| Fender Bass VI | |
|---|---|
| Manufacturer | Fender |
| Period | 1961 — 1975, 2006 |
| Construction | |
| Body type | Solid |
| Neck joint | Bolt-on |
| Scale | 30" |
| Woods | |
| Body | Alder |
| Neck | Quartersawn Maple, C-shaped |
| Fretboard | Rosewood |
| Hardware | |
| Bridge | Vintage-style "floating" tremolo with tremolo lock button |
| Pickup(s) | 3 Custom Jaguar Single-Coil Pickups |
| Colors available | |
| 3-Tone Sunburst | |
The Fender Bass VI, originally known as the Fender VI, is a six-string electric bass or Scale Baritone Guitar by Fender.
The Fender VI was released in 1961, and followed the concept of the Danelectro 6-string bass released in 1956, having six strings tuned E-E, an octave below the Spanish guitar. Its other ancestor was the Fender Jazzmaster, with which it shared many styling and technical details. Its body and electronics so closely matched those of the Fender Jaguar, released the following year, that in all but name the Fender VI was a precursor to that model.
It departed from the concept of the Fender Precision Bass not only in having six strings, but also in having a shorter scale and thinner strings.
The original issue had similar body, electronics and whammy bar to the Jaguar (released in 1962), but three pickups as opposed to the two of the Jaguar. The third pickup was accommodated by using three pickup on-off switches rather than the more conventional three-position switch. Later a fourth bass cut (strangle) switch was added.
Like all other Fenders of the time, the Fender VI had a 7.25" fingerboard radius, which made them all tricky instruments to set up without buzzing, and required some adjustment of playing technique. The electronics and extra strings were ideal for a soloist, but in the 1960s few electric bass players played solos. The close string spacing and light strings might have made guitarists more comfortable, but were an annoyance to string bass players.
In the late 1960s some artists used heavy guitar strings with resp. length and tuned the Bass VI to a baritone guitar from 'B to b' or 'A to a'. With this 'down and dirty' sound the Fender VI enriched 'Indo-Rock' bands with their unique Rock & Roll sound. One of those players was Reggy Tielman from the 'Tielman Brothers'.
For whatever reason, the Bass VI never caught on to the extent that the four string Precision Bass and its derivatives did, even among surf music and country and western bands for which its tone colours would have seemed ideal.
The original Fender VI, along with the Jaguar, the Jazzmaster and the Electric XII, was given a bound fretboard with rectangular block inlays in 1967 - followed by a thicker black CBS-style headstock decal and polyester finishes instead of nitrocellulose lacquer in 1968 - before being discontinued in 1975.
In 2006, the Fender Custom Shop released a faithful recreation of the original Bass VI made in the early 1960s, featuring three single-coil pickups and identical electronics. This guitar was previously available as a '62 vintage reissue model made by Fender Japan in 1995.
Contents |
In 2004, Fender issued the Fender Jaguar Baritone Custom (later renamed "Jaguar Bass VI Custom"), which is more or less a combination of the Bass VI and the Fender Jaguar. The Jaguar Baritone Custom uses the same string gauges and tuning as the Bass VI, but differs in that it has a Jaguar-shaped body, two pickups with Jaguar-style switching options, a fixed bridge, and a shorter 28.5" scale length.
All passive electronics, with three single pole magnetic pickups. There were two different types of pickups used on different models: Early models had three Stratocaster type pickups which were mounted in special chrome rings and were controlled with three slider switches. Later, Jaguar type pickups were used, and a bass-cut switch was added to the controls.
The tremolo arm was the "floating" type with a locking device. This mechanism was developed for the Fender Jazzmaster, and also used on the Fender Jaguar. It was more elaborate than the synchronised tremolo of the earlier Fender Stratocaster, and was claimed by Fender to be superior, but it failed to achieve the same popularity. Unlike the synchronised tremolo, it was rarely copied by other makers, and disappeared from the Fender catalogue with the withdrawal of the Jaguar line in the 1970s. It has since appeared mainly on Fender reissues.
The most famous exponents remain bassists Jack Bruce of Cream, Graham Maby, and Robert Smith of The Cure. John Entwistle of The Who played one briefly in the early 1960s. Eric Haydock of The Hollies is another famous Fender Bass VI user. The first to use the Bass VI in the UK was the ex bass player of the Shadows, Jet Harris who played it on his debut solo single 'Besame Mucho'.
Tortoise bass player Doug McCombs uses the Bass VI extensively, especially on his solo/side project Brokeback. He is quoted as saying, "Brokeback wouldn't exist without the Fender six-string bass. I consider myself a bass player, and though I have dabbled with slide instruments (lap steel and dobro) I was never really interested in moving into the higher register until I became aware of this instrument and its perfect blend of twang and low tone. I began planning this album years before I could even afford to purchase one. It may seem ridiculous to give so much credit to the instrument, but most of these melodies practically wrote themselves, and they were exactly what I wanted to hear."[1]
Don Ciccone used a Bass VI to record the "Who Loves You" album for Frankie Valli and the Four Seasons, as well as live in a few tours.
A Fender Bass VI can also be seen on the Beatles' videos for "Hey Jude", "Let It Be", and "The Long and Winding Road". It was played by either George Harrison or John Lennon ("Hey Jude", "Helter Skelter", "Back In The USSR", "Let It Be", "The Long and Winding Road") when bassist Paul McCartney played piano or guitar. It was also used by Harrison and Lennon on the band's last-recorded album, Abbey Road.
Peter Green made extensive use of the Fender Bass VI as a solo instrument during his live performances of "The Green Manalishi" with Fleetwood Mac from 1969–1970, and also as a session musician with Duster Bennett (aka "Peter Blue") and Peter Bardens, among others.
Noel Redding used one when he played with The Jimi Hendrix Experience.
Robert Smith from The Cure uses a Fender Bass VI in writing many Cure albums, Disintegration for example.
Mark Hoppus from Blink-182 and +44 used two on the writing and recording of Blink 182 and during live shows.
Roy Babbington used a Fender Bass VI exclusively during his tenure with Soft Machine (1973–1976), often coupled with a fuzz box and wah-wah pedal while soloing. Recordings can be heard on the Softs' albums Seven, BBC Radio 1971-1974, Bundles, Softs and Rubber Riff.
John Frusciante owns a sunburst Fender Bass VI and he can be heard playing it on The Empyrean track "Dark/Light". His Red Hot Chili Peppers replacement, Josh Klinghoffer plays a Fender VI on "Happiness Loves Company", off of I'm With You.
Dan Auerbach of The Black Keys plays a Bass VI on the Attack & Release track "All You Ever Wanted".
Rick Danko of The Band made use of a white Bass VI while backing Ronnie Hawkins in The Hawks, though by the time the Hawks were with Bob Dylan, Danko had switched to a Fender Jazz Bass.
Steve Kilbey, the singer/bassist from Australian band The Church has been using the Bass VI on many recordings, as early as the 1983/84 Remote Luxury and Persia EPs.
During the guitar collection scene of This is Spinal Tap, Nigel Tufnel's extremely special guitar is actually an original sea foam green Fender Bass VI that has never been played and still has the price tag on it. Nigel does not even like anyone looking at it. In reality, only two sea foam green Bass VIs of this vintage exist.
Brian Molko and Stefan Olsdal of Placebo were inspired to buy Fender Bass VIs with Molko commenting, "Playing the Fender VI is like playing two instruments in one, it can be treated as a guitar and as a bass. When Stefan is playing lead parts on the Fender Bass VI, he's also using his feet to play a bassline with Taurus pedals. I think if Stefan were an octopus, he'd be playing even more instruments." [2]
Joe Perry of Aerosmith uses one on "Back in the Saddle" from the album Rocks.
Jet Harris of The Shadows used a Fender Bass VI during the recording of "Diamonds" in 1963, and also used this bass live on the Wembley Musical Express.
Luther Perkins, Johnny Cash's first guitarist, who played it on "Happy To Be With You". This guitar is currently being shown at the Country Music Hall Of Fame and Museum.
Peter Kimberley of UK rock band Bachdenkel, who played it both on live gigs and on studio albums.
Johnny Marr's Bass VI was used on The Cribs' 2009 album Ignore The Ignorant, notably on "Save Your Secrets". Ryan Jarman plays it during their live shows.
Paul Abrahams bassist for Australian Indie Pop band The Reels played live and recorded with this bass on 'The Reels' and 'Quasimodo's Dream' Albums from 1978-1982. The Reels were support to The Cure during their 1979 tour of Australia. The bass can be seen in many of The Reels early film clips, it was sprayed painted black, tremolo arm and bridge cover (mute) removed.
Guitarist Slash used a VI sparingly on Use Your Illusion, most notably on "Right Next Door To Hell" and "Breakdown".
Glen Campbell used a Fender Bass VI (borrowed from fellow Wrecking Crew musician Carol Kaye to play the solo heard on his songs "Wichita Lineman" and "Galveston".
Producer Mike McCarthy talks about using the Fender Bass VI on records in a Dec 2007 Mix Magazine article.
Hank The Knife and The jets