In the blue corner, with a total of 68 years of uninterrupted musical instrument manufacturing, we have the samurai of the super Strat, the almighty Japanese giant, Ibanez (think about it with multiple a's and through a loudspeaker).
In the red corner, with a total of 79 years of uninterrupted musical instrument manufacturing, the timeless sound of a generation, the heart and soul of the revolution, Fender (again, but with multiple e's).
One side represents the pinnacle of Asian innovation and state-of-the-art technology applied to music making. They offer sleek necks, complex electronics, and avant-garde looks and are ready for the future of music.
Oh, and in Japan, the future arrived long ago.
The other represents the traditional, timeless, most sought-after tones in music history. A company that never stops innovating but remains true to the roots that made it one of the biggest names in music history.
Nobody does the Fender thing like Fender.
Both make outstanding basses for all ages, playing proficiencies, and musical needs; but only one gets to wear the crown. Today, and in this virtual ring, these two musical instrument manufacturing heavyweights meet face-to-face to put an end to your doubts.
We’ll explore the pros, cons, outstanding models, and the general profile of two of the biggest names in the market right now. I played and studied extensively both brands, and I’ll try to pour decades of experience into this brief article.
Why? Well, for people like you. To help those who can’t make out their minds whether to go for one or the other.
By the end of this piece, you’ll know exactly what the best option for you is.
Here’s the one-stop solution you’ve been looking for. You’re welcome.
Let’s get ready to rumble!
Ibanez, Japanese Precision Ready for the Future
Every company manufacturing musical instruments (or any other product) does it with an intention, an identity, and, in the case of a company with 7 decades of experience, a heritage.
The first thing that you must know about Ibanez is that they’re all about pushing things to the extreme and aren’t at all afraid of experimentation. They serve some of the most outrageously gifted virtuosos with instruments that match their bold musical journeys.
Top 3 - Popular Ibanez Basses
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These artists range from Stephen 'Thundercat' Bruner to ‘Fieldy’ from Korn. These players might not seem as if they have a lot in common at first sight, but both are the representation of bold innovation in their approach to playing bass. Also, both have taken their craft to haunt the airwaves (the old version of playlists?) in every corner of the planet (when Damon Albarn calls you to play with him, you know you “made it”).
Ibanez is a modern musical instrument manufacturer that provides players with fast necks, flat radiuses, exotic woods, active electronics, and ergonomics so sleek that they defy nature itself. Although they have a series of instruments that can compete with Fender in the classic approach (more on that later), that’s just venturing into a new market to gain some followers rather than the brand’s core.
Finally, let me add that Ibanez’s musical adventures are propelled forward by Japanese precision that’s at such a high standard it makes virtuoso players face crowds by the thousands with their logo shining proudly on the headstock.
Slowly but steadily, this Japanese giant cemented a reputation as one of the best bass makers in the world and a go-to choice for thousands worldwide.
Fender, Representing the Heritage and Passion of USA’s Manufacturing
Leo Fender was a pioneer who revolutionized the realm of musical instruments way beyond anyone else. In musical instrument manufacturing, the Precision Bass, the first mass-produced electric bass guitar with frets, was just as groundbreaking as the light bulb or the Ford Model T for the rest of the world.
But that’s not all there is to Fender. The company with the big F had its ups and downs, its hard times, and its moments of glory (like right now, for example) but never stopped creating instruments for the working musician that are reliable, sound great, and play comfortably.
Top 3 - Popular Fender Basses
Yes, Fender owns a section of the market, and its basses have been played by some of the biggest, most legendary bass players of all time. The first few to come to mind are the late and great Jaco Pastorius, the amazingly gifted Pino Paladino, and players as dissimilar as Adam Clayton of U2 and Mark Hoppus of Blink 182.
The sound of Fender basses was imprinted in our DNA through decades of recordings and epic live shows. If you go to a serious studio anywhere around the world, you’ll very likely find one or more Fender basses to record with (and some tube amps too).
They are a trademark tone that’s been the beat and the backbone of music hits in every style, from punk to pop. They can get the job done by sounding familiar to listeners, fellow musicians, music lovers, and fans.
To say it simply and concisely, Fender owns the classic bass market.
Just like Ibanez, though, they venture into different territories to expand on their lines and bring the heritage of almost a century making four-string beauties to a growing section of the market. Thus, you can now buy instruments with fast necks, flatter radiuses, active preamps, and noiseless pickups (more about that when we get to the Ultra line).
Fender proudly represents the core, the heart of USA-made musical instrument heritage and it’s the kind of brand that you can rely on for dependability and performance.
How Do Lines Compare?
Ibanez and Fender divide their instruments into different lines or tiers that separate those that are aimed at beginners, intermediate, and professionals.
Fender divides its production into two brands while Ibanez does it with the same name.
Let’s go over the entire catalog and I’ll highlight some models you should check out that represent each tier the best way.
Entry-Level Basses, What to Expect?
The entry-level basses these companies make share many characteristics.
To begin with, both companies build them in Indonesia and China, and both companies utilize alternative woods such as poplar, nyatoh, okoume, Indian laurel, and purpleheart.
Although these alternative woods have been widely tested as stable, reliable tonewoods to build instruments with, the tone they deliver isn’t the one our ears are used to. You have the feeling of being “almost there” and the feeling of being “not quite there”.
This is pushed further by the often made-in-house or generic electronics that might just be, along with the hardware, the corners these companies (and most others) cut the hardest.
Beyond all this, though, the main challenges these instruments face are in terms of craftsmanship and finish. As you might know, musical instruments are precision (pun not intended) machines. Yes, measurements, fret positioning, truss rods, scales, bridges, saddles, and nuts play a key role in tuning stability and a proper setup.
In my opinion, regardless of how your instrument sounds, if it can’t be tuned, it’s not playable (or worth any of your hard-earned money).
I’ve played basses by Squier and Ibanez with rough edges, sharp frets, faulty paint jobs, cheap tuners, and bad-sounding generic pickups but not once played one with a twisted neck or a malfunctioning truss rod that couldn’t be set up, intonated, or tuned properly.
What I did find and more than once, were basses at this price point with some annoying, muddy, impossible-to-remove frequencies that are just too much for the trained ear.
As you move up the spectrum, things get better in that sense, and by the time you reach the top of this category, you have some instruments that need some minimal changes to be stage-ready and/or give you a lifetime of playing enjoyment.
Ibanez Gio and Standard Series
Ibanez’s most popular shape is probably the SR. These are the flagship basses by Ibanez and the ones most of us played as the first active instrument in our lives.
They’re ergonomic, comfortable, and play easily with sleek, smooth necks. If you’ve ever seen Korn playing live, it’s the shape Fieldy has played since the early days.
It’s a big instrument with an ergonomic body that’s usually lightweight and very comfy. It’s also the one featured in the Gio series, the most affordable instruments Ibanez makes.
My first ever instrument was an Ibanez Gio and it served me well until I outplayed its capacities.
Although it all starts with the GSR180 that’s a traditional, passive dual single-coil pickup bass, the ones immediately above in price, come with a Phat Boost active EQ system that adds low-end to the equation in monstrous proportions. This opens up many sonic highways and the difference is minimal.
You can get, for example, a bass like the GSR200 with a Precision-Jazz pickup combination.
Ibanez Gio GSR200
In my experience, these are great entry-level basses that have smooth, soft necks, decent hardware and electronics and that can carry you through your early days playing bass.
Now, things get more varied and interesting as you move toward the Standard line. Here, you can find BTB, SR, and Talman basses to choose from.
The SRs get truly Ibanez-like with that beautiful oil-rubbed finish on the body and longer-than-life necks that are just thin, and fast, and beg for you to pour your fastest chops all over them. This is the most crowded line by Ibanez that offers 19 models to choose from with different electronics, 4, 5, and 6 strings, and different pickup combinations.
The ones with humbuckers, like the SR300, come with coil split capabilities over the passive exposed-pole humbuckers and a 3-band EQ that not only cuts but also boosts each frequency. This is where things get really powerful, and the bold spirit of these Japanese giants shines through.
Ibanez SR300E
On the not-so-good side, these are top-loader basses (strings are loaded from behind the bridge and don’t go through the body) giving them reduced resonance. Also, just like with the GIO line, the bottom frequencies do get muddy if you’re not careful how much you dial in.
By the time you’re at the top of the line, you find a bass like the SR600, an instrument with an ash body, a 5-piece jatoba/walnut neck, and a true rosewood fingerboard. But that’s not all, it also comes with original Nordstrand Big Break passive pickups.
Ibanez SR600
The controls aren’t beginner-oriented but require some knowledge to manipulate. You can go from passive to active and can even choose the mid-frequency you want to boost or cut (700, 450, or 250Hz).
The SR600 feels, plays, and sounds like a bass you could play for a lifetime only performing minimal maintenance. My hands felt at home with the sleek neck and flat radius.
The BTB line follows the same idea as the SR but doesn’t feature 4-string basses (only 5, 6, and 7 strings) and is more of a metal-oriented kind of instrument. Also, they’re big with those dual horns and feel a tad bulky to play.
I mean, don’t get me wrong; delightful necks and cool electronics with stage-ready looks, nonetheless. They’re just not my cup of tea; I think the SR realm offers something similar and more comfortable to play.
Finally, the Talman Standard Series is Ibanez’s response to classic bass tones, looks, and feel. I just have to say I used to own one of these and they have one of the best necks I’ve ever played on a bass, period. It’s not too slim or fat, it’s got the perfect smooth feel and sits on your hand perfectly.
Tone-wise, the line starts with the very affordable TMB30, a passive Jazz/Precision pickup configuration with simplified controls, vintage vibes, a shorter 30” scale, and a beautiful, compressed, and snappy sound. You can think of a Mustang Bass to make the comparison, even sound-wise they feel familiar.
Ibanez Talman TMB100M (check price)
The top of the line isn’t too far away, the TMB400 features a poplar body with a Tamo ash top, a roasted maple neck, and a bound rosewood fingerboard with block inlays.
The top-of-the-line Talman is an active bass with a traditional 34” scale that sounds close to a modern, versatile Jazz Bass on steroids. Again, it has one of the easiest necks in the market and might be the lost link between these two brands.
Some Models to Look at
Squier and the new Fender Standard Series
Squier was the brand that served as a spearhead to make affordable Asian instruments the newest revolution in the industry.
In the Squier realm, it all boils down to four lines: Debut, Affinity, Sonic, and Classic Vibe.
Debut is Fender's newest, online-only lineup that aims to compete with countless no-name Chinese knockoffs. However, it's surprisingly value for money at that price point!
Squier Debut Series Precision Bass
Affinity is the most complete series offering players the possibility to play timeless classics and modern creations at a very affordable price. I have not only opened countless boxes of Squier Affinity basses in my life but also played them extensively.
They have some of the drawbacks I highlighted above that are common to most entry-level instruments but are perfectly suitable to learn your chops on.
I have always been more of a Precision guy than a Jazz Bass guy. There’s something about playing punk rock for half my life that makes me gravitate towards that huge low-end all the time.
Although the Affinity is a top-loader bass and the poplar body doesn’t sound as defined and big as alder, you can get away with some decent sounds, especially when played with a pick (paying my humble homage to the great and late Dee Dee Ramone).
Both these models, the Jazz and the P-Bass are good recreations of the originals (except for the added Jazz pickup in the P-Bass), and while the P-Bass sounds fat and big, the Jazz has that edge and muffled funky tones we all love so much. Yes, they’re both kind of muddy on the low end and too sharp on the high end, but that’s from a seasoned ear perspective, when you’re learning your chops, you won’t notice it.
For example, the idea of giving these basses a satin maple neck is truly great. I had lots of fun going up and down the fretboard while playing all kinds of bass lines I love. Also, let me say it again, no sharp frets anywhere. They don’t feature smooth rolled fretboard edges, but they won’t hurt your hand either.
It’s worth noting that Squier also ventures outside its comfort zone and the Active Jazz Bass is a great instrument. It not only looks great with those block inlays, but the active preamp makes it more modern sounding. I tried my best Marcus Miller chops with it, and while it’s not super clear and powerful as the real deal is, it gives you a nice oomph that propels lines forward. Also, the dual-knob control does its job perfectly and is easy to use.
I tried some metal on the five-string version and Cliff Burton came from the other side to say he was proud of my “For Whom the Bell Tolls” version.
Another wild animal to talk about is the humbucker-equipped Squier version of the Jaguar Bass. It features a weird 32” scale that strangely feels like home and plays great (again, that satin neck!). The single humbucker is ceramic and passive, so it delivers mammoth tones that have that maple edge with huge lows.
It’s a great bass for those about to rock.
Moving up, the Sonic line by Squier features slim bodies and offers a modern version of the lost link between the past and the present, the Bronco Bass. There’s also a Squier Sonic P-Bass model.
These feel and play more like student-grade instruments because of their toyish thin bodies, lightweight, and overall vibe. That said, sound-wise, these can really rumble and are great for those starting out at a young age and needing an instrument that’s not as bulky and heavy as a real P-Bass is but sounds like the real thing.
This is especially true with the Bronco and its 30” scale. You just can’t believe how big the growl is coming from such a small bass.
The Classic Vibe Series by Squier is definitely something else. I know several colleagues who play Squier Classic Vibe live with a few upgrades like pickups, tuners, and a proper professional setup.
I especially liked the job they did with the ‘60s Jazz Bass and ‘50s P-Bass. These are aesthetically appealing but also capture the tone of the classic instruments.
Squier Classic Vibe '60s Jazz Bass
Yes, they’re not as defined, thumpy, clear, and articulate as the real deal but do a great job at feeling, sounding, and playing well. I did miss the satin finish on the necks, but it wouldn’t be era-correct to do it for Squier either.
I tried my best version of Pink Floyd on the ‘70s maple-neck black version and Roger Waters would have been proud. It’s got that take-no-prisoner attack and bold midrange that made the ‘70s big-arena rock acts what they were.
To finish off my Classic Vibe adventures, I played the Mustang and Bass VI. I was beyond shocked by this last one, such a unique instrument that’s comfortable to play and that can do it all.
Ever thought about playing your bass with a tremolo arm? This is a golden chance.
Also, the Mustang Bass and its short scale, friendly body, and thumping pickup were a great experience. I went on to play those cool Black Keys bass lines and it all sounded round and powerful. It wasn’t pristine, but it was usable and fun.
Finally, the Jaguar Bass is a heavy tone machine in every sense, but I found it to be more versatile than the rest with the PJ combination. It did the midrange thing with a good edge in the bridge pickup and the bigger-than-life low-end with the P-Bass pickup.
All I have to say about it is that you need to be big enough to feel comfortable with it; it’s a big and mean tone machine.
To finish the Fender side of things, the company with the big F did a bold move and came up with the Standard Series, a lineup that’s made in Indonesia but has the original logo on the headstock and price-wise falls right between Classic Vibe and the Mexican-made, recently overhauled, Player II.
So, the million-dollar question: Is the Standard Series worth it?
Well, in my opinion, they make a terrific bridge between MIM instruments and Asian-made bass guitars. To begin with, they’re made of poplar, maple, and Indian laurel, just like the rest of the line. The satin-finish necks are just tasty, and they help you get the best version of yourself out.
The P-Bass has that growl and bite that make it quintessentially Fender. “Blitzkrieg Bop”, “Rock n Roll High School”, and “Bonzo Goes to Bitburg” sounded perfectly accurate sound-wise (I did quite a good job at it too).
The Jazz Bass is a different story, it allowed for some clean and spanky Jaco with the bridge pickup, some nasty slapping in the middle, and the groove lines sounded fat and sweet in the neck position. I have to say, taming the maple neck version is difficult; that’s a wild ride. Especially in the midrange.
Fender Player II Jazz Bass
I would say it’s the craftsmanship that makes them worth it. Although they won’t sound like an alder-body American Professional, with a new set of pickups to get rid of the undefined muddiness in the lower mids, they’re worthy stage instruments at a steal of a price.
Some Models to Look at
- Squier Affinity Series Precision Bass PJ
- Fender Standard Jazz Bass
- Squier Classic Vibe ‘60s Mustang Bass
- Squier Classic Vibe ‘70s Precision Bass
- Squier Affinity Series Active Jazz Bass V
Mid-Priced Basses, What to Expect?
The mid-priced market, I would say, is the most cluttered of them all. That’s exactly where the big names are betting their money on, including Fender and Ibanez. How so? You may ask? Well, in my opinion, after the boom during the pandemic, those who started out then need their next step, AKA, a guitar in this category.
All the companies competing here are betting their name on every bass sold. This is when things get serious and both Fender and Ibanez know this.
Here, you can expect to find third-party top-notch pickups, premium tonewoods, innovation, and much to choose from.
Ibanez Iron Label Series
It doesn’t happen all that often that you find a bass that’s literally scary. Well, the Ibanez Iron Label Series is exactly that, a collection of very mean-looking metal machines ready to summon an evil spirit at a Scandinavian metal fest.
That’s exactly where I want to start, at the matte black finish that’s as menacing as it gets.
The fretboard is made of Ebonol, a mix of phenolic resin and layers of black paper. The moment you play it you realize the snap, the quick transient, and the bright tone make it close to the sound of real ebony.
Speaking of the neck, the 12” radius in the SR and almost 16” in the BTB make them fast enough to try your wildest moves with confidence. I do mean wildest because these 5-piece maple and walnut necks are 0.78” wide making them fast and furious like a Mustang with Nitro and Nicholas Cage at the wheel.
The Bartolini pickups and the active preamp make them sound monstrously big. The okoume body and the Ebonol fingerboard are just perfect to fight back against that big supernova of low end. The result in the BTB and SR lines is just a balanced instrument with lots of character and a great feel.
I loved the switch to choose between the midrange frequency in the EQ. You can dial how much and what kind of midrange you want to have.
Beyond the sound and the looks, let me tell you that these are very modern instruments. The SR version is a bolt-on model that sports a multi-scale neck. The BTB, on the other hand, is a regular scale but it’s a neck-through construction.
I felt the BTB was a little rounder in the low end, which might be related to the construction method. On the other hand, the SR was more responsive and had a sharper midrange.
Oh, and because they are what they are, they only come in 5 strings.
Some Models to Look at
Fender Player II, Vintera II, and Player Plus
Fender’s Mexican-made guitars in these lines have been a benchmark for the industry since they were first introduced. These are fine instruments that could serve for a lifetime of playing joy.
The different lines should be thought of as modern-sounding, futuristic-sounding, and vintage-sounding basses.
The Player II was recently overhauled (right before the Standard Line that nobody knew about came out) with rosewood fingerboards and alder bodies.
But that’s not all, because those of us who played the previous version of the Player Series know they didn’t have those beautiful rolled edges, and the real alder and rosewood are welcome upgrades as well.
I would say that the Player II is good enough for hobbyists, enthusiasts, and occasional players who want a good-sounding, reliable instrument to hone their craft with. A seasoned ear will hear a few details not only in the sound but mostly the craftsmanship.
That said, if you want a new flavor for studio work, a second instrument to tour with (maybe with a pickup swap) or an amazing couch instrument, these are perfect. The Precision is boomy and huge and the Jazz Bass has that beautiful edge in the midrange.
I had to play some Ramones with the P-Bass and also some Flea on the Jazz and it was all natural-sounding and effortless. The satin finish on the neck is one of the friendliest in the market and is what Fender applies to all modern instruments.
Speaking of modern, the Player Plus Series brings the future into the classic. Yes, we can encounter the avant-garde Meteora Bass, a daring, active bass with enough spank to bring mayhem to any stage or mix. Plus, the dual-blade humbuckers are called Fireball for a good reason; they’re hot. This is, perhaps, the most Ibanez-like bass in the Fender lineup. It’s ready to rock all the time.
The active P-Bass and Jazz Bass have that great active/passive toggle switch that’s like a time-traveling vessel. You have the best of both worlds while remaining in the Fender realm that’s so comfy and friendly for so many of us.
Finally, the Vintera II Series is as close as the original, quintessential Fender tones of the brand’s golden era without breaking the bank. Plus, this Series respects all the pros and cons of the original models but with some cut corners. For example, except for the Mustang ‘70s, an outstanding competition-stripe adorned short-scale bass, none of these basses are string-through. In my opinion, and especially with alder, this is a big difference in feel AND tone.
I loved the Mustang ‘70s and the ‘60s Precision with Rosewood fingerboard. Both sound big and midrangey as you’d expect. The necks, although finished with an era-correct glossy finish, are comfortable and have that thick, vintage feel to them that I really love.
I felt at home playing those. The Telecaster Bass was a little too much for me with that humbucker so close to the neck; it sounded way too thick, and it was impossible to tame. It reminded me of the Gibson EB-0.
Fender’s name is well-represented in the mid-priced market, and that’s why it’s the benchmark for the rest of the industry.
Some Models to Look at
- Vintera II '70s Competition Mustang Bass
- Vintera II '60s Precision Bass
- Player Plus Active Meteora Bass
- Player II Jazz Bass
Professional Basses, What to Expect?
The basses in this category are what brands usually became famous for. In the case of Ibanez, these basses represent the pinnacle of their manufacturing. It’s beautiful to open one of those fancy Prestige Ibanez cases and find exotic wood mixed with gold hardware and the most comfortable and fast instruments ever made.
On the Fender side, the American Performer, American Professional II, Ultra II, and the American Vintage II Series are the exact upgrades of the Standard, Player II, Player Plus, and Vintera II Series. That said, those are the coincidences in terms of the idea, but the craftsmanship is entirely next level. This is something that goes from the hardshell case to the last bolt.
Fender American Performer Precision Bass (check price)
So, what you can expect in this category is to find basses that were made to satisfy the needs of the most demanding players on Earth. Here, you can ask these companies to deliver nothing but their very best.
These Ibanez basses sound big, powerful, and menacing, but with enough clarity and punch to cut through anything. On the Fender side, you can ask for the feel, sound, and looks that make them legendary and the reliability that’s a synonym with the brand.
The Ibanez Premium Series offers an astonishing array of professional bass guitars for players of all kinds. The only bass series offering Prestige instruments is the SR line. These are the only ones made in Japan out of all this list of Ibanez bass guitars. As you’ll know, Japan represents the highest level of manufacturing for Ibanez.
So, the Premium Series is where you can find a workhorse of a bass that can accompany you for a lifetime of professional playing joy.
For example, the SR1350B sports many appointments that make it a cutting-edge instrument. To begin with, the Atlas-4 neck is made of 5 pieces (panga panga and purple heart) and comes with state-of-the-art KTS titanium rods to keep it perfectly steady even while being so thin and fast.
Ibanez Premium SR1350B
Also, the bass’s body comes with a maple, walnut, and panga panga top over a real African mahogany body. This combination, although panga panga is a replacement, alternative wood, is perfectly balanced to deliver clear mids, spanking highs, and a growling low end that’s just as rumbly as it’s punchy.
Yes, you don’t get that spank and super-fast transient you might find on the Fender side, but this bass is enough to venture into any playing style and pull it off (as long as you have the playing chops).
The electronics include a couple of Nordstrand single-coil pickups that are just as clear, defined, and balanced as it gets. Where’s the mammoth-like Ibanez push in the low range, you might be wondering? Well, the proprietary active preamp takes care of that easily. You can boost and cut any frequency and choose the kind of midrange you want to act upon.
If you dig the shape and the looks, this is a great instrument.
The top-of-the-line on the Premium side for Ibanez is the SR2600, one of the best-looking Ibanez basses I’ve ever seen. But beyond the looks, this is a great low-rumble machine.
Ibanez Premium SR2600
To begin with, the neck is no longer a 5-piece, but a 15-piece with the same titanium rods. It features stripes of panga panga, maple, padauk, purpleheart, and walnut. The matte finish on it makes it as fast as it’s durable and comfy. Speaking of comfy, the fret edge treatment is just superb, and the panga panga fretboard does its thing with the top midrange.
It sports the same pickups and preamp as the 1350B, but the midrange is a tad more defined and the attack on moves like slapping or heavy fingerpicking really pops at you.
Another outstanding instrument to accompany you for a lifetime of playing.
The Premium Line offers some models of BTB basses that are a little hotter, spicier, and more metal-oriented. This comes from the dual ceramic Aguilar DCB humbucking pickups. These are paired with the same preamp as the SR line and deliver a hotter, rounder, punchier tone that can help you propel the low-end forward. Moreover, the BTB only comes in 5 and 6-string versions, therefore, the rumble comes from that low B that sounds perfectly defined, tight, and punchy.
One curious thing about these bass guitars is that they have a zero fret like instruments used to many years ago. Other than that, the super-fast BTB necks on the BTB1835 and 1935 feature graphite reinforcements that will keep everything fast and steady for many years to come.
The same edge fret treatment from the SR line shines here giving you an instrument that I personally couldn’t put down.
While I have to say I loved the Premium lines by Ibanez, the moment you open the case for the Japanese-made SR Prestige line you realize you’re in another league.
To begin with, premium tone woods like ash, alder, and rosewood come into play. Although these bass guitars share the same pickups as the Premium lines, the preamp is slightly different. You have three more midrange options, and the active EQ on/off switch is a push/pull knob rather than a toggle switch.
I’m telling you that the number of tonal options these basses can offer you makes them Jacks of all trades ready to kill it in every scenario. This is because the tonal sculpting options are so many and so precise you can boost or get rid of virtually any frequency you want.
Finally, and shared with the Premium lines, the individual-pieces bridge allows you to fine-tune string spacing as well as achieve perfect intonation (even with a very low action).
I played everything I could on these basses trying to make them fall off the script, but they excelled in the heavy, fast stuff, the slow melodic lines, and the pop songs that required that bold, chubby, round low-end to keep it all tight and groovy.
The sounds I didn’t like so much were passive sounds. They’re usable and very useful to have handy but can’t replace the magic of a passive classic instrument.
If you’re into Ibanez’s shape and tone, their finest is truly au pair with the industry’s finest.
Some Models to Look at
Fender American Professional II, Vintage II, and Ultra II
Fender is a much more traditional, classic brand with a retro approach to musical instrument manufacturing. Yes, their reputation is based upon the alder-body-with-a-maple-neck formula, and they haven’t gone much further than that in a long time.
These lines represent the present, the past, and the future of Fender.
The American Professional II is what came to replace the American Standard series. These are classic designs brought to the present with some features that make them gig-friendly today.
Starting with the Jazz Bass, it represents a weird example of how a company can keep what makes an instrument great and modernize what was lacking. Yes, this model has been around for 60+ years, which has given Fender the possibility to hear players and make the needed adjustments.
To begin with, the neck is just tasty with that matte lacquer finish on the back. Also, the company is using a brand-new system with Posiflex graphite rods that reinforce the maple neck making it more stable and reliable. Also, the HiMass vintage-style bridge adds sustain to the instrument while the bone nut and traditional neck profile make you feel at home.
This is the cheeseburger, the classic, the bulletproof, the Fender model that can be a professional musician’s workhorse for decades with minimal adjustments.
The same happens with the P-Bass, the quintessential tones that made it the go-to for generations are all there but in this modern, reliable, easy-to-play package.
I tried the usual on the Jazz and the difference that the real alder body with a real rosewood fingerboard add to the final sound is to be noted. That dead-sounding Alnico single-coil pickups really shine through, and the midrange can’t be beaten. All combinations sounded great in a modern, colder way with a midrange that sits a bit above what you’d expect from a traditional Jazz Bass.
The P-Bass sounded round, full, and proud and did all the tricks I needed it to. That said, the warmth of the midrange was situated at a different frequency range, a little upper. This gave the bass the sound of a modern classic.
The modern part of that definition is taken another step further when we go to the Ultra II lineup.
Let me just say that the Jazz Bass and P-Bass on the Ultra II Series aren’t just a noiseless version of the Professional. They’re a modernized version with a bolder 10” to 14” compound radius (Professionals are the classic 9.5” radius), the S-1 Switching system for added options, and, of course, they sport an active preamp (that can be toggled off).
As a result, I could play virtually anything I needed from boomy, active, pushing Earth-shaking grooves to dead-sounding funky lines to thunderous slapping and reality-slicing pick-induced punk. The addition of the Jazz pickup at the bridge position in the P-Bass was handy, it opened up many more possibilities.
Although they sound as modern as possible, these instruments pack the best of both worlds.
Furthermore, the Meteora line comes with humbuckers and a massive offset body which gives it enough mass to be a low-end supernova. These pickups are called Haymaker and mix Alnico V magnets under the low strings and Alnico II rods under the top strings.
This unique blend of materials makes the sound of the Meteora a hybrid between the traditional Fender snap and edge and some very rocking, heavier low midrange. This is enhanced by the ebony fretboard or quartersawn maple.
Yes, the Meteora is one heavy bass guitar but it sounds accordingly. I was thrilled when I heard the bridge pickup on its own; it’s got that Music Man vibe. The front pickup, on the other hand, can be a great groove maker or can also be a perfect melodic-rant propeller.
To finish off these upper lines by Fender, let’s talk about the past for a bit. Yes, although Fender wants to stay in the present and own the future, it’s perhaps the most legendary bass-making brand in the world.
To begin talking about the three basses that make the American Vintage II Series, we have to say that nobody does it better. I know some things like an original ‘62 Jazz Bass or ‘55 Precision are only for a few and come with an astronomical price tag.
Furthermore, most of us will spend our lifetimes just hoping to hear or play one of those in the flesh and it might never be the case.
Those are considered holy grails of bass. Well, the American Vintage II line is the closest you can get without ordering an instrument from the Custom Shop. These are perfect, exact recreations of the originals with all the pros and cons.
The ‘66 Jazz Bass, for example, features that groovy and vintage feeling U-shaped neck with a 7.25” radius. This is something I noticed the first time I put my hands on this thing. It really is a big difference going from a satin-finished neck to a glossy one and from a modern C to a vintage U. Believe it or not, it’s a difference that makes you play differently. I was more drawn to playing fewer, groovier notes than I would on a faster neck. Oh, and I loved the binding, it’s such a unique touch.
Fender American Vintage II 1966 Jazz Bass
Also, the vintage voicing on the pickups and the traditional control layout plays a big part in the equation. I loved it the best with both pickups full-on and slapping it.
The American Vintage II ‘60 P-Bass is just as period-accurate as the Jazz but represents the early glory days of Fender before being sold to CBS. Therefore, for example, you get a slab rosewood fingerboard rather than a round laminated one as in the Jazz mentioned above. Also, the split-coil ’60 pickup has that mammoth low-end that extends to the midrange and is as boomy as groovy as it gets. It can get sharper if you play close to the bridge or with a pick but has enough power to sit comfy at the center of any mix.
I played some fingerstyle but also some pick-driven grooves and it was all just like listening to a record; it sounded perfectly accurate.
Finally, the first version of the Precision Bass. It features an era-correct ’54 single-coil pickup with a 7.25” radius and a generous C-shaped neck. This bass is ready to deliver some true low rumble with that raw upper midrange that the maple neck and the ash body bring to the mix. Moreover, this bass even features the (very) old-school 2-saddle bridge with fiber saddles that enhance not only the looks but also the snap, the feel, and the super-fast transient.
This is the perfect bass for purists and for those after that classic, snappy, rumbly, boomy Fender sound from the golden ‘50s.
Some Models to Look at
- American Professional II Jazz Bass
- American Ultra II Meteora Bass
- American Vintage II ’60 Precision Bass
- American Ultra II Jazz Bass V
My Verdict
I have to say that I’ve been playing Ibanez and Fender basses for most of my life.
I remember the first time I rolled the active bass control on my first Ibanez SR200 and felt the power of the added low-end. My smile grew wider, and a new world opened in front of me.
I also remember the first time I played a P-Bass. I had only played Ibanez to that point and simplicity gave me a different kind of freedom. Sometimes, less is more, and I found out that playing a P-Bass unleashed a certain kind of creativity I didn’t know I had.
My verdict is the following: If you can, start with an Ibanez bass. They offer a much broader tonal palette and let you play a wider array of musical styles. Once you know your way and choose your destiny, then open the game and let the Fender magic in.
Maneuvering Fender models is a must. Believe me, being well-versed in getting the right tones from these timeless legends will add many kudos to your role as a bass player in any scenario. Those are hardwired into our DNA, and you must incorporate them to be a professional musician on demand; many clients ask for that specifically.
Likewise, the cleanliness in the midrange, the modern thumping sounds, the bigger-than-the-universe low-end, and the fast necks are a must for certain projects too. Ibanez models will take you sonically further than the Fenders and learning to master them is truly a plus.
These are two legendary companies that offer outstanding instruments for every moment of your journey. Although they’re very different, they’re also very much alike in terms of price tags and series; there’s an Ibanez or Fender for every step of the ride.
Do you want to know my secret? Well, I have both in my arsenal, and, if you have the chance, you should do the same.
Cheers, and happy thumping!
