two 220K ohm summing resistors in their circuits. However, the same effective tone and volume independence can be achieved without the summing resistors simply by turning both volume controls down one notch click or about 10%.
@@luvbasses5487True but just because it’s a VTVT doesn’t necessarily mean the output can’t be more open or higher than what comes from original pre-CBS ‘60 or ‘61 VTVT circuits. Eliminate the 220K ohm summing resistors and you’re pretty much there, except for the little bit more load of the fourth potentiometer vs three. Those resistors chop off quit a bit off the top. Fender has been continuously making them without the summing resistors on reissues since Fullerton in the early ‘80s.
@@YTPartyTonight yes I’m aware. I owned an actual ‘60 and after flipping the control plate, I got to study the original configuration of the wiring set up. I noticed four little brown bee resistors and I’ve been told by some heavies in the bass collecting community that if I were to remove them, the signal would remain the same but with bit more output volume wise.
Superstar: Carpenters Aquarius/Sun Shine In: 5th Dimension Midnight Confessions: Grass Roots Song Sung Blue: Neil Diamond It Never Rains in So. Cal.: Albert Hammond Ventura Highway: America Bridge Over Troubled W: S&G MacArthur Park: Jimmy Webb Wichita Lineman: Glen Campbell Travelin’ Man: Ricky Nelson …and literally hundreds more I can’t even think of…were played on a ‘60 stacker J, exactly like this one here by the late great Joe Osborn. Look up his discog to be completely astonished and tune to the songs I’ve listed up top. He was the original and first real Rock n Roll electric bassist.
Nobody likes these relic basses. Why don't you order the new old stock nos. These relics are ugly. I'll relic it my self thanks. However these custom shop stack knob basses are excellent.
I love the way that Anthony Pecora could play that Jazz Bass by slapping around 😍
Finally someone shows the individual tone settings of the duo tone jazz bass on YT.
I love that Fender's Custom Shop 1961 Jazz Bass Heavy Relic Edition. For me it is too priceless.
Sounds great, and nice playing! From my perspective the Custom Shop basses sound a lot brighter and seem to have a much faster response than pre CBS basses and I think it's because of the quarter-sawn neck. All the old Fenders had flat-sawn. I also think 60s Jazz Basses had much more mid range than 70s ones.
I really enjoy your videos. They're to the point covers all the facts about the instrument without being self indulgent. 👌🏾👌🏾👌🏾
That finish on 2-pc ash body is special.
I suspect "bleached" means a faded three-tone burst on a 60-year-old instrument could be bleached out UV/sun exposure. These are also sometimes referred to as 2-1/2-tone burst. The red tint used in the lacquer middle band of color is also the most vulnerable to fading from UV exposure over many years. That's just a fact of life--certain paint, stain, and dye/tint colors are less fade-resistant than others.
You can really hear the Ash…ringin’ and a pingin’. The 2014 Relic ‘64 P run also featured Bleached 3-TSB finishes as well…so it’s not a new thing by any means. Very attractive looking Sunburst.
It would be great to hear these basses on another amp sometime- Fender Rumble amps have a lot of (always on) compression
I love the stacked knob configuration,so easy to go from jaco to jamerson,WHY DID FENDER GO 3 KNOBS!!!
Actually Jaco removed his stack knobs and put in the three knob configuration. He said it had more punch and volume.
@@brentheathersimons7042 FYI 1: That's largely because two 220K ohm summing resistors were eliminated by converting from pre-CBS VTVT/stacked knobs to VVT/three knobs. '60 and '61 VTVT Jazz Basses were made with 220K ohm summing resistors between the pots and the output jack to allow both tone pot controls to fully function independently for each pickup.
To see a schematic drawing of this search for "60s Stack knob Jazz Bass wiring?"
FYI 2: Fender reissue Jazz Basses made since the early '80s, including Custom Shop, with stacked VTVT controls, do not have two 220K ohm summing resistors in their circuits. However, the same effective tone and volume independence can be achieved without the summing resistors simply by turning both volume controls down one notch click or about 10%.
More output. Plain n simple. The VVT assembly opened up and furthered the voice of the bass…to project more.
@@luvbasses5487True but just because it’s a VTVT doesn’t necessarily mean the output can’t be more open or higher than what comes from original pre-CBS ‘60 or ‘61 VTVT circuits.
Eliminate the 220K ohm summing resistors and you’re pretty much there, except for the little bit more load of the fourth potentiometer vs three. Those resistors chop off quit a bit off the top.
Fender has been continuously making them without the summing resistors on reissues since Fullerton in the early ‘80s.
@@YTPartyTonight yes I’m aware. I owned an actual ‘60 and after flipping the control plate, I got to study the original configuration of the wiring set up. I noticed four little brown bee resistors and I’ve been told by some heavies in the bass collecting community that if I were to remove them, the signal would remain the same but with bit more output volume wise.
Superstar: Carpenters
Aquarius/Sun Shine In: 5th Dimension
Midnight Confessions: Grass Roots
Song Sung Blue: Neil Diamond
It Never Rains in So. Cal.: Albert Hammond
Ventura Highway: America
Bridge Over Troubled W: S&G
MacArthur Park: Jimmy Webb
Wichita Lineman: Glen Campbell
Travelin’ Man: Ricky Nelson
…and literally hundreds more I can’t even think of…were played on a ‘60 stacker J, exactly like this one here by the late great Joe Osborn.
Look up his discog to be completely astonished and tune to the songs I’ve listed up top. He was the original and first real Rock n Roll electric bassist.
Cutting and boosting the same frequencies. 😀I call that flat. 😉
Sounds amazing. Not a great fan of Relic guitars. Nice new paint work always does it for me. ❤
You really shouldn’t be slapping a 61 to demo it.
For me the J tone is played out. Loved and played 'em for years, now I'm just totally sick of the sound.
Nobody likes these relic basses. Why don't you order the new old stock nos. These relics are ugly. I'll relic it my self thanks. However these custom shop stack knob basses are excellent.