Fender '51 P-Bass Reissue

Fender P-Bass 51 Reissue, Japan built, Butterscotch Blonde. Beautiful build, simple but eye-catching design. Thinner headstock than the modern P-basses, lighter than the modern P-basses too.

The sound has a real thump to it as well as having a nice clank at the top end. Warm sounding with fingers, aggressive sounding with a pick. Perfect for my style (weird indie rock/pop).

When I first tried it in the shop the E string kept 'grabbing' the pickup and making a horrible pop, but dropping the pickup fixed this in an instant.

Came with a very low action from the factory, I prefer quite a high action (I love to feel what I'm playing). It's a shame you have to remove the neck to adjust it.

Internation from factory was spot on, which is lucky as the bass has twin saddles, and my friend has had may problems with his twin saddles on his guitar (Fender Jag).

Looks great, feels great, shame about the bridge.

Although it's lighter than the standard P-Bass, it feels more solid. the thicker neck adds to the rigid feel.

You just have to look at it to know it'd last forever.

I wouldn't gig without a back up, but this is due to past experience, and has nothing to do with the bass.

I've never dealt with Fender. I feel like I'll never have to.

This whole review I've compared it to a P-Bass. I also have a P-Lyte. This in my opinion surpasses both these. It looks great, it sounds great and it feels great.
I think you have to make a few minor adjustments to it so it fits your tastes, but tell me a bass you don't have to!

I enjoy playing solid basses. Thick necks and high action, raw thumpy sounds, bulky shapes.. This is the bass for me.

It's a rather low price (due to the Japan build I expect), but don't let that fool you. This is the best bass I've ever played.

Made ('scuse me..."crafted") in Japan, probably in 2008. As basic as you can get. One original-style single-coil P-bass pickup. One low-pass passive roll-off. Two-saddle bridge. Slab body with butterscotch finish. No ups/no extras.

I was lucky enough to find it for $400 brand new. Apparently the bass had been hanging on the wall for a long time and the store just decided to get rid of it. The usual sticker as of this writing is $940 and I'd say it's worth that much, but I probably wouldn't be willing to pay a whole lot more.

The rating here is 9. The bass is what it is. Adding features would just make it something else. But I'll dock it a point because trying to get proper intonation with a two-saddle bridge is an exercise in approximation. Yes, I realize that's how they made them in the '50s, but it's an instrument, not a museum piece.

Okay, this is NOT the most versatile bass ever made. If you're a jobber or a studio musician, this probably won't be the One True Axe you'll bring to every gig without backup or alternative.

But versatility isn't everything, and the sound this bass makes is wonderful! My primary bass for the last few years is a Stingray, and the '51 is a great alternate voice. With the filter wide open, as I'd usually run it, the bass has a bright (but not thin), mildly electronic tone. Rolling back on the filter gives you a nice usable thump that would be at home on a Motown record.

The single-coil pickup is a bit noisier than some of the more modern designs, but that's pretty much irrelevant once the band starts playing. I'm very happy I stumbled across this bass!

The bass was set up pretty well when I found it. I had to play with the intonation a bit, but string height and neck adjustment were very comfortable.

I haven't gone over it with a magnifying glass, but the finish is flawless as far as I can tell. Even after hanging in Guitar Center for who knows how long. I suppose that bodes well for durability.

One nitpick: the plastic "skin" that covered the pick guard left a little bit of sticky residue behind. I understand this isn't uncommon. I ended up taking the pick guard off and scrubbing it with Goo Gone, then washing the Goo Gone away with some water and dish soap. It was perfect after that. If you do the same, make sure the guard is completely dry when you put it back on!

I won't gig with it until next week. That said, I've felt some flimsy basses in my time and this isn't one of them. The neck joint feels solid and I don't anticipate any problems with the hardware or electronics. Really, there isn't a whole lot there to break down.

I would consider gigging with it without a backup. I'd only want a second bass to give me a different sound.

I haven't dealt with Fender, so I have no opinion on this.

I started playing in the early '80s. Basses I've owned include: Fender Telecaster Bass, Washburn Vulture, Ibanez Musician, Danelectro short horn, Musicman Stingray, Kustom short scale, semi-hollow something-or-other, and the '51 P-Bass.

I love this thing! Some people don't like the slab-style bodies, but to me, it's like coming home to my old T-Bass. The sound rocks. The short, vintage-style frets took all of about half an hour to get used to. I even like the color and the primitive, non-beveled pick guard.

This isn't an exact repro. It doesn't include the chrome pickup or bridge covers and there's no finger rest. That's fine with me. As I said before, I'm not interested in a museum piece. Those are parts I'd probably remove anyway, and this way I have no extraneous holes.

If it was stolen, I'd definitely want to replace it.

Mine's the butterscotch blonde one, I love the finish on this bass, it shows just the right amount of woodgrain. The neck is great just the right balance of width and depth for my liking and there's just something so cool about the small headstock. It's hard to fault this instrument on features as it has everything it needs and it all seems pretty great at the moment, the only problem I have with it is that I feel the tone control could have a bit more of a range on it.

I play a lot of different music (jazz, metal, indie, blues, rock etc.) and I feel confident that this bass should be able to cover them all as long as you vary your technique according to whit you're playing, I found righthand finger placement and how hard you hit the strings makes a profound difference on this bass.

This is where I felt this bass really shone, It was set up perfectly to my tastes from the factory, not a rough edge on it, like I said earlier the finish is gorgeous the black p-guard really contrasts well with the body and the neck.

I'm pretty certain this bass will hold up, compared to the basses I have played (either cheap to medium priced intermediate basses, or second hand Japanese models) the fender feels well constructed and solid, my other main electric bass is an old grant fretless made in japan in the late 70's early 80's and it's held up brilliantly, so I fully expect the quality of japanese manufacture to shine through.

not dealt with them

I've been playing 10 years now and bass playing is my full time job, and now that I've got this bass I feel it is the instrument that I'll turn to again and again for almost everything. If this were stolen I would buy another in a heartbeat (if could get the spare cash again) when I chose this bass I compared it to the 2008 jazz and p-bass standard models, the j and p-bass deluxe active models and the 50's classic p-bass and this just felt much more special and more of a complete instrument, other basses all had things I liked but this bass doesn't have anything I don't like, my one problem I wish the tone control did a wee bit more, but it does do it's job. This is a winner of a bass.

CIJ written on the back of the neck, reg. to serial number it was made in early 90`s. The body of this one is made of two pieces of nicely figured ash wood, not centered but the other part is small enough that its actually fells like 1 piece. Not bad For 500 bucks-I didnt try to ask in Fender custom shop how much would cost me 1 piece ash body for 51 bass.

I play all kinda stuff from early 60`s to modern electronic experiments and this bass with a little help from nice preamps and/or stompboxes do it all with pleasure. You got a play with tone and volume a bit and at the end wow -the sound you`ve been looking for is there. Of course played live or studio or in the bed. I changed plastic nut for graphite one, original bridge to Leo quan III and tried to change pickup for Seymour duncan scpb-3 but I ended up with original one.

Action is a bit of disapointment at first but due to the plastic nut, tiny frets and not very well made japanese bridge. After months of playing on original setup I have made few modifications that made this bass whispering, singin or yelling at my wish.

You`re kidding? Japanese guitars withstand WW III and our grand kids will play them after year 3000

japanese guys are ready to talk anytime.. based on my experience with TOKAI and GRECO companies

I`ve been playing for 20 years now and I have played or owned bunch of guitars. I think that americo-mexican craftsmen should go to some japanese guitar factory to learn how should Leo Fender ideas sounds like. Of course thumbs up for deluxe or custom shop builded fender models. Anyway for 500 dollars and another 200 for extra parts + 3 hours of modification time with this japanese fender you can get the sound thats coming from 1500 + american guitars ..and not all of them.... Not bad huh?

This is the awesome Butterscotch Blonde reissue, 20 medium jumbo frets, slab body, simple volume and tone control, single four element pickup, maple neck with Leo's original Precision style block body and bridge; thirty-four inch scale neck with a maple finger board... sorry this Japanese manufactured bass has no accessories or case.

I play a lot of older rock, jazz and country... this bass fills the bill very well. I play it through a Fender BXR 200 with a built in Chorus, and practice on a Peavey 112 or an AXL two channel sixty watter. Use clean, well maintained cables to avoid unwanted hum. The instrument can pretty much delivery anything from a clean bright wiry slap to a really nice full muddy bottom... you have to dial it in to what you like. I loaned this to a guy who took it to a gig with some guys from a name jazz act in Kansas City. They loved this instrument, it brings back a lot of memories for older players.

Set up from the Japanese factory was excellent... action was low with no buzzing. The single pickup had all the power I needed. The only flaw with the instrument was the jack plate... it hung loose from the body.

The Butterscotch finish is so thick on this bass, I may have to buy a Squier and have it reliced to ever get a bass with a wore appearance. I would take this instrument anywhere without back up.

The Fender service center at Woodsongs in Boulder were no trouble what so ever, had the instrument repaired in two days under warranty, and this is the first Japanese Fender I've owned (4) that ever had an issue.

Started playing bass in '67, but has not been my main instrument for thirty years... I wanted this instrument the moment I saw it, and after seeing and original on sell in Vintage Guitar Magazine for $24,500 this looked like a bargain. If it were stolen I would replace it... What's not to love, it's a butterscotch Fender Bass... I've played a number of basses over the years, and own a lot of guitars, but when it comes to basses, I'm definitely a Fender guy.

A brand new 2008 Japanese Fender '51 P Bass. It's a miracle of simplicity. Big piece of wood with a longer and thinner bit of wood attached. A few shards of metal and one pickup. Voila! The electric bass is invented. Features? I listed them- slabs of wood that electronically reproduce bass frequencies. It couldn't be simpler. You want features? Get a modern bass that has active pickups, graphite construction and a clock radio.

OK, here's the deal: I like it, but I've found that there's a bit of distortion when I'm really digging in. Not the bad kind really, but not what I want. It's a little distracting. I don't mind some growl out of an amp that's slightly overdriven, but I don't expect it out of a bass. A pickup swap? I'd rather not. Otherwise, a full bodied thump and even throughout the neck.
A few people have said they get a Rick sound out of it... I play Ricks and I don't hear it myself. I've always found a Rick has far more definition. When the treble is really wound up on a Rick you get 'clank'; on this you get more treble.

Construction was solid and no problems. A fine compromise between reissue (e.g. the barrel saddles) and functional. A setup and we're ready to go.

It's early yet, but it certainly appears to have been built like a tank. That's what I expect out a prehistoric beast like this.

It's funny how everyone loves to proclaim their superior assessments of gear by virtue of the fact they have more experience and better equipment than the reader. Me? Yeah, I gig a lot. Recorded? Yep. Played with anybody famous? Not really. Do I have the best of everything? Nope. Been playing a lot of years and I tend to be 'retro' in my tastes.
I'm a Rick player but I always wanted a Fender '51 bass. It is what it represents: the simplest design ever, and one that works. It's a quality instrument that performs the task for which it was designed. Other than the complaint about sound I think it's value for your retro dollar.

One thing to keep in mind with this reissue is that its similarity with vintage Fenders ends with its appearance. Fender has "updated" everything from neck dimensions to electronics. Fender kept the neck radius at 7.25" but whittled down the width and thickness from the original "baseball bat" 50's necks to something resembling a Stingray bass. I personally prefer the fat, bulky vintage neck profile but Fender obviously thought most would want a faster, modernized feel.

The most significant difference is tone. When compared to my '68 Tele bass (the original '51 reissue) the '51's tone is thin and lifeless, lacking a lot of low end. This doesn't mean you won't find a usable tone here, just that if you want a tone to inspire you, you'll need to swap out some electronics.

I routed out a cavity under the pickguard, added a bartolini preamp and now it sounds full and rich like a bass costing 3 times as much (the nice thing about a $600 bass is it's not a crime to customize it a little).

I've played 7 or 8 '51 reissues in various music stores and it seems that the construction quality is either hit or miss. Considering that Fender Japan craps these things out by the thousands, it's not surprising you'll get a few slipping through quality control with overhanging fretwire, cracked finish, and sloppy neck joints. If you try a few like I did, however, I'm sure you'll have no problem finding one with a good set up and a neck joint so tight a piece of paper can't fit in.

I've been gigging over 20 years and I can't imagine a scenario where this bass would quit working.

Fender relies on Leo's legacy and his patented designs to turn a profit; they have no need to provide customer support- welcome to corporate America.

In my first review of this bass I covered the positive aspects of this nearly perfect reproduction, however, to be fair, I need to address a few of the easily fixed, issues.
Now, if you are a serious 'player' and if 'accurate' intonation is important to you, I strongly suggest that you replace the two saddle bridge with any bridge that will allow all four strings to be set. Try to find a bridge that will allow you to string it 'through' the body, as this type of string attachment really does contribute to the unique sound of this bass. Also, spend the extra cash for a set of 'Thomastik jazz flatwounds' They sound amazing, last forever, and get better with age.
Now, regarding the electronics, The stock pickup is 'OK' and I suspect most novice bassists will find it acceptable, but those few that are really looking for that elusive throaty, rich percussive 'pop' found in ancient p basses, consider the 'Jason Lollar' I went through a 'Lindy Fralin' an SD 'antiquity', and even had one custom wound. It was the lollar, that had that 'sound'.
By all means, buy this bass! It is an excellent value and with just a bit of tweeking, you will have an awesome, truly 'vintage' sounding instrument for a fraction of the going price of an old Fender.

Full time pro since 1968. Having toured the world backing up well known, and not so well known acts, and yes, I would replace this bass if something happened to it. I've owned an original 1955 P bass, as well as an original 1962 Jazz bass. Thus, I feel 'qualified' to talk about true 'vintage' tone.

As described below. Crafted in Japan; one piece maple neck, etc. etc.

I give it a 7 because the two barrel bridge is iffy.

I really like the neck on this thing. Not as wide at the nut as a standard P bass and not as narrow as a Jazz. The 7.25" radius is also very cool. This neck feels just right to me.

This is what this bass is all about. The tone is just beautiful. For blues/rock this single coil puts out just the right deep, smooth bottom that holds it all down. I use it straight into a Yorkville XM200 T with the 15" extension cab.

This is THE definitive electric bass tone, the one that set the standard that all others emulate (unless they're trying to not sound like a P bass).

It comes with round wound strings: not vintage correct but I think they work really well with this bass. Haven't tried flats but I've never been a fan of those.

I have not had any problem with noise from the single coil pickup.

Noted already - this is not a slapper's bass but it does have a nice woody slap and pop sound. The geometry of the bass is not good for a hardcore slapper though.

Fit and finish this bass arrived flawless. I agree with those who think Japanese Fenders may be the best. Neck relief and action were a bit off but I've come to expect that in a brand new mass-produced bass.

Though period correct, the weakest link is the two barrel bridge; makes exact intonation difficult. However, I am rarely up to or beyond the 12th fret and very few listeners would even notice any intonation issues in a live setting so it's not really an issue for me. Wilkinson make a more adjustable two barrel replacement. I might go that route in the future.

Truss rodd access is at the butt of the neck. I thought I would just take off the pickguard and adjust it but discovered the guard is glued on (partially). It means taking the neck off, which is a pain (but a vintage one)

The simplicity and quality construction of this bass suggest it is very hardy. I'm easy on my gear regardless so don't expect any problems. Everything about it feels very solid.

I would never gig without a back-up but that's more from the standpoint of broken strings (which has yet to happen). I've never had a bass of any kind suddenly give me problems in the middle of a gig.

Never needed them.

I've been playing 25+ years but haven't really owned a whole lot of different gear. THis is the first bass I bought purely on its sound alone. I saw it in the store (never seen one before) plugged it in, and was smitten at the first note I played. The tone is exactly what I've been looking (listening?) for. As said above, I also really like the neck on this. The colour is a bit too yellow for some folks but I don't mind it. With the maple neck and black p-guard I think it looks quite sharp. I also love the simplicity of one pickup, volume and tone.

I was worried at first about the lack of body contours, especially for the forearm but so far haven't found that to be a problem.

This is my main "go to" bass (I also have a Jazz and a fretless bass). If it was lost or stolen I would want to replace it (but would probably use the opportunity to try something else - with potential disappointment).

Highly recommended

Made in Japan like all the others. I picked this as I wanted a good Fender bass without paying American series prices.

Mine is the 2 tone burst, passive, single straight pickup with the staggered poles, 2 saddle string through body bridge, passive, one piece maple neck/fretboard with skunk stripe, reverse tuners.

Nice and simple.

i had to give it a 10 because it has all the features i need

I love the way the bass balances. I've had a long line of unbalanced basses and this one is perfect.

I play in 2 entirely different bands; wedding and rock covers and this bass is perfect. Its all about right hand placement, how hard you hit the strings and slight variation of the tone control.

I use a GK700RB II amp and when i play it hard it sounds very much like a Rick which I believe someone else mentioned. I used to own a Rick and couldn't get it to sound like a Rick!

It has a very full, warm sound but like I said this can be varied. It sounds fantastic for slap as well as fingerstyle. I don't use a pick so couldn't comment on that.

I love the sound of this bass.

The only downside is that it has the pickup with the staggered poles. From what I've read, this was only on them during the transition from '54 to '57 models when the 'modern' split pickup and strat headstock was added. Since the original '51 model didn't have staggered poles, there was no need to include them in this model as it was only used to balance the strings with the crap amps of the time so that string response was equal.

All it does now is make you have to jack up the action on the A string and to a lesser extent on the D string.

everything else on this bass has been perfectly finished

This bass is made from the same type of wood as the originals with poly used for the finish rather than nitro so if anything, it should last longer than the original before it starts to look scabby.

i always use strap locks so the originals are in a box should I ever sell it (the only reason I would sell it would be to buy an original one)

I have only ever adjusted the saddles initially. Other than that it gets tuned and that's all.

The bass is rock solid and will outlast me

Never had to deal with them. I only buy Japanese Fenders because I know that they are made to higher standards that anything else that Fender does with the exception of the masterbuilt line - cha ching.3

I've been playing for 20 years and have been through 40 odd basses. I also own a 1973 telecaster bass and go through a Gk 700RB II and Schroeder 1212L cab. I use a tapco Squeez rack compressor - no effects.

I love its simpicity: I've had top-end Ibanezs, Yamahas and Warwicks and find 6-8 different controls to be stupid - isn't that what the controls on the amp are for? Volume is always on full and the only adjustment I need to make is slight movement of the tone control.

the only thing I don't like are the staggered poles on the pickup so I may swap it out for an SD antuquity one with flat poles to keep the original sound but gain better action