The History of the Fender Precision Bass

　The first Precision Bass, released in 1951, used Kluson-manufactured reverse-winding tuning pegs with flathead screws in the gear section. Subsequently, starting in 1957, the screws in the gear section were changed to Phillips-head screws.

The one on the right is from 1961, and the one on the left is from 1992.

There isn’t much of a difference, though. The Vintage Series model on the left features Gotoh vintage-style tuning pegs.
As you can see, the Gotoh pegs have a higher gear ratio, allowing for smoother rotation.
On the headstock side, at the peg mounting points, you can see four indentations—two on each side.
These are marks on the back of the pegs caused by the U-shaped support brackets used to secure the shafts.
Starting in late 1964, indentations were added to the areas where the metal brackets made contact, allowing the pegs to be installed flush with the surface without any gaps.
Vintage Re-Sho reproduces the original design from 1962, complete with the naturally formed marks.
The fact that they’ve reproduced it this faithfully is truly impressive!

　This “spaghetti” logo was used from 1951 to 1964.

The headstock was redesigned to its current shape in 1957; starting in 1961, two patent numbers were added below the logo, and by the end of 1962, the numbers had become four digits.

Vintage reissues have been available since 1982, and the logo has undergone slight changes depending on the year. This 1992 “spaghetti” logo is slightly thicker, and the logo’s position is also different. The logo decal is applied over the paint, which is another detail that faithfully reproduces the original. So, if you rub it, it’ll come off…

I know there’s no helping the patent number, but I can’t help but think the logo’s position and shape could have been a little better… Sorry for talking big!

The big difference is this fretboard.

The 1961 Precision Bass on the right is made of Jacaranda wood, which is currently designated as an endangered species under the Washington Convention—meaning logging is prohibited—and is subject to import and export restrictions. Jacaranda (Brazilian rosewood) is characterized by its heaviness and hardness, the difficulty of working with it, distinct black stripes running along the grain, and a vivid, rich wood texture.

Although both feature a “slab-style” fingerboard—where the surface where it joins the neck is flat—there is a slight difference here as well! While the fingerboards on both the neck end and headstock end are flat, on the 1961 original, the rosewood joint at the headstock end appears V-shaped. This visual difference stems from how the headstock was shaped. It feels like I’ve caught a glimpse of the “handcrafted” quality often attributed to vintage instruments, even in this small detail.

　On the 1961 Precision Bass, the left half of the neck joint is unpainted.

This is because a handle was attached to this area during the painting process, a characteristic that dates back to the early 1960s.

Nowadays, the painting process is different, and since this area isn’t visible, they haven’t gone so far as to replicate this detail.

　Until around 1968, Fender used nitrocellulose lacquer for all stages of the finishing process, including the primer. Since then, lacquer has been used only for the topcoat and final finish, while polyurethane is used for the primer.The 1961 model with a lacquer finish shows paint peeling in a way that makes it appear as if there is a clear finish layer beneath the color; the yellow in the three-tone sunburst finish is a type of paint that allows the wood grain to show through. Models with a polyurethane finish exhibit paint peeling that looks like it’s cracking like glass; like the 1961 model, they use a yellow finish that reveals the wood grain. No red paint is applied beneath the pickguard—though this is an area that isn’t visible—and this detail has been faithfully carried over to the Vintage Reissue models.
While opinions are divided on whether lacquer finishes improve or detract from the sound, in a country like Japan—with four distinct seasons and dramatic fluctuations in temperature and humidity—it cannot be said outright that lacquer finishes are always superior. I feel that both the 1961 model and the Vintage Reissue each have their own merits.

　The cavity shapes are nearly identical. The 1961 model features two 250K Stappol A-curve pots and uses paper-film capacitors. The Vintage Reissue features two 1992-model CTS 250K pots—an A-curve volume pot and a B-curve tone pot—and uses ceramic capacitors.“A-curve” and “B-curve” refer to differences in how the response changes; an A-curve changes abruptly, while a B-curve changes more gradually. For players who make subtle adjustments to volume and tone, B-curve pots are easier to use, and many people choose to replace them.

　It features a split pickup, a design introduced in 1957 that remains unchanged to this day.
The small 1" × 2" pickups come in pairs; one is mounted for strings 1 and 2, and the other for strings 3 and 4, arranged in an alternating pattern, with two pole pieces assigned to each string. This ensures that the large amplitude movements of the Bass strings are reliably captured.
Furthermore, each of the two coils is wound in opposite directions and features a magnet with opposite polarity; wiring them in series also provides a hum-canceling effect.
The 1961 pickups, commonly known as “Black Bobbins,” use black fiber paper for the bobbins; the wire is a deep brown color and is wound with a high number of turns.
The Vintage Reissue split pickups, while naturally identical in function and shape, were not entirely the same—for example, they used bright orange enameled wire.

The bridge design has undergone several changes over the years.The bridge installed on the 1961 model follows the specifications introduced in 1959, featuring deeper grooves in the saddles and more gently rounded corners on the bridge plate.
Here too, the Vintage Lee Sho reproduces the design quite accurately; however, the spacing between the set screws used to adjust the saddle height is slightly narrower on the 1961 model. The chamfers on both sides of the saddles are also more pronounced, and—regardless of whether this is a good or bad thing—it falls short of being a perfect reproduction.

This is the joint plate that secures the neck. The Vintage Reissue series has serial numbers starting with the letter “V.”

Since the Vintage Lee Shu models have the year engraved on the neck, dating them is relatively easy.

For Original Vintage models, the identification method varies by year; the age is determined by a comprehensive evaluation of factors such as the neck date, pot date, serial number, and detailed specifications.

However, the serial number is the easiest to identify at a glance. Please refer to the following.

This is clearly visible from the side: the 1961 vintage model has a deeper body contour.
While there are naturally individual variations depending on the year, this is where the difference is most distinct.
When viewed from the body back, the extent of the contouring does not appear to differ significantly.

The 1961 model delivers a sound that truly lives up to its reputation—the Precision Bass is often described as having a “fat” tone, but it’s not just fat; it’s deep and sweet, with excellent sustain and rich in harmonics.
The neck rigidity is also excellent, and despite its age, I never feel any frustration playing it.
To be honest, the vintage reissue can’t help but give a “young” impression.
I do think there’s still room for improvement, but as it stands, while it has body, it feels like it lacks depth.
Compared to the 1961 model, the neck tends to be more susceptible to changes in condition due to string tension.
This comment is based on a comparison with the original 1961 vintage model and differs significantly from a comparison with a typical Bass.
However, given the tenfold price difference between the current Vintage Series and the so-called “original” vintage models, I feel it’s more than sufficient when you take that into account—but what do you think?

Staff Comment

Even though we simply call them “acoustic guitars,” your options vary greatly depending on the genre you play and the sound you want to achieve!
Each one is full of elements that, once you get hooked, you won’t be able to put down—it’s a lot of fun!
If you’re just vaguely thinking, “I’d like to try playing an acoustic guitar,” I recommend starting with a folk guitar!

Author: Matsui (Store Manager, TCGAKKI)

Joined TCGAKKI after serving as store manager at Kyoritsu Gakki’s Shinjuku branch. As a store manager, he has been responsible for a wide range of genres, including the vintage guitar floor, electric basses, amplifiers, and parts. He is one of the industry’s leading experts in electric guitar sales, trusted by many renowned musicians. His favorite band is B’z. His hobbies include horse racing and golf.

Qualifications and Achievements: 20 years as a musical instrument appraiser; has contributed as a writer and supervisor to publications such as *Guitar Magazine*

▶︎Read his articles here:
Real Closet Classic ~ Unused 1961 Strat
1951 Fender Nocaster “PROTO”
A Journey Through the History of Tuners with Famous Brands
Column on the History of Pickups and the Trajectories of Great Figures