Fender Geddy Lee Jazz Bass

Built January 2001, Japanese model, purchased in April 2001. The typical Jazz Bass features, passive pickups - '62 reissues. Alder body finished in black, maple neck with black block markers, polyurethane finish. Badass II bridge.

It was the looks that grabbed me. Not everyone has one of these, either. The price for a vintage 70s Jazz is ridiculous, this reissue is half-to-one third that cost. One bummer... the Badass Bridge doesn't accomodate using the old style chrome pickup covers, won't fit properly.

The neck feels different than the '65 I used to own years ago, and even my Made in Mexico model (which, remarkably had a very similar feel). The Geddy Jazz neck is more shallow. I took some getting used to, but I've learned to really enjoy it.

Another feature I like is the fact that The Geddy Lee signature is on the BACK of the headstock.

I wish Fender would include a case, or even a gigbag with these instruments, considering the cost. Really, how much could it possibly cost Fender to throw one in? $5? $10...?

Fenders are the epitome of versatility. Very user friendly instruments, for just about every musical style. I play funk/reggae/blues, so no problems there. I play through a Trace Elliot Commando 12, and an Acoustic 370 head from the 70s, and a Sunn single 15 cab, also from the 70s. I play with D'Addario chrome flatwounds, and the combination of this bass, with these strings, especially played throug the amp head/cab is superb.
I've heard people commenting on the '62 reissue pickups not having enough bottom end. I'm not the best when it comes to describing tone, but I've also had a '65 Jazz in the past, and I do remember it having a much meatier tone. Part of this may be due to the age of the instrument (the tonal characteristics change as the materials age).

The bass seemed competently assembled, as with any Japanese instrument I've ever seen. I was happy with the setup at the time, but recently decided to have the action lowered, which would ultimately involve a truss rod adjustment. I remember the older Fenders having spring loaded pickups, you turn the screws holding the pickups in, and they raise/lower. Not so on my bass. You turn the screws and nothing happens. In fact you could remove the screws completely, and the pickups would still be stuck in there. Maybe it will involve a little bit of filing on the pickguard, and/or pickup cavity. I don't know, but I figure something like that should have been accounted for at the factory, or dealer.

Fenders are reliable, however. I don't imagine I'd need to worry about a backup bass, other than if I broke a string (which very rarely happens).

The poly finish is very durable, able to absorb those little dings and scrapes.

Strap buttons... now, I remember a couple of years ago when I first heard about these basses, that they were advertised as having included straplocks. But, NO... not anymore. What gives? Is Fender getting chintzy?

Truss rod... now here's where it gets a little silly. I realize that Fender stayed true to the original design of the 70s for this bass (it's a reissue), and admittedly the main reason I bought it was for the looks. But the truss rod adjuster can only be accessed by removing the neck. What a pain in the butt! So what my repair guy did was drill diagonally into the body to allow better access with out having to go through all the other baloney. But the pickguard still needs to be removed first (saving the aesthetics). Now, for the action to be lowered the the height that worked best for me, the truss rod had to be maxed out. What...? My repair guy was actually surprised, and not impressed. Is this a design flaw? I'm not really impressed either. So this is probably going to be a concern in the future. Maybe these things are built in a hurry. Same old story...

Haven't had to deal directly with Fender, or indirectly through the music shop, and I'm hoping I won't ever ahev to, but that truss rod will be on my mind...

I've been playing for about 15 years, and have owned 8 other basses - 4 of which were Fenders, and 3 of those Jazz Basses.

If my Geddy Lee Jazz Bass was lost or stolen I'd own another, but only if it was used.

First, I'll get my rants out:

Fender getting chintzy with the strap locks - no longer offered.

The possible future truss rod problem... I'm crossing my fingers. If it is a design flaw, then that tells me Fender is slipping again (like it did when CBS ran it into the ground in the early 80's).

No case or gigbag being offered, despite the price. Definitely chintzy.

I think Fender should consider reading some of the discussion forums on this website and others, there's a mounting hate campaign against Fender. It's the typical big business losing touch with its customer base (symptomatic with most companies that get to a certain size - case in point... in the last 2 years I've seen Made in Mexico Jazz Basses rise in price here 50%).

On the plus side, I do love my bass. It's a real beauty, plays nice, feels good, sounds like it should.

Its basically your run of the mill jazz bass, with deluxe features, such as 62' reissue pickups, Bad Ass II Bridge, Vintage tuners, Maple fretboard highly glossed over. Black finish.

IF YOU HATE GEDDY LEE'S TONE, then You will DESPISE this bass. It gets one tone and one only, and thats the tone of Rush's Bass prodigy Geddy Lee. Fortunately, Geddy lee has the best tone in the world, very dirty and growling. I am in love with the tone.

The bass set up from the factory wasnt the best they say, but i Still refuse to change it, because I might lose that geddy Tone. Its adjusted right for me, but Some would play it with higher action to avoid fret buzz. This bass Is notorious for that.

This bass Is a Fender. Nuff said. It will take anything you can dish out.

Havent dealt with em. the bastards at the music shop didnt give me my warranty card, so I should probably see if they can give me one.

This is my fourth bass, and I Can honestly say if this bass was stolen or lost, i would get it again. It has so much personallity and the best looks of anybass Ive ever seen. Great Geddy Tone. You can Hit this bass as hard as you can and it will stay in tune and sound great, because thats how geddy wanted his bass for his aggressive style. This is the best bass Ive played to me, But this is not for all people, but its worthy of a ten regardless

My model is brand new and made in the year 2000, with a 21 fret standard neck. It's basically a jazz bass with vintage pickups, a very cool maple neck, and a badass II bridge.

This bass has the best sound quality out of any bass ever! The best part is that it maintains the same sound no matter what amp you play through and sounds just like Geddy Lee's. In addition the neck is not fat and deep and it allows you to maove as fast as your fingers will go. It is great for the blues music I play.

The action couldn't be any better on this bass. There's nothing to stop your skill unless you just suck as a player. The only problem with mine were some buzzing frets high on the A-string. The finish is only black.

This bass is indestrucable ecspecially the neck which doesn't warp at all, even in my weird Utah weather.

Haven't dealt with them.

I've been playing for 6 years and this is my favorite so far. If it were stolen I would probably poop my pants. The only issue is if you wanted to get way from the Geddy Lee tone you couldn't. It's impossible. I don't have a prob;em with this because his tone is the best.

This is from Fender's Artist Series, a copy of Geddy Lee's 1972 Jazz Bass. The particulars of this instrument is an alder body, maple neck and fingerboard, and the Leo Quan Badass II bass bridge. As with any Jazz Bass there are the two single-coil pickups (62 Vintage), two volume and one tone control. If you're looking for a Jazz Bass, this has all you'll ever want, so I'll give it a 9.

I was in the market for a passive bass with a maple fingerboard. Every other bass I own had a rosewood board, so I was looking for some variety. As far as the sound, it sounds like a good Jazz Bass with a little more punch due to the maple board. It lacks a bit for lows, but that's why amps have EQ knobs. Currently I'm running through a bass pod, and the adam & eve with bass at 3 o'clock, mids at 11 o'clock, and treble at 2 o'clock sounds incredible to me.

I had the opportunity to try a new model before I saw the one I purchased, and the setup that comes from Fender stinks...so the first thing I would do in the store is ask to have the bass adjusted to your playing style. After all, if they want to make a sale, two minutes adjusting a truss rod shouldn't kill them from making a sale.
One of the tuning keys is loose, I'll try to adjust that. The only other nitpick I'd have is the finish on the neck. In my opinion, it's way too thick, almost like a baseball bat.

As with most Fenders, this should be a fine bass to take on a gig w/o backup. Although the first thing that should go on any gigging instrument is a set of Straplocks.

Haven't had to deal with them yet, but fortunately I bought the bass from a great dealer.

For the price, you can't beat it. If they offered the neck finished like the Mexico models it would be perfect. If it were stolen, I'd definitely look for a used one, and would probably drop the 700 for a new one. This bass was exactly what I was looking for, and I'm glad I found it.

Contrary to popular belief, the supposed "block inlays" are actually painted black blocks directly atop the raw fingerboard wood. Fender then coats the entire neck in a mildly heavy gloss. The binding seems very genuine however. I suppose Geddy wanted to keep the price reasonable which is typically thoughtful of any RUSH member. The rest of the features are as stated by others (V/V/T, Tuxedo finish, Alder body & a very comfortable maple neck).

Certainly a great "Geddy" tone, but can venture into Marcus Miller or Jaco territority as well. Warmer than the Marcus Bass, but punchier than the Jaco model. These vintage pickups let the player create the nuances, but with admirable boost support. Sounds amazing through any respectable bass rig (Eden, SWR, Ampeg...) In a live situation, tones can range from traditional blues and funk to a softer jazz and modern rock sound.

As a guitar technician, I was disgusted how horrible the factory setup was. There were multiple tags from various "inspections" including "playability", but the actual condition of the instrument was a disaster (typical Fender really). Besides needing a moderate truss-tightening and drastic saddle lowering, the frets needed to be releveled and the neck joint required a shim to optimize high register play at reasonable heights. Once these were addressed, the bass played as Geddy would probably have intended it to be.

Tuners a bit clunky, but they hold up nicely. A longterm bass for sure. Needs TLC like any other instrument. Once factory faults were remedied, the instrument really came together as a solid instrument.

Fender's customer service is a disaster. Nobody seemed to know whether or not the block inlays were real or not. I heard multiple opinions from the same office. Obviously, the employees do not actually spend much time with the instruments themselves. A solid musician/manufacturer relationsip is impossible.

I have been playing for 9 years and the Geddy Lee Jazz Bass is the seventh bass I've purchased. I bough it mainly as a backup, but actually use it half the time because of its friendly weight. Cheers to Geddy Lee for putting his autograph ON THE BACK of the headstock (I've never liked them on the front). For the money, the GL Jazz is definately a great buy and comparible to some of the higher end American series. I prefer it's punch and versatility to any of the American rosewood fingerboard basses. Good luck.

My instrument comes from the very first batch of Geddy Lee Signatures coming out from Japan in 1998. Alder body finished in jet black (absolutely flawless job), 3-ply (w/b/w) pickguard, a very slim maple neck with black block markers (very unusual even for 70's Jazzes, and probably Fender did not make such feature available for more than a couple of years), bound fretboard (also in black), vintage-style tuners, US '62 reissue pickups and a Leo Quann Badass II bridge. This bass sports a "Crafted in Japan" sign at the back end of the neck (denoting american parts assembled in Japan - alas, alder is a very unusual timber choice for japanese instruments), Geddy's own signature at the headstock's back, and finally, a "limited edition" engraving at the neck plate. The strap buttons are "straplock ready". Indeed, a very nice package for such a modest street price.

Controls are the usual Jazz Bass fare, two volume controls(neck & bridge pickups) and a single tone control. The knobs are traditional bakelite models. No case or gig bag was included.

The Geddy Lee Signature sports the characteristic "growl" of Jazz Basses from the early 70s, and that makes it a rather agressive sounding instrument that cuts well in a live band situation. Unfortunately, I don't think that Fender really nailed the the bottom end found in Geddy's own instrument - not a lot of subsonics going. However, I had the chance to experiment with this bass in about a dozen recording sessions, and despite its susceptibility to pick up noise from TV and computer monitors, it is possible to extract a wealth of useful bass tones messing a bit with the bass own volume and tone controls, and tasteful EQ from the board (or active DI boxes). On such occasions, I ran the bass direct, using a combination of a Demeter Tube DI and SansAmp Bass Driver. Live, I run the bass through either a vintage Ampeg SVT head/cabinet or a Trace-Elliot 122H 2x10 combo, getting very good results in both situations.

I bought this bass used, so I cannot comment on the factory settings. The body finish is pretty flawless, the fretwork is very good. However, some of the block inlays show some flaws in execution - but nothing that detracts the general feeling of attention to workmanship this instrument gives. I did have to redo the action setup to fit my tastes, but the inclusion of an original Badass bridge made the job pretty straightforward. I noticed that the pickups output is very sensitive to pickup height, so be sure to find an optimum position for both pickups, specially the bridge unit.

This bass is very sturdy, and up till now it doesn't show any signs of gigging abuse. The straplock-ready strap buttons are a plus regarding safety, spaecially if you are an hyperactive player onstage (as I am :-)). After my initial setup work, no further adjustments were necessary, but please note that the truss rod is not readily accessible, like in all Jazz Basses from the period. Finally, I must state that I've played several gigs without any other backup instrument - and the Geddy lee Signature didn't let me down a single time.

Fender offers a lifetime warranty for the original purchaser, so that does not apply in my personal case. However, I've used their customer support several times for my other instruments, and they're very helpful and friendly.

I could compare this particular model with my other instruments, but I belive that a simple statement woul do a much better job: The Geddy Lee Signature, as some online vendor put, is simply the best passive, non-custom instrument Fender has put out in years. It's packed with features such as american-made pickups, an original Leo Quann Badass Bridge, and a truly distinctive finish to boot. Wether you're a fan of Geddy Lee or not, you can't ignore the awesome package of extras you get with this bass for such a price - with sonic results that are equally as impressive. Absolutely a deal.

Fretboard, which is produced in Japan, is slim. 2 black lines to go on sides of the fretboard define the *look* of this bass, which is simple yet unusual. Jazz bass body, which as we know is a solid shape for creating a solid rock. This bass is a "classic with a little bit of enforcement". Great for the price tag!

Sound can be solid or warm, depending on you tuning and amplifier. I use SWR Workingman and I get pretty much any tone I want. Well, to tell you the truth, I have 2 passive EMG pickups installed on it. These make it more suitable for rock, but the rich sound that this bass produces is far greater than any passive bass I can find in this price range. Be sure to use right effects and a good amplifier...

After all, this is a Fender Limited Edition. Everything was near perfect as of the moment I bought it... I had to change my pickup, cuz ... well, EMG kicks ass in my opinion...

It is not the lightest bass, but not the heaviest either. If you aren't like one of these skinny boys you'll be fine standing with it for a long time. This bass is so reliable that I use it everywhere. I wouldn't be scared to get on stage without any other back up bass. No, seriously...

I don't know. I don't even need to worry about it. I take a good care of it and every part of this Fender Limited Edition bass is built to stand a long time without repairs, I suppose.

I love this bass. If anyone asks me for recommendation on a passive 4 str bass under $1000, this is one of the first ones I'll tell them about. I don't know about Fender's active circuit bass or 5 str bass, but as far as 4 str passive bass goes, they proved to me with this bass that they've got what I want...

The features are of course as described in the other reviews... All in all, it's a fantastic "options package". To explain my rating: the neck is nice and slim, noticeably slimmer than on other jazz basses -- especially towards the headstock end. The block inlays are nifty. The Badass II bridge is a great feature that seems to me to give this bass more "snap" than other jazzes. The pickups -- US '62 Vintage -- are decent, but need some help from a preamp or something for a fuller bottom end. At least they're passive, as God intended.

I play in an alternative/retro rock band and have recently played around with a britpop/trip hop project as well. This bass has suited both. The Geddy Lee has the sweetest growl of any non-Rickenbacker I've ever played... I don't think the American made models can hold a candle to it in the midrange. And remember, midrange is the part of your tone that will punch through to the audience's ears, so it's important. You really get that late 70s/early 80s "flat" Geddy Lee/Adam Clayton sound with this bass.

The low end is not as full, on the other hand, which limits this bass' tonal variety. It's a matter of taste, though, so if you want a bright, in-yer-face growl and don't need a huge bottom, go for it (for this reason, someone who plays a p-bass, Gibson/Epiphone, Musicman or any other bottom-heavy bass might want to look into this bass as a handy punchy second for the studio...).

The action (some buzzing) and finish (a couple of nicks) had both been a bit... *abused* when I bought this bass. I've played others in stores without these problems. I'm sure these things were from being at the retailer I bought from, so I won't hold it against Fender.

This bass has been pretty solid overall, and I would have no problem using it as my sole instrument at a gig. Again, God bless passive pickups. Unfortunately, however, this bass has needed two truss rod adjustments in my 9 months of owning it. That's a bit high, but I am picky about action, which should be taken into account. One of the tuning keys is pretty loose already, though, which is inexcusable.

We'll see when I try to get that tuning peg fixed or replaced. It's still under warranty, so it shouldn't be a problem.

I've been playing for eight years and I've owned a few other basses including a '73 Rickenbacker 4001. It really says something about this bass that I've used it pretty much exclusively since I got it, at the expense of the Rick. This bass is not a jack-of-all trades. However, by not trying to be, it's great for what it is: a VERY playable bass with a silky growl. It's perfect for me and would probably suit a lot of people who try to play athletic and creative bass lines -- she can keep up with you.

I would have bought it for the features, sound, price and feel (not to mention look) even if I wasn't a Geddy Lee fan. IMHO, it's simply the only non-"vintage" jazz bass Fender still makes that has any personality. I had the money for an American Standard but opted for the Geddy Lee for the more assertive tone and faster neck, and let's be honest, block inlays are COOL.

The only way I want to change it is to drop in a J-Retro preamp so I can tweak the low end a bit more. Graphite reinforcement of the neck would be a plus, too, to prevent the need for more truss rod adjustments... it's kind of ironic that a bass named after a (fellow) Torontonian can't handle the local climate.


If this bass were stolen, I'd cry, cry some more and then go out and try to find another one. This bass is way more than the sum of its parts and in my book it gets a...

Yep its a jazz like many others but, this one came with a badass II bridge as well as passive 1962 vintage pickups! That matched with a maple neck, makes this bass growl. Seriously you can get an impressive growl out of this bass.. I bought this bass (1998) without a case. Being made in Japan caused some concern but those were laid to rest once I plugged it in. The only downside to this bass would be.. that fender made the truss rod unaccessable, I have since routed a small hole at the pickgaurd end to gain access, fortunately it hasnt needed any adjustments!The neck has remained true. For that i give it an 7.

This bass sits nicely with the music i currently play.. Im in a christian band http://fishoutofwater.iuma.com and when we recorded thats when I knew that this was the only bass for me. It tracked wonderfully being punchy, bright, and crisp, my parts really leaped out of the mix. On stage (when using my Eden 2X10, 4x10 combo) if I need to cut thru the mix I only need to raise the tone knob a bit. If your into Geddy Lee's sound from T4E, and Moving Pictures this may be the bass for you.

This bass came from the factory ready to play. No adjustments were needed. The action was set low and I found no fret buzz whatsoever. Also this bass possibly due to its maple neck has great sustain much better than my other 2 basses. Again the only flaw this bass has is access to the truss rod.. I have seen the Jaco Jazz and it too has this same flaw design. Aside from that, it finish, action , and fit were very good!

I've played this bass in numerous gigs for the last 3 years and so far it has stood the test of time and road. Its hardware has held up though the varnish on the frets has worn away in many spots, but then again I do play this bass alot. Only recently did I have to tighten the strap buttons and so far the neck has not needed any adjustments. For me this bass is dependable and yes I do play it without a back-up.

I havent had to deal with customer support yet..

Ive been playing for nine years, gone thru a couple of ampegs and 10" cones but have settled on 2 things. Eden amps/cones, and this G. Lee bass. It just sounds better than my G&L, and another fender jazz that I own. If I lost this bass, I would consider buying another but probably would just buy an american Jazz standard and install the 1962 vintage pickups, badass2 bridge myself. I think thats where the sound of this bass lies. Oh yeah, and a maple neck too! I love the sound of this bass it tracks very well in the studio and on stage, I just hate the lack of access to the truss rod. If thats something that would bother you.. then I wouldnt recomend it. Just remember that I've had mine three years now and it hasnt needed an adjustment, so I guess they did do something right over there.

I have been waiting for two years to get my hands on one of these.Alder body,maple neck and fretboard,passive vintage Jazz pickups,custom binding and inlays,Badass 2 bridge,and vintage tuners.
The Geddy Bass! That Moving Pictures growl! I haven't changed a thing on it(except the strings) I've been using DR Hi-beams because I can't find RotoSound SwingBass strings anywhere.They have that nice bright "piano string" sound to them. The last bass I will probably ever own.I'm monogamous and I see no further need to search any further,as I have found my soulmate bass!!

Being a student/fan of Geddy for the past 16 years,my heavily Rush influenced style of playing really comes through on this thing.That growling,single coil Fender Jazz tone is awesome.No dead spots mean I can venture further up the neck without sacrificing my bottom-end.The combination of this easy playing,no frills bass and my wall of SWR 10" speakers is capable of delivering one low-frequency orgasm after another.

The bass came from the factory in mint condition and was set up like they knew it was for myself.I only wish that they had let Ged beat on it for a while and possibly transfer some of that Geddy mojo to me.

I haven't owned it long enough to rate the durability factor. Judging from my past experiences with Fender instruments,I dont view this as being a problem.They have an impeccable reputation with this kid!

Fender rules. I got this bass directly from the factory. My contact at Cascio/Interstate Music in Milwaukee informed me that it was one of the last 2 that they had.They busted their butts getting it to me before it could get lost in the NAMM show traffic,which was happening a scant few days after I ordered it.Thanks Dave!!!