Fender Bass VI Electric 6-String Bass Guitar (1965)
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Item # 9676
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Fender Bass VI Model Electric 6-String Bass Guitar (1965), made in Fullerton, California, serial # L71919, Lake Placid Blue lacquer finish, alder body, maple neck with rosewood fingerboard, black tolex hard shell case.
The Fender VI (that is its original name, though it is universally called the "Bass VI today") was the company's big instrument unveiling at the July 1961 NAMM show, but it never lived up to the sales department's expectations despite being a very well-engineered and useful instrument -- as 6-string basses go! This extremely striking looking and sounding example is a considerable rarity; an early CBS-era Fender Bass VI in a custom color finish.
Although favored by some professionals in the 1960s, especially session players, the Bass VI never took off as a general sale item. It was only ordered by Fender dealers in very small numbers, usually only if a customer requested one. As a result they often feature a wide spread of date markings, as parts more were produced at times than needed to fill orders and would end up stockpiled awaiting assembly.
This bass is a perfect example; the neck has a date stamp of May 1963, while the pots are stamped 304-6528 indicating fabrication in mid-1965. The rosewood fingerboard is clay-dot inlaid; by the beginning of 1965 this was changed to pearloid dots. We have seen a number of Bass VI's assembled in 1964-5 with mid-1963 necks, which must have been overrun considerably at the time! This VI was likely assembled in mid-late 1965; The L-series serial number is in a range typical of this period.
The body features a striking Lake Placid Blue lacquer finish with a 3-layer white plastic pickguard, a new feature in early 1965 replacing the earlier green-tinged nitrocellulose piece. Under the pickguard the body is marked "L.P. Blue R&R" which most likely indicates it was re-shot at Fender, probably not long after it was originally assembled. The transition-style Fender logo decal and matching color headstock do not appear to have been re-done, the most likely scenario is a Lake Placid bass was worn or damaged soon after shipment and returned for service to have the body restored to as-new condition.
The pickups and electronics are similar to Jaguar practice, with a magnetic "claw" fitting underneath and simple and effective on/off switching for each. These replaced the original Strat-like pickups in 1963 and at the same time a fourth "strangle" switch that cuts lows was added to the wiring rig, allowing a more guitar-like tonality. The floating trem system is the same as the Jazzmaster/Jaguar unit; this bass has the second generation bridge with solid-barrel saddles instead of the earlier serrated style.
Custom-color Bass VI's are quite rare; although as a high-end instrument the model is found in a comparatively high proportion of solid-finished examples, production numbers for all variations of the model were comparatively low. Despite being spotted in the mid/late '60's with artists as diverse as Glen Campbell, Jack Bruce, the Beatles (quite a bit, actually), Brian Auger's Trinity, Fleetwood Mac and the Soft Machine the instrument was regarded by most as a very expensive novelty. This superb Lake Placid Blue example is not only a serious rarity but a great sounding and playing Six-String Bass with an amazingly wide range of tones from its three pickups, and even a vibrato arm to play with, if you dare. This is just a supremely cool example of one of our favorite instruments.
Overall length is 44 3/4 in. (113.7 cm.), 14 in. (35.6 cm.) wide at lower bout, and 1 5/8 in. (4.1 cm.) in depth, measured at side of rim. Scale length is 30 in. (762 mm.). Width of nut is 1 1/2 in. (38 mm.).
This lovely Bass VI is in fine condition overall; it shows some general play wear but all parts are original and the instrument unmodified. The body finish shows dings, chips and dents overall with one large spot of buckle wear to the back. It has not greened as much as some Lake Placids with just a slight turquoise cast, a bit stronger on the headstock.
The neck finish is relatively clean with checking and small edge chips to the matching headstock face. There is some darkening to the gold Fender logo decal as is oddly common on '65s. The frets are original with light wear and the nut has been replaced. This bass is a lovely player; the flip-up mute is gone but everything else works as Leo intended.
This VI is currently set up as intended, with LaBella flatwound strings for the original E-E tuning. It can easily be adapted for baritone tuning with a lighter gauge set. It is just a super cool looking and sounding Fender, one will definitely stand out in any crowd! The case is a 1970's Fender black Tolex HSC intended for a Jazz bass, but works well enough. Overall Excellent Condition.
The Fender VI (that is its original name, though it is universally called the "Bass VI today") was the company's big instrument unveiling at the July 1961 NAMM show, but it never lived up to the sales department's expectations despite being a very well-engineered and useful instrument -- as 6-string basses go! This extremely striking looking and sounding example is a considerable rarity; an early CBS-era Fender Bass VI in a custom color finish.
Although favored by some professionals in the 1960s, especially session players, the Bass VI never took off as a general sale item. It was only ordered by Fender dealers in very small numbers, usually only if a customer requested one. As a result they often feature a wide spread of date markings, as parts more were produced at times than needed to fill orders and would end up stockpiled awaiting assembly.
This bass is a perfect example; the neck has a date stamp of May 1963, while the pots are stamped 304-6528 indicating fabrication in mid-1965. The rosewood fingerboard is clay-dot inlaid; by the beginning of 1965 this was changed to pearloid dots. We have seen a number of Bass VI's assembled in 1964-5 with mid-1963 necks, which must have been overrun considerably at the time! This VI was likely assembled in mid-late 1965; The L-series serial number is in a range typical of this period.
The body features a striking Lake Placid Blue lacquer finish with a 3-layer white plastic pickguard, a new feature in early 1965 replacing the earlier green-tinged nitrocellulose piece. Under the pickguard the body is marked "L.P. Blue R&R" which most likely indicates it was re-shot at Fender, probably not long after it was originally assembled. The transition-style Fender logo decal and matching color headstock do not appear to have been re-done, the most likely scenario is a Lake Placid bass was worn or damaged soon after shipment and returned for service to have the body restored to as-new condition.
The pickups and electronics are similar to Jaguar practice, with a magnetic "claw" fitting underneath and simple and effective on/off switching for each. These replaced the original Strat-like pickups in 1963 and at the same time a fourth "strangle" switch that cuts lows was added to the wiring rig, allowing a more guitar-like tonality. The floating trem system is the same as the Jazzmaster/Jaguar unit; this bass has the second generation bridge with solid-barrel saddles instead of the earlier serrated style.
Custom-color Bass VI's are quite rare; although as a high-end instrument the model is found in a comparatively high proportion of solid-finished examples, production numbers for all variations of the model were comparatively low. Despite being spotted in the mid/late '60's with artists as diverse as Glen Campbell, Jack Bruce, the Beatles (quite a bit, actually), Brian Auger's Trinity, Fleetwood Mac and the Soft Machine the instrument was regarded by most as a very expensive novelty. This superb Lake Placid Blue example is not only a serious rarity but a great sounding and playing Six-String Bass with an amazingly wide range of tones from its three pickups, and even a vibrato arm to play with, if you dare. This is just a supremely cool example of one of our favorite instruments.
Overall length is 44 3/4 in. (113.7 cm.), 14 in. (35.6 cm.) wide at lower bout, and 1 5/8 in. (4.1 cm.) in depth, measured at side of rim. Scale length is 30 in. (762 mm.). Width of nut is 1 1/2 in. (38 mm.).
This lovely Bass VI is in fine condition overall; it shows some general play wear but all parts are original and the instrument unmodified. The body finish shows dings, chips and dents overall with one large spot of buckle wear to the back. It has not greened as much as some Lake Placids with just a slight turquoise cast, a bit stronger on the headstock.
The neck finish is relatively clean with checking and small edge chips to the matching headstock face. There is some darkening to the gold Fender logo decal as is oddly common on '65s. The frets are original with light wear and the nut has been replaced. This bass is a lovely player; the flip-up mute is gone but everything else works as Leo intended.
This VI is currently set up as intended, with LaBella flatwound strings for the original E-E tuning. It can easily be adapted for baritone tuning with a lighter gauge set. It is just a super cool looking and sounding Fender, one will definitely stand out in any crowd! The case is a 1970's Fender black Tolex HSC intended for a Jazz bass, but works well enough. Overall Excellent Condition.