Factors that contribute to the sound of an electric bass include the type of wood used for the body and neck
, as well as its weight, shape, and construction; however, the circuitry—such as the pickups—also plays a significant role
. Here, we’ll focus on the “electric” aspect of the electric bass
and compare the differences in sound that result from it.
Traditional Style
This is where it all began—the origin of the electric Bass.
The photo shows a 1968 model
Leo Fender, who created the world’s first solid-body electric guitar, set out to develop a bass. At the time, upright basses were the norm, and for musicians touring across the United States, their large size was a major hassle when traveling.Furthermore, due to the unique playing style required for the upright bass, it was difficult for guitarists to play it on an ad hoc basis, so Leo set out to create an electric bass that was compact and could be played with a feel similar to that of an electric guitar. And so, in 1951, the Fender Precision Bass was released. With a size surprisingly compact compared to the upright bass and a fingerboard equipped with frets that allowed anyone to play it easily, this design became the origin of the electric bass as we know it today.
It features a single, simple single-coil pickup.
As the world’s first electric bass, its style is extremely simple. However, precisely because it relies on very few electronic components, it faithfully reflects the nuances of the player’s touch, which is why it still has many devoted fans today.
The 1957 model, which underwent further evolution, became a global standard.
The photo is from around 1966.
Although the Precision Bass was adopted by many Bass players following its revolutionary debut, it had one problem: the hum noise inherent to single-coil pickups. To solve this, in 1957, Leo began selling a new Precision Bass equipped with a pickup that canceled out hum noise by using two coils—one for strings 1–2 and another for strings 3–4.The two coils, wired in series, inevitably had a higher number of windings, resulting in a powerful sound. Mounting the low-string coil closer to the neck and the high-string coil closer to the bridge produced fatter bass tones and crisp high frequencies; this configuration became known as the “P-type” and went on to become the standard pickup used in various models thereafter.
Another World Standard
The JJ style, introduced in 1960.
The photo shows a Jazz Bass from around 1964
After achieving great success with the 1957 Precision Bass, Leo set out to develop yet another new style of Bass. The result, unveiled in 1960, was the Jazz Bass. It featured two hum-canceling pickups mounted at the neck and bridge positions, and with separate volume controls for each, it allowed for a more nuanced and wide-ranging tone than the Precision Bass. These Jazz Bass pickups are known as “J-type” and are still used in many electric basses today.
Other Traditional Pickups
The EB-3, a flagship bass model from Gibson—a giant in the electric guitar world on par with Fender—is equipped with humbucking pickups, which are essentially Gibson’s specialty. The massive humbucking pickup mounted on the neck side allows for the creation of a rumbling, ground-shaking sound.The sounds of Jack Blues from his Cream days and Andy Fraser of Free are prime examples. Combined with the crisp-sounding mini humbucker mounted on the bridge side, it allows for virtually limitless sound shaping.
The Rickenbacker 4001 features unique pickups nicknamed “Horseshoe” or “Toaster” due to their distinctive shape. The bridge pickup, named for its resemblance to a horse’s hoof, captures the sound by encircling the strings, creating a sound unique to this model.The front pickup, affectionately known for its resemblance to a toaster, is equally distinctive. As the signature “Rickenbacker sound,” it is beloved by many players, including Paul McCartney of The Beatles.
The Advent of Active Circuits
In the 1970s, the advent of synthesizers led to a richer, more robust ensemble sound for bands, bringing about a shift in the way electric bass tones were shaped. It became an era that demanded more precise control over frequency bands to ensure the bass wouldn’t get lost among other sounds on stage.To ensure the Bass didn’t interfere with other instruments while enhancing its presence, circuits with built-in equalizers—allowing for volume adjustment across specific frequency bands—became the mainstream. Furthermore, with the rise of a new music scene known as “crossover/fusion,” the role and playing techniques of the Bass within bands evolved, leading to an era where tone-shaping became increasingly diverse.
The dawn of a new era. Alembic’s circuitry.
Pictured is the 1987 Mark King model
Alembic is said to be the first in the world to incorporate an original active circuit into an electric bass. Its unique semi-parametric structure allows for control of the midrange frequency band, enabling precise boosting or cutting of the necessary frequency bands.Even on stage, where the midrange is often saturated with sounds from various instruments, this design allowed players to carve out space and make their sound stand out. Another distinctive feature is its characteristic sound—which, when listened to on its own, sounds a bit as if you’re pinching your nose.
Its operation on a 9V battery—now a familiar feature—
—was groundbreaking at the time.
A new global standard: the “Active JJ” style.
In drumless ensembles, the chopper/slap technique—in which the bassist takes on the role of a rhythm instrument—compares the sound of striking the low strings to a bass drum and the plucking of the high strings to a snare drum, creating a driving rhythm. While Larry Graham is considered its founder, the emergence of bassists like him and Marcus Miller—who excelled at this evolved style—gave the bass a whole new role.The bass was no longer merely a “behind-the-scenes workhorse”; instead, sparkling, snappy high notes came to be sought after as rhythmic accents. It would be no exaggeration to say that Roger Sadowsky was one of the first to meet this demand for a new sound. He created a custom bass by equipping a Fender Jazz Bass—known for its clear, projectile tone—with an active circuit. This style has become a new standard and is still widely used across many musical genres today.
, a 1974 Fender Jazz Bass modified by Roger Sadowsky
It features a built-in active circuit and
added treble and Bass controls.
This is Sadowsky’s JB-style model.
A perfect embodiment of the modern-style Bass.
Toward a new style. One answer from “Made in Japan.”
Naturally, Japanese manufacturers were not indifferent to this trend toward a new era featuring built-in active circuits. Numerous iconic models were produced, such as the FERNANDES FAB—a masterful emulation of the Alembic circuit—and the Greco GOB, which was influenced by the B.C. Rich circuit. Among them, one of the quintessential active models that Japan proudly presents to the world is undoubtedly the Ibanez Musician Series MC-924.The original active circuit produced a rich, organ-like sound and was used not only domestically but also by musicians around the world, including Sting and Phil Lynott of Thin Lizzy.
A model that epitomized 1980s Japan.
Ibanez MC-924
Toward Even Harder and Heavier Sounds
As the 1980s began, the heavy metal movement set the era ablaze. Guitarists modified their three-stack Marshall amps to produce even more distortion, driving the demand for a harder, louder sound. To keep up with this level of volume, Bassists also needed a tighter, wilder sound.A solid low end that doesn’t get buried by heavy riffs or overpowered by intense double-bass drumming—and that accelerates the sound even further. While various models emerged to meet these needs, one of the models that symbolizes this scene is undoubtedly the Spector NS-2. Featuring an ergonomically designed, three-dimensional through-neck with EMG pickups and original circuitry, it stands as the flagship model for Basses specializing in heavy sounds.
The Legacy of Heavy Sounds
After the heavy metal movement swept the world, the heavy sound evolved in an increasingly diverse direction. As symbolized by the “mixture” genre, it became heavier and louder. However, it wasn’t just about deafening volume; there was also a demand for a sound that was at times funky, at times groovy—a solid, tight tone with a brilliant, open clarity. A representative figure of that era is Warwick, which could be considered an evolved version of Spector.Crafted from high-density, heavy woods like bubinga and wenge, and equipped with an even more advanced active circuit, its specifications make it the very embodiment of modern heaviness.
Pictured is a 1997 Warwick Thumb Bass
The boldly slanted J-type pickup produces an even sharper, more cutting low end.
An 18V circuit design delivers a clearer, wider-range sound.
The ever-evolving origin. Leo Fender’s insatiable quest.
How did Leo Fender—the father of the electric bass—view these shifts in the music scene and the evolution of Bass circuits? Of course, he wasn’t about to sit idly by. In 1972, after having already sold Fender to CBS, Leo launched Musicman and devoted himself to designing new instruments. Then, in 1976, he unveiled the Stingray—a model that has come to be regarded as the quintessential active bass.It features a single large humbucking pickup mounted near the bridge, controlled by an active circuit developed in-house. Its powerful yet versatile sound has not only shaped the music scene of its time but has also established it as a timeless classic, beloved by musicians who define their respective eras—such as Flea of the Red Hot Chili Peppers.
The photo shows a 1982 Musicman Stingray.
It is characterized by a large humbucking pickup with prominent pole pieces.
Volume, treble, and Bass controls. A midrange control was later added, making it a 3-band system.
An active circuit that allows for simple yet flexible tone shaping.
Leo Fender’s Final Destination: G&L
G&L was the final brand Leo Fender launched. It was here that a series of models—which could be called the culmination of Leo’s career—were developed one after another. It’s clear that this was a brand created for Leo to do exactly what he truly wanted to do, to the point where he later remarked, “There’s nothing left undone.” There is no doubt that the L-2000 is the quintessential model from G&L.Equipped with two humbucking pickups, a selector switch, a coil-split switch, and a switch to toggle between a two-mode active circuit and passive mode, this model is capable of reproducing the Bass sounds from every era in which Leo was involved.
|
|
|
| The 1990s G&L L-2000 | The original MFD humbucking pickups designed by Leo Fender. |
|
|
|
|
|
|
| A mini-switch allows you to reproduce the sounds of the Jazz Bass, Precision Bass, and Stingray. Of course, the powerful dual-humbucker sound unique to the L-2000 is also a major draw. | The circuitry offers a choice between a mode that delivers a fat sound, a mode that emphasizes high treble, and a passive mode. You can control the sound from a modern JB-style sound to a vintage-style tone. |
Try them all at TCGAKKI!
From classics to ultra-unique models.
All kinds of pickup layouts.
◎J-J
Traditional Jazz Bass style
Well-balanced across all frequency bands, with a clear, well-defined sound that cuts through.
Artists who use it: Jaco Pastorius, Marcus
Miller, Geddy Lee, etc.
Main brands used: Fender, etc.
◎P
The undisputed classic Precision style
A fat, warm sound with low noise thanks to the hum-canceling effect.
Artists who use it: James Lee Jamerson, Sid
Vicious, Steve Harris, etc.
Main brands used: Fender, etc.
◎P-J
A style that combines the best of the Precision and Jazz Bass—now a classic—
There is also a style called “Reverse P,” where the P pickup is mounted upside down, blending the moderate thickness of the P with the clear contour of the J to create a well-balanced, easy-to-play sound.
Artists who use this style: Duff McKagan, Stuart Zender, Nathan East, etc.
Main brands used: Fender, Warwick, Spector, etc.
◎H
Characterized by a wide frequency range, low noise, and strong low-midrange, it offers a thick, well-defined, aggressive, and punchy sound.
Artists who use this: Flea, Louis Johnson, Cliff
Williams, etc.
Main brands used: MUSICMAN, G&L, Gibson, etc.
◎P-H (H-P)
Combines the low-noise, fat, and warm sound of the Precision with a humbucker mounted on the bridge side.
Characterized by a robust and fat sound.
Artists who use this setup: Akihiro Namba, Billy Sheehan, etc.
Main brands used: ESP, YAMAHA, Sandberg, etc.
◎J-H
It has a similar feel to the P-H, but the balance between the J’s clear projection and the humbucker’s thick low-mid range is excellent.
A wide variety of sounds can be created by combining this with the humbucker’s series/parallel/tap switching.
Artists who use it: tetsuya,
Main brands used: LAKLAND
◎P-P
With low noise and a fat, well-defined low end, it gives a solid impression that provides a strong foundation in ensembles.
Artists who use it: Hitoki
Main brands used: Schecter, ESP, B.C. Rich, Fender Japan
◎J-J-J
A 3-single-coil configuration featuring a Jazz Bass with additional J-style pickups mounted on top. This is a rare combination; since J-style pickups are added to a setup that already features hum-canceling pickups, it can be slightly noisy... The sound is well-balanced with excellent projection. The Fender Bass VI is a famous example of this design.
Artists who use this: tetsuya, Hitoki
Main brands used: ESP, DINGWALL
◎P-P-J
Low-noise and fat, with strong low-end response, giving it a solid, grounded feel that provides a sturdy foundation for the bottom end in ensembles.
The J pickup on the bridge side adds just the right amount of edge, helping to balance the tone.
Artist: Masayoshi Yamashita
Main brands used: ESP
◎H-H
A versatile model that offers a wide range of configurations—from J-J to J-H to H-H—by combining the series, parallel, and tap settings of each humbucker.
It covers everything from low-noise, meaty rock sounds to delicate jazz-Bass-style tones!
Artists who use it: tetsuya, IKUO
Main brands used: LAKLAND, Warwick, TUNE
◎J-P-J
A layout that can be described as a fusion of the Jazz Bass and Precision Bass. It combines the well-balanced frequency response of the Jazz Bass—with its clear, well-defined, and open sound—with the low-noise, fat, and warm tone produced by the Precision Bass’s hum-canceling effect. Depending on the wiring configuration, each can be used independently, making this a highly balanced, versatile model.
Artists who use this model: Stuart Hamm
. Main brands used: Fender
◎J-H-J
While it gives an impression similar to the J-P-J, the combination of the humbucker’s power and the Jazz Bass’s clear, well-defined sound creates a more balanced setup than its appearance suggests.
Artists who use this: Kenji Hino
Main brands used: Atelier Z, Sandberg, etc.
◎Independent Pickups for Each String
Since each string has its own pickup, you can adjust the balance for each string individually.
The sound is often well-balanced from low to high frequencies, with a calm, composed character. Our in-house repair technician, Soichiro Tanaka, is a huge fan and uses them all the time!
Main Brands Used: Atlansia, etc.
☆Major Pickup Manufacturers☆
Various manufacturers offer replacement pickups! For those of you who think, “The pickups on my Bass aren’t quite right,” or “I don’t like the sound, so I want to replace them…” here’s an overview of the major manufacturers and their typical sound profiles!
◎Fender
A manufacturer specializing primarily in pickups for so-called traditional Jazz Basses and Precision Basses. They excel at producing traditional vintage-style sounds.
◎Seymour Duncan
A manufacturer offering a wide range of pickups, from modern sounds to vintage styles. The options are truly diverse, spanning everything from modern to vintage.
◎Dimarzio
A manufacturer with a lineup ranging from aggressive sounds like hard rock and metal to modern vintage styles. Generally, many of their pickups have unique and distinctive characteristics, and there’s a wide variety of models that, once you find the right one, you’ll never want to part with.
◎Bartolini
Known for its low-noise, sweet, and refined sound character. These pickups are often found on so-called high-end Basses, and their moderate compression makes them ideal for fingerstyle and slap playing.
◎EMG
Active pickups known for their clear, low-noise, and wide-range sound. They deliver a crisp, well-defined tone not only when played with a pick but also when finger-picked or slap-played.
◎Lindy Fralin
A manufacturer known for its traditional vintage-style sound—a “modern vintage” sound that carries on the legacy of classic Fender-style tones while incorporating modern elements.
◎Nordstrand
A pickup manufacturer that meticulously recreates vintage sounds by hand-winding each pickup one by one; its appeal lies in the vintage-like tones inspired by Fender.
~In Closing~
There’s a truly vast variety of bass pickup combinations. Since your playing style will change depending on the sound produced by each combination, I think it’s fun to try out different options to find your ideal setup. We’re constantly receiving new basses with various pickup configurations at our store♪ If you see a bass that catches your eye, please stop by and try it out♪」