Raven Jazz Bass Copy

I don't know that this is the same product reviewed by the last person, although it is a Raven copy of a Fender Jazz bass. My specific model is a standard long-scale bass dating from the late sixties through to the early 70's (it's impossible to get any clearer date for this bass, as there is no serial # or anything on the headstock besides the name Raven). I believe it hails from Japan initially, and it sports 21 medium jumbo frets, a maple neck with rosewood fretboard with rectangular mother-of-pearl inlays, and white lining on the neck. The pickups are the 2 standard passive J-style pickups at normal position (bridge, neck) with a volume control per pickup and master tone. The body is mahogany and is nicely finished in the classic three-tone sunburst reminiscent of the bass used by John Paul Jones of Led Zeppelin (that's one of the reasons I liked it). The pickguard is three-ply with a red marble pattern to complement the finish. The hardware is a sore point of the model however, as the other reviewer indicated of his bass. The tuning keys and brideg are rather poorly executed with a cheap plating that wears off with time. The tuning keys themselves (I've gleaned) must be particularly weak...mine does not have the originals but some nice replacements (I think Gotohs). My bass had been heavily used before I bought it and must've seen a long period of inactivity (and attic storage), because the bridge itself is badly marred and has a good deal of oxidation... it doesn't affect the tone much (I think) but looks weak. I'd also check the wiring when you buy it, because the solder joints were very brittle and actually snapped when I opened the panel to check them out....and the input jack provided intermittent connection and needed replacement. But this comes with age. Upgrade addicts and fans of active pickup technologies will lament the lack of a rear, routed control cavity.

The difference between the moment I got it and after I had the wiring cleaned up and the input jack replaced was like night and day. Most likley, if you get a bass like this one, they were the "bargain" instruments of their time. They boast a good solid construction, but also include some cheaper parts that wear out with time or heavy use (or misuse)...mine suffered from all these things (which would account for the cigarette burns on the headstock). When the solder joints have been checked and the pots and input jacks have been cleaned up, the tone of this Jazz bass is to die for. I find it suits my rock/blues/progressive style well. The tonal range is manificent, going anywhere from dark, deep grooves with the neck pickup boosted and the bridge pickup eased down, or put the bridge pickup on full and turn the neck pickup off for a bright, punchy bass line full of midrange growl. Balance the two out for a bright, well-defined and edgy high-end, with a nice rich (and very deep) bottom. Of course, like a lot of Jazz basses, its performance usually includes a tad of hum, but I've hardly noticed this since the upgrades I've mentioned -- the operation is overall very quiet.

I'm using the bass right now with a Carvin 110 watt head and 1 X 15" cabinet (pretty basic). I use an Ibanez EQ pedal (BE10) (with a sort of demented frown pattern because I boost the bass a bit and add a tad more treble), and Compressor (CP5), as well as a Boss DS-1 distortion, and DOD envelope filter (FX25B) on occasion. The bass is suitable for most any style because of its tonal range and can fit right into anyone's studio or stage equipment.

I can't speak as to how wll this bass cae out of the factory, but from the pawnshop where I bought it, frankly, it was a mess. It had the customary overload of bumps and dings, more than a deserved helping of dust and grime, and a couple of cigarette burns as trophies of a likely storied gigging career and many years spend in a dark corner or attic. The care given to it was not great -- the tuning keys have been replaced and the job looks to have been rushed and improper screws were used (one almost punctured through to the other end of the headstock) as well as improper choice as they are not 4 in-line keys as they should be but are keys meant for basses with two keys on either side of the headstock (a headache while tuning). The stock bridge is in poor shape with rust and oxidation setting in that, while not affecting tone (yet) looks to be a weak point. However, aside from this the rest of the bass seems in good shape. Most of the electronics problems I've noted have occurred as a result of time and use, because otherwise the circuitry is very well executed. The pickups are very nice, offering a strong tone. The neck and body are well constructed, though the lining around the fretboard did have a chip in it and some minor cracks. Most of the problems that these basses will have appear to come from the quality of care they have received in their 30+ years of existence. I don't think the prior owner thought much of it, but I do.

This bass is a sure bet for live performance, although it should be maintained beforehand. The hardware (especially if the original tuning keys are still intact) is a little bit weak, and replacing these would be the best choice. The bass' price, however, is likely to be low enough that you won't worry so much about this fix-up. Th finish is strong and thick. It doesn't chip off easily at all and can withstand a lot of serious abuse. The rest of the hardware (strap buttons, string guides, etc) are better off than the others I've commented on and are very well-executed. The product is a very solid, dependable instrument. The neck is steady, and, in fact, stays in tune fairly well -- I've noticed it drifts only ever so slightly even after the hardest of sessions. The instrument is a tank and very dependable. Although backups are always wise, after the proper adjustments and replacements this bass is a good bet for a main axe without backup.

I don't know that the company still exists...there were so many knock-off brands in the early 70's and equally many companies (obsolete or not) with the name Raven. This could be a Raven West instrument... I wish I knew...

I have been playing bass for about two years now and this is the first Jazz bass I've owned or played. Other than it I have a Squier P-bass, and I've found that each of them has filled in a particular role in my musical style. If it were stolen or lost I don't know that I'd find something like it again, but I've become rather attached to its tone and would want to replace it at least with another J-bass. I particularly enjoy its range of tones and the smooth feel of its neck. It is a tad heavy but light enough that it won't tire you out prematurely. I do find the hardware, particularly the bridge, to be something that could be improved.

The bottom line is tha this is a good solid bass with a nice complement of features to suit most every playing style. It isn't bogged down with features, just well-placed pickups to accentuate every area of your tone. As I said in my review of the Squier P-bass, it is not the knob-adjustors dream, nor does it sport a satellite with five hundred premium channels, but it does give you a rock-solid tone and a nice variety to choose from in a package that won't let you down.

This short-scale bass comes from the era when cheap Japanese knockoffs of big-name instruments flooded the market -- the mid-1960s to early-mid '70s. It's a copy of a Fender Jass Bass, with two chrome-covered pickups sharing common volume and tone controls and a three-way selector. The bridge has adjustable saddles, and it appears to be stamped rather than cast steel. The enclosed tuners are only slightly beefier than those of a guitar. I think this bass was probably marketed as a "student model," because its shorter scale makes it very easy to play. The frets are quite narrow, the neck is maple and the body has a nicely rendered sunburst finish.

I played this bass for several years through a Peavey TKO amp in a couple of swing/jazz bands. The stock pickups are utterly anemic, so one of the first things I did after buying it was replace the bridge pickup with a Bill Lawrence blade humbucker. Using only that pickup, with the volume and tone all the way up, I got a nice "woody" tone that complemented the saxes and brass nicely. A smooth, even, light right-hand touch is important to avoid clicking and other string noise. The electronics are very quiet.

These knockoff instruments were sometimes surprisingly good, although they could vary considerably from one individual example to the next. When I picked up this pawnshop prize, it was missing the D-string tuner. Other than that, it was in generally good shape. I replaced the tuner with an open Schaller unit, strung it up and never looked back. It stays in tune, the neck is true and the action is even and moderately low. The bass is very poorly balanced, though -- if you take your hands off it while standing with it, the headstock will immediately begin to sink toward the floor, sliding the strap across the back of your neck.

I played this bass on stage regularly for about four years and it never let me down. All the parts still do what they are supposed to do, the pots are quiet and the neck is as good as new. The metal hardware, however, does have a cheap, lightweight look and feel.

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I've been playing bass for about 20 years and guitar for 30, and this was the first bass I owned. I bought it because I thought the price was great, and I wanted to learn how to play bass. I figured I'd fix it up a little, fiddle around with it, then buy a "real" bass if I decided to stick with the instrument. Well, the Raven became my constant companion, on stage, in rehearsal and in the livingroom, for several years. I finally did buy a better instrument, a Rickenbacker 4001, but I still have the Raven -- my son is learning on it. If it were ever lost, I probably wouldn't miss it. But I don't think I could replace it for anywhere near as low a price.