Vintage Modified Bass VI
williamsanders, on november 13, 2013 6 of 7 people found this review helpful
Purchased from: 2nd hand
Features: - 2013 model, made in Indonesia
- Basswood "offset contoured" body
- Maple neck, rosewood fretboard, 9.5" radius, 21 jumbo frets
- Binding & block inlays
- Vintage-style "Kluson" tuners, RWRP middle pickup
- 3 "Special Design" Jaguar singlecoil pickups
- Master volume- & tonepot, all passive
- 3 pickup selector switches (on/off) + master "bass-cut" switch
- Floating vibrato
- Pivoting Jaguar bridge with single-groove saddles
- High-gloss polyurethane finish (body & neck)
- Comes with a a cardboard box, foam and a wrench. // 9
Sound: I play music, ranging from deep-soul, to rock, to country. And I do those things on a guitar as well as a bass... The VI looks like a guitar, and shares a tremendous amount of parts (including pickups) with the guitar, but it is a bass, and it sounds like a bass, if you run it through a bass-amp... Or if you run it through a guitar-amp, it sounds like a guitar. Albeit lower and more mean. So I'm going to divide this section in two. In general: no issues with hum or unbalanced output across the strings, it's just alright.
As a bass: played through a regular bass-amp (like the Ampeg SVT), this thing absolutely can stand it's own, and sure can cope in terms of low-end, tightness & punch compared with a normal bass like a Precision or a Jazz. The 3 pickups, and 7 tonal combinations allow it for extreme versatility. From deep, almost Gibson EB-like tones on the neckpickup to a Jazz-bass-like "burp" on the bridgepickup, the VI's got it covered. The shorter scale combined with the shallow angle over the bridge and the guitar-pickups give the VI a special, "musical" timbre. Not as focussed as a P or J-bass, but a bit more "dzinggy". The narrow, guitar-like stringspacing is awkward in the beginning, and you'll find that you'll miss your strings quite often in the beginning, but it takes half an hour to get used to it, and after that: rock on!
As a guitar, this thing really shines. Arpeggio's and jazz-chords sound REALLY expensive. Full & mellow on the neck pickup, and nice & tight on the bridge pickup, the VI allows for a wide arrange of sounds, although in the lower register, full chords over the 6 strings will sound smeary & muddy, it's better to play triads. In the higher register, the longer scale & thicker strings allow for a warm, lush, & full sound totally not comparable to a guitar played regularly. The bass-cut/"strangle" switch cuts the bass-frequencies, giving the VI a thin, nasal sound, perfect for overdubbing guitarlines for that great spaghetti-western sound. // 10
Action, Fit & Finish: Fit & Finish: perfect! I can't understand how they can make an instrument of THIS quality & with this level of detail for that price (the block-inlays are tighter than "That G-brand from Kalamazoo"). Since I bought it 2ndhand, I can't speak for the set-up out of the box, but I heard from the previous owner it was okay, without buzzing. The VI, like all offset guitars (Jaguar, Jazzmaster) are kinda tricky to adjust, with the floating trem, the tilting bridge, shallow string break angle. But it's doable, and when you reverse the bridge (thus making the screws point backwards), you can get all your strings intonated properly. Only issue I have here are the stock strings: they are too thin, thus giving it a bit of a "floppy" feel, especially when you're a hard-hitting gentleman, you can knock your strings off the saddles of the bridge. But no worries, a thick set of LaBella Flatwounds is on the way. The faux-tortoise guard looks like somebody has vomited, they took a picture of the result, and printed it on plastic. It's ugly, but hey, what can you expect for 350€, and it's just a piece of plastic right? Even the Fender Japan VI, which costs 1200€ more, has that printed motive. // 10
Reliability & Durability: This guitar will take serious punishment and still get you home, and the finish looks bulletproof. Okay, they've cheaped out a bit on the potmeters & caps, but that's easily replaced, and the lack of "trem-lock" on the floating vibrato unit can be a worrying thing if you're not careful, but apart from that, I can't see any issues arising in the (near) future. It can be gigged without a backup for sure, it's not that the electronics are dirtcheap and unreliable. The tuners are of the vintage-style (with the hollow axle, that "locks" the string into place), and keep their tension VERY well. I hardly have to re- or detune, even after some serious trembar abuse. // 10
Overall Impression: AAAAAAAAH, the Bass VI. After lustring for one for ages (and couldn't afford one, because only three-ish were made and sold in the sixties, and the Japanese version could not be exported without serious bribery at the customs), and the new Fender PS didn't cut it with it's "upgrades" like a stratswitch, no chrome and a humbucker, Squier came to the rescue with a fairly faithful reproduction of a late-sixties VI, including chrome plates, correct 4 switches, 3 Jaguar pickups. And I guess I'm not the only one, since the initial run sold out in what? Seconds? And there is now a waiting list waaaay into 2014. If it were stolen, I would hunt down the person who did it, and do nasty things with him that includes a spoon, a piece of MDF-board and the outtakes from Miley Cyrus' latest album. And after that person is left bleeding, I'd retrieve my VI and cherish it even more.
I play bass & guitar, and this VI allows me to have that great country twang (Glen Campbell), deep bassy licks (Brian Auger's Trinity) and everything in between, with the vintage looks, without having to sell any kidneys. Now if they only would make a "Squier Electric XII"... Hinthint ;)
+ amazing value for the money
+ it's a VI... that's awesome by it's own standard.
+ extremely versatile, if you can wrap your head as a bassplayer around the narrow stringspacing.
+ it's vintage correct-ish (4 switches, chrome plates, jag pickups,...)
- a trem-lock would be very useful, to increase tuning stability, especially when using it as a regular bass
- thicker stock strings, these one don't really cut it.
- better availability, since they're sold out everywhere
- MOAR COLOURS!!! Black, White & Sunburst is kinda boring, especially for a model that's known for it's custom colours. Where's the Candy Apple Red? The Foam Green? The Ice Blue Metallic? // 9
Vintage Modified Bass VI
AuraFX, on march 14, 2014 2 of 2 people found this review helpful
Purchased from: GAK
Features: The VM Bass VI is an Indonesian made 6 string bass/low tuned guitar. It is from Fender's offset family (Jaguar/Jazzmaster) and bears a lot of resemblance between these guitars, including their bridge/trem set up and 3 Jaguar pickups along with the chrome switching plates etc. It's then crossed with a short scale Precision style bass to create an interesting hybrid instrument. It has a master tone and volume, then three individual switches for each pickup, along with a bass strangle switch - which mirrors the 2nd release of the Bass VI back in the '60s, unlike the Fender Pawn Shop version which uses a more traditional blade selector and has a humbucker.
There's actually a lot of options and the ability to tweak the instrument sound with the VM Bass VI. // 8
Sound: The Bass VI is an odd beast. It had quite a big following in the '60s and '70s and was then discontinued, though some later bands found a place for it. This is a very affordable option though compared to the Pawn Shop version or the ultra-expensive originals.
The Bass VI confuses a lot of people. It's octave range is fully within the bass category, but the 6 strings are tuned E to E like a guitar, not the extra high and low string of a standard 6 string bass. It is 30.25" scale so it's well into the biggest Baritone territory for a guitar or about even with short scale basses. Again the string sets (there aren't many yet, though I'd expect more to come out as this gains in popularity) are part way between Baritone sets and a short bass set.
My band actually bought two of these, one for our bassist and one for me the sole guitarist. We run them through our normal amp rigs. Obviously our bassist gets a much more 'bass' focused tone through a bass amp, I get a much more of a downtuned/baritone/8 string guitar vibe through guitar amps, though I do run a lot of low end as we're a 3 piece and fill the spectrum.
The string spacing means as a guitarist I can adapt to it pretty easily. Obviously some chords, particular full barre chords can be a bit of a harmonic mess, though if you move from A root upwards it does let you create some massive, almost piano like chord sounds, or still run out some faster lead sounds which is fantastic on those heavier bass like strings.
For a bassist the spacing can confuse finger-style players at first but unless you have enormous hands and a style that relies on big spacing to slap and attack, you can adapt pretty quickly. Mostly it's a bit 'zingier' than a standard bass but our bass player is a petite girl so she normally has short scale basses and the sound difference run through a big bass rig isn't enough to rule it out as a main bass.
We've tried it with a whole bunch of effects and it handles them as you'd expect, like a very low tuned guitar with more vibration and harmonic character, or like a fast, low action bass. It really is occupying some weird middle ground.
The ability to switch in and out any of the pickups gives you a whole range of combinations to choose from. You want bridge and neck and then switch to neck and middle and finally middle and bridge - easy. The strangle switch confuses a lot of people. It's mostly a high pass filter which cleans out the sub and low end frequencies. Playing as a bass you probably won't like it - the volume obviously drops as you are filtering out a big range of your fundamental frequencies. If you are playing 3-6 string chords or using a less low capable guitar rig though it suddenly makes sense. Chords without it can become booming, rumbling sludge, but the strangle lets you play it like a thick baritone sound.
In terms of variety then it can be incredibly varied but it depends how open minded you are as a player/band. At it's most basic it lets you have a guitarist pick up a bass of decent sound and play it without a major style change. At it's most complex it can offer a whole new way of thinking about your riffs, or have a band that is just a duo (drummer and Bass VI player for example) who can switch between massive thick bass lines and then suddenly break out distorted blues rock riffs and solos.
There are some issues with the pickups and some of the tuning/intonation and if you are willing to drop some cash on upgrades you can make a major difference to the quality of the sound and playability. // 9
Action, Fit & Finish: The Bass VI is an Indonesian made Squier - these have been getting better and better over the past few years and it's gotten to the point where they are beating some of the lower-end Fender main brand. That said, the setups are rarely that good out of the box.
The nut on our two Bass VI's were absolutely fine despite hearing some horror stories - maybe this has been sorted on these newer batches. If you do want to go up in string gauge to a more typical, high tension low bass E string etc, you may have to file the nut to accomodate these. Remember it's best to stick with dedicated BASS VI string sets as the tremolo and tuning keys are the same as a Jaguar and not designed for untapered bass strings.
The neck is lovely on both, the block inserts are very high quality and perfectly finished. There was some slightly rough edges on the chrome fittings but nothing major. All the controls were in good shape and there was no damage or signs that the guitar was of lower value than the Pawn Shop (other than the slightly more boring colour range options). The tortoise shell pickguards are horrible, but this is common on most Fenders now other than the really expensive models. I've ditched these and replaced them with anodized aluminium ones which look insanely good IMO.
The main issue with these guitars are the bridge and non-locking trem (same as the VM Jags and Jazzmasters with Squier). To be fair the trem is quite subtle with thick bass strings, you really have to divebomb it to hear much of a "warble" and the string tension is probably too much to get a decent vibrato action but it doesn't seem to knock things out of tune overtly.
The bridge that comes with these is pretty useless. It's obviously not made for the Bass VI - you get little springs to intonate and the whole thing is flimsy and results in awful intonation issues and a tendency to have the low E falling off and buzzing loosely and other strings going out of tune.
There's a few fixes - first switch the bridge back to front so you have more intonation room. Though if you can afford it and are willing to go for it, get a Staytrem bridge. They are massive full engineered options with no springs and just larger barrel rollers - the intonation is a breeze and stability is instantly rectified, no more bouncing, displaced strings. Seriously buy one and you solve the problems that have plagued Bass VI even the Pawn Shop version and the originals.
I'm rating this lower as it was for the "out-of-the-box" set up and finish. If you're willing to do a bit of work it's feasible to make this a very high quality instrument very quickly. // 7
Reliability & Durability: The finish on Squier's VM range seems equal to the Mexican Fenders (and hell it's beaten a few MIA Fenders I've had). For the very low cost it's really amazing what you get for your money these days. Yes the guitar will withstand live playing (note - after the bridge swap for the Staytrem) the hardware is top notch. The strap buttons are solid but I always swap all of them out for Schaller strap locks anyway as I like the security and ability to destrap them quickly for hard case travel. I've never played a gig without a backup, but that's just me, not saying anything about the instrument. Overall though, for about a quarter the price of a Pawn Shop version (or about a 40th of an original!) you get a very fine instrument that you can be proud of. // 9
Overall Impression: I play and sing in a 3 piece electronic rock band. Both me and our bassist now use a Bass VI on different songs. We have a couple where we both play it for a massive bass heavy tone, differentiated by effects and our rigs natural tones. Sometimes our bassist plays it so during guitar solos or interludes she can take up rhythm duties and play chords and then go back to bass lines for other sections of the same song. I sometimes play one just to have a massive growling riff monster (plus I'm pretty tall and a lot of guitars look like toys on me - the Bass VI looks about right!)
There isn't anything that really replaces the Bass VI so if we lost them or had them stolen, we'd probably replace them again - especially as they cost so little for what you get it's almost insane how cheap these are.
I can see why some bands and players would just look at these as a crazy novelty - it's not really a huge sounding bass, nor is it really a guitar. My best description is it's a bass disguised as a guitar to not freak out guitar players. Bassists seem to adapt very quickly once they get over the string spacing and things like a Jaguar trem unit. I think you have to open-minded as a band to get the most of out of these. If you're willing to think outside the box of bass/guitar distinctions and try out hybrid playing - it can open up a whole new range of songwriting and live sounds.
I love the price, the general finish, the pickup options, the general "idea" behind it.
I dislike the bridge, the non-locking trem and the pickups are a bit weak and brittle - but then for what you're paying it's hard to be too much of a complainer. Yes the bridge is a mess and should have been retooled rather than released as is - but either work on it or switch to the Staytrem and job done. If you really want to play around with other tunings or use the whammy action a lot - you can drop in an original locking Fender Jaguar unit. As for the pickups they are the standard Squier Jaguars. I've replaced these as well as you can drop any Jaguar options in. I've had some custom wounds made with higher output and slightly broader sonic range which suits the sound we wanted. So yeah, the upgrades probably cost more than the Bass VI but it's still cheaper than the Pawn Shop version.
If you're a shredding, neo-classical type guitarist I imagine you wouldn't touch this with a barge-pole. If you love your 4 string bass with massive strings played with fingers and super deep sub tones - again, this probably isn't for you either. If however you are a bass player or guitar player (or both) and want to blur the lines between those jobs now and then, this is just an awesome instrument. Plus when you play a power chord through a big muff and then whammy the note up and down and it sounds like a bass you make sound guys heads explode and they stare at you with open mouthed wonder. // 9
Vintage Modified Bass VI
Mad-Mike_J83, on august 04, 2014 2 of 2 people found this review helpful
Purchased from: Kennally Keys
Ah, the Fender Bass VI, is it a baritone guitar? Is it a bass? Well, it's officially a Bass, but it also does great double duty as a baritone guitar. In 2013, with the help of some urging from Offset guitar enthusiasts the world over, Squier decided to release the Bass VI in their awesome Vintage Modified series which also includes some other great values such as the VM Jazzmaster, Jaguar, and Mustang (amongst others).
The Squier VM Bass VI Has the following specs:
- Mine is a 2013, though 2 2014's were also reviewed here as well - 21 Medium Jumbo Frets - Basswood Bass VI Style body done in the vintage style - Comes in Olympic White with Tortishell, Sunburst with Tortishell, and Black with W/B/W pickguards, mine is Olympic White - Has the Jaguar/Jazzmaster "Synchonized Floating Tremolo" setup with a Squier version of the "Modified Mustang Bridge" Warmoth sells - Passive electronics, with individual on/off for each pickup, 1 volume, 1 tone, and a "strangle switch," carried over from the Jaguar electric guitar - 3 VM Jaguar single coil pickups measuring in the lower output range - Kluson style split-post tuners
I bought mine straight up brand new, no case, no gig bag, no pass go, no collect $200 (but rather part with $350). I tried out three.
Sound: Ok, this is going to be pretty long, because I'm reviewing this both from a guitar player perspective, and a bass player perspective, and I will elaborate more on that later. My inner bassist was seeking a bass that could cover the 3 basses I sold off and one bass I still have, and do it better, cleaner, and tighter, with a wider EQ range. My inner guitarist was seeking something more sub-atomic than a guitar with more than 6 strings, something I could do some really sick stuff with, and still look like a GUITARIST doing it. My typical music style runs the gamut of rock, and lately, I've been messing about with Spaghetti Western soundtrack sounds, Surf Sounds, Punk Sounds, but I also live a lot in the Hard Rock, Metal, New Wave, and Alternative/Grunge territories - this goes for guitar and bass.
At the store, I ran it through the Boss pedalboard display(s), one had a Marshall MG 15 watt amp, the other a Marshall tube amp of some sort, a Peavey modeling amp that I can't remember the name of, and a Hartke bass combo. At home, I run this multi-faced monster through a Behringer V-Amp Pro with a Behringer 2024p Virtualizer Pro effects device in the stereo effects loop - run line-in to my computer. I've not run it through my Bugera 333XL in my live rig yet though previous results with other amps sound extremley promising. It can be a little noisy, but only when running one Single coil at a time, as expected, they are single coil pickups, and even then, the Hum is not that bad, especially when compared to my Strat or my Jazzmaster, so apparently those Jaguar claws do the job on the pickups.
As for sounds, this thing is like the ultimate guitar/bass combo in one! I know this sounds glaring, but even through my wimpy little 1 watt Fender ToneMaster I was conjuring up bass and guitar sounds with ease.
As a bass, I was able to imitate just about every sound Benjamin Orr used in The Cars... "Drive," "Magic," "You Wear Those Eyes," "Bye Bye Love," "My Best Friend's Girl," "Moving in Stereo," "Just What I Needed" - that's the sound of a Fender Precision, Guild Pilot, Gibson EB-1, Vox Constellation/Starstream Bass, and a early MusicMan Stingray! Now THAT is variety, and I have not even gotten to other sounds yet.
In the traditional VI role, it nails the sound from Aerosmith's "Back in the Saddle Again" perfectly, or that "daddy-o" song from "Pulp Fiction," it even does Lemmy Kilmister stuff rather well with some EQ tweaking and backing down the tone a little - from Cliff Richard to Cliff Burton, I'd say this thing has it covered.
Then we get into the weird Baritone guitar territory, I had a little idea of what I would do on a recent B-52's kick...while I was at the store, my primary test song to select the best playing example, was the classic "Rock Lobster"... which was originally played on a Mosrite Mark VI/Gospel electric guitar with only 4 strings (middle two missing), tuned to CGxxFG# that clever Ricky Wilson came up with to do lead and rhythm at the same time. Well... it nailed that too very closely using both the neck and bridge pickups into a guitar amp, in standard tuning (with lots of hand contorted muting I might add). I also tried out "Lava" and "Dance This Mess Around," did those too quite nicely.
On the upper registers, it can be totally like a regular guitar, on the lower registers, it's a bass. About the only thing that throws me off is using double drop C tuning on it because that .085 gauge Low E is just a little too light to make a strong C note that low down. Overall, I give it... well... a 9, it fullfills everything, and nothing in this world is really ever a perfect 10, though this is everything I was looking for in the VI in the sound department, a Bass that can double as a baritone guitar. // 9
Action, Fit & Finish: Ok, now here's where my criticism will start to pop-up, but hey, it was only $350 bananas. The initial factory setup on all three needed some tweakage, but the Sunburst needed it the least (however, the color that won was Olympic White as I don't have a lot of white guitars). The worst was the black one, the action was too high, it was very hard to play, and it seemed the neck had a little too much relief in it. My wife was with me when I tried that one out and said it was not for me. None of the three had any sound issues, pickups were adjusted, the bridges were routed right, no visible finishing flaws, everything seemed pretty well on par or actually a little better for a Chinese guitar/bass, not too surprising consider Cort (Cor-Tek) is the company making these and they make some excellent value guitars.
The quality of the switches in this guitar were one thing that really stood out - my 1998 Fender Jaguar switches don't even feel even CLOSE to as good as the ones on these Squier VM instruments. I'll give it an 8, something was clearly wrong with the black one, the Sunburst played the best, but the White one is the one I got and I've got it right the same as the Sunburst. I'm still breaking it in though, once it settles in it'll be right up there with my Japanese Fenders in playability. // 8
Reliability & Durability: It's a Squier, so it'll handle live playing. The hardware is very solid, actually, I'm VERY surprised at the quality of the vibrato bar collet, a common source of frustration for people who use a guitar with the Jaguar/Jazzmaster/Bass VI style vibrato system, they got the tolerances right-on with it somehow, I wish I could get the same part for my home built Jazzmaster!
The strap buttons are a non-issue, I already swapped them out for Schaller strap-locks like all my other guitars have. That's just standard protocol for any new guitar I get - swap em out with strap-locks. Right now, I've been playing this thing for hours on end a week, recording bass tracks, baritone guitar tracks, screwing around with various classic rock songs, and writing my own stuff on it, it seems every bit as solid as one of my Japanese built guitars. // 8
Overall Impression: Overall, I believe this is excellent value for the money, you are basically getting a tight-sounding Baritone guitar, 3-4 basses in one, and it's fast and easy to play. I particularly recommend this to guitarists who do songwriting and want to lay down bass tracks. I've been playing guitar 18 years, bass almost as long, I own a ton of gear you can see on my UG profile (though this is not on there yet).
I bought this primarily to replace 3 basses I had to sell during hard times, and a 4th one I don't play too often because it's just not the feel I'm 100% happy with. My favorite for a long time playability wise was a Fender Mustang Bass (CIJ, 2008) that I really liked, but it had it's problems too, in particular, it was a little on the weak-toned side for my taste, this VI sounds fatter. I also owned a B.C. Rich Ironbird Bass and a Epiphone EB-0, I always hated the EB-0, and the Ironbird was my first but I found I never played it much anymore and it was giant and hard to carry around.
If it were lost or stolen, I'd just buy another one, actually, mines NOT stolen and I'm still considering the idea of another one to yank the frets out of, and string it with flatwounds for my "fretless." I did compare it with other instruments for awhile, as should be obvious here. What I was seeking was an all-in-one solution to replace multiple instruments for the same task. It has succeeded at that, now if I just throw on a .094 gauge Low-E and that bass'll be exploring subatomic paradise and still chilling with the cowboys and lobsters. // 8