OutToPlayJazz

I know what you mean, Gareth. Definitely a good option when you're travelling late at night on public transport. If you're faced with muggers, you can always beat them over the head with a cheap bass without thinking twice about it The peace of mind thing is also good - That's one of the practicalities of the Road Worn Jazz I just got over my other instruments. I don't care if it gets scratched or chipped!

[quote name='Musicman20' post='811482' date='Apr 19 2010, 04:08 PM']Thanks Rich! Im fairly tempted by the Oly White Jazz CV 60s as a backup as ive seen them for £249....cannot go wrong with that price. As long as I can play it alright, the rest will do.[/quote] Yes, I've thought of one as these as a backup, but I really can't justify it - I have six electric basses as it is! Shhhhhhhhhhh!

They're actually quite light in weight, Gareth. All the bodies are basswood. They also come with the multi-coloured string balls (is that D'darrio strings?) as standard. Obviously they're never going to sound like the best Precision money can buy, but as a backup bass they sound more than good enough for the money. The quality control on these Chinese instruments is excellent as well. I'd really like to hear both one of these CV's and the Mex Classic 50's model with a really top notch pickup set in them, like a Wizard Big Thumper or something like that.

[quote]It really isn't an irritating site. It's a great resourse for Status basses.[/quote] Indeed it is. A wonderful place for people who love Status and all they stand for. And while I'm at it, I had a long trawl through our mammoth thread here the other day & tried to find the most jaw-droppingly gorgeous Status bass owned by a member on here. I came up with this one... Lozbass' Series II #251 is [for me] the most beautiful example of a mid 80's Status I could possibly imagine. Congrats, Laurence! Hope you all agree

Nice little simple transcription, although all of the D#'s should have been Eb's. It's meant to be in C Minor

Ah, personal taste rears it's ugly head yet again. Let's just say that one man's Elton John is another man's All Gone Wrong!

[quote name='aznbass' post='810897' date='Apr 18 2010, 11:13 PM']Hello! I have tried both, But have tried the New american standard more because i own one, and judging on Mine, and my bass tutors MM J bass, The MM cuts through better, the sound is more penetrating, but the Jazz gives Less range in tones, but the tones it does give are the best tones ever.. My Jazz is alot more playable, due to the set up, so i guess i cant really compare the two that way, LOL [/quote] That was a fabulous read Did you go to the John Prescott school of English?!

Yeah, they're okay for YTS lads, but there're better players out there, both technically and musically.

There are diamonds and dogs in all the different Fender ranges. Get out there and play lots of Jazzes in shops and find the one that feels and sounds right to you. Also, as there are so many different models, owning a Jazz bass can be a progression over time. You may move between several very good basses all made in different locations and at different price levels. In terms of Jazzes, I've personally had a Mexican 5-string Standard, a Squier Vintage Modified 70's, a Japanese Geddy Lee, an S1 equipped American Standard, a Japanese Marcus Miller, a Squier Classic Vibe 60's, a 2009 American Standard & now one of the new Road Worn models. Yes, it looks like I've been through quite a few, but they were all very good examples of their particular breed.

[quote name='BurritoBass' post='810902' date='Apr 18 2010, 11:18 PM']Out of interest I take it those holes on it for the ashtray covers come with the bass or were they added after purchase?[/quote] They're all like that, Burrito. The pattern of wear on the finish varies from bass to bass, but the drilled holes for tug bar and pickup covers are present on all of the Road Worn Jazzes.

This is a tough one. The Marcus Miller (particularly in natural) is a stunning thing to behold. The fit and finish is exquisite on these and there are some lovely touches on them, such as vintage reverse tuners, bullet truss rod cap, etc. But the preamp lets the whole bass down. It's a very harsh sounding pre and not the most flexible around, either. The other downside to the MM is the lovely ash body. They can be heavier than a cruise ship's anchor, but obviously this will vary from bass to bass. The American Standard has won everyone over since it's big makeover in early 2008. These instruments are lovely to play and although passive, seem to have really good quality pickups/shielding. The new high mass bridge and light weight hipshot tuners are all of excellent quality. They feel just right in the hands, too. The new thinner finish is prone to chipping, but many want that from a Jazz bass. Something that will mojoify over time. Another lovely quality instrument. As with all mass produced instruments (Fenders especially), make sure you try before you buy. You'll always find some diamonds and some dogs around in all batches.

If ever there was an instrument series that divided opinion, it was this one. Some love the distressed look, some think it pointless & others think of it as downright dishonest! Whatever you think of the looks and the politics of the relic job, these basses are certainly making their mark. It was the Fiesta Red Jazz that made my ears prick up at launch. I've always loved the colour and you can only get it on a couple of other Fender basses at the moment, unless you want to pay FCS (Custom Shop) money. Last week I eventually made it to my friend's store to try one of these. I A/B'd it against a new Mexican Standard Jazz, a Japanese Marcus Miller signature model & a new American Standard. To my surprise (well, not so much - My brother Nick DOTB had warned me these were very very good & not far off the custom shop offerings!) the RW bass trounced all three of it's siblings. We all know the current Am.Std is a great bass. I've had one myself and they really are the best evolution of the jazz so far, but the Road Worn shows primarily how these basses [i]used[/i] to be, as opposed to any modern incarnation. I particularly like the thinner but taller vintage reverse tuning keys and the authentic bridge with ridged saddles and screw heads for action height adjustment, as opposed to the usual hex key bolts. The RW bass has a certain charm to it. Yes, there are the worn sections to the body & the dings/scratches and faded chrome bits, but it's more than that. They actually have huge character to play and really do sound a league above the rest. Perhaps one part of it is the nitro-cellulose finish? When you play this bass against it's poly-gloss siblings, the nitro RW sings out like an Italian Tenor, whereas the poly-gloss instruments sound almost strangled by comparison. I've found the same with the nitro finish American Vintage Precision I'm picking up in a couple of days - The sound just seems to sing out with this finish. When I got the bass home, after putting on a set of new 40-100 DR FatBeams the bass now really sings. A slight lowering of the action & tweak of the trussrod later and all is splendid and perfect to play. I'm sure these basses have a significant pickup upgrade as well. I think they're the American Vintage pickups. Not quite noiseless like the new Am.Std, but certainly hot in output terms. Now it's well documented around these parts that I'm no fan of relic-ing instruments and that I much prefer shiny and new basses. Well, I actually bought the bass in the pictures. Yes, I'm not a fan of the dents and scratches, but I do have to admit there is a certain charm to the finish. Mine even has the marks in the finish where a bridge cover might once have been & screw holes for a tug bar, classic chrome pickup and bridge covers. Whatever your thoughts on the relic debate, you have to admit that these have been very well done. I took the bass as a backup at a musical I was playing in last week & one of the pianists (also a keen bass player & Fodera owner) thought it was a thirty plus year old bass! Yes, of course I came clean So all in all, yes these are expensive for a Mexican made Fender instrument, but who cares? When a jazz plays as well as these do, I can't see any reason to argue over where it's made. Whatever voodoo magic Fender weaved when creating the Road Worn instruments, they would be well advised to do more of the same with the rest of the range. My verdict? An excellent all-round Jazz bass with a seriously soulful yet sparkly sound with some added injected character that you won't mind getting chipped or scratched. See? There is a practical plus side to the relic argument!

[quote name='EdwardHimself' post='810451' date='Apr 18 2010, 05:06 PM']why must the pictures on that website be so irritating i wonder?[/quote] How do you mean?

Find yourself a second hand Status SII/S2-Classic and never look back.

I've just come over all 1951

The American Standard is a lovely bass. You won't be disappointed. The new 3TS is lovely as well - Goes a sort of crimson where the red meets the orange.

My two favourites are Captain Bassman's GA24 with the pointy head & Moo's Starchild (made recently in 2008.) Apologies for the theft of pictures

I think you already answered you own question, GW - But if it was me, it would always be the butterscotch blonde model. The original (and first ever) electric bass from 1951. How cool is that? All you need is one of the new Fender "TV" series combos to go with it and you're vintaged up to the hilt

[quote name='lemmywinks' post='809118' date='Apr 17 2010, 04:05 AM']Yep, it was a friend of OTPJ if i'm not mistaken? Occaisionally there's a decent deal in Crack Converters, i bought my Shine 6er brand new for £120, needed a new battery and a set of decent strings for a bass that sold for about £300. Quite a few folk on here have had great bargains from CC, seems to be mostly cr@p in the blackpool one though[/quote] Yes, it was a professional keyboard player friend who bought a Fodera NYC series 5-string bass from Crack Converters for £80. They're the cheaper models in the range, but still around £2500 a pop! He's still got it. Uses it in his studio.

Yep. Owned both. The RW wins this one for me. The Japanese pickups on the Geddy are a little down on output for my liking & the neck is shaved too thin. Necks on Geddys are very prone to changing shape with the weather. RW all the way - Even over the current American Standard. Enjoy

The output is huge and even - Much better than my last 2009 Am.Std. Sound overall is thicker and fuller than most Jazzes I've had in the past & doesn't sound harsh at all on the back pickup alone. Very gritty overall. No dead spots, either. Just needed a bit of a play with the action and a little extra tension on the truss rod - There was far too much relief to start with & now there's just the slightest touch of relief, which is how a good Jazz neck should be. Overall, very impressed. Now, if you'll excuse me, I have to go and ring Fender customer services and find out why my new bass is scratched and dented to hell!