A Super Rare Slab-Board, Ash-Bodied, "See-Through" Blond Fender Bass Vl.

1962 Fender Bass VI.

This early 1962 "See-Through Blond" Bass VI has all of the earliest features, including three two-way selector switches and a slab rosewood fretboard. It weighs in at 9.40 lbs. and has a nut width of just under 1 9/16 inches and a short bass scale length of 30 inches. Solid ash body with contoured back. One-piece maple neck with a medium to thin profile.  Brazilian 'slab' rosewood fretboard with 21 original thin frets and clay dot position markers. Single "butterfly" string with nylon spacer. Headstock decal with "Fender VI" logo in gold with black trim and "Electric Bass Guitar" and three patent numbers in black below it. Small circular "Offset Contour Body" decal on the ball end of the headstock. Four-bolt neck plate with serial number "77989" between the top two screws. Three Stratocaster-style (white six-polepiece) pickups with chrome surrounds and balanced outputs of 6.16k, 6.26k, and 6.63k. Four-layer tortoiseshell over white and black plastic pickguard with twelve screws. Two controls (one volume, one tone) and jack input on lower metal plate adjoining pickguard and three two-way pickup selector switches on metal plate inset into pickguard. Seven-sided black plastic knobs with white markings. Six-saddle bridge and separate vibrato tailpiece. The neck is dated in pencil "2-62" and the pots are stamped "304 6209" (CTS March 1962). This is one of the very best "custom-color" examples that we have ever seen of one of the earliest Bass VIs. Fender made only a very few Bass VIs with the original "slab" Brazilian rosewood fretboard (in mid 1962 they changed to a veneer rosewood fretboard and four selector switches instead of three). There is some light body checking on the top of the guitar and a few small marks, especially on the back and sides of the body, and the finish on the back of the neck is slightly worn. There are three small screw holes on the back of the body where presumably the original owner affixed the plastic body guard in a somewhat "permanent" manner. Overall, this extremely rare custom-color ash-bodied Bass Vl is totally original and commands a good solid excellent plus (8.75+) rating. Complete with the original bridge cover, tremolo arm, brown leather guitar strap, patch-cord, and the original hang-tag with matching serial number. Housed in its original Fender light brown Tolex hardshell case with brown leather ends and dark orange plush lining (9.00).

"After noting the popularity of the Danelectro 6-string bass (tuned EADGBE, like a guitar, but an octave lower) in the Nashville studios, Leo decided to build his own version. He introduced the Fender Bass VI in 1961. The original version looked vaguely like a Jazz Bass but had a 30" scale length, three pickups, and three sliding switches that allowed seven different pickup combinations. That wasn't enough for Leo, apparently, so a year later he added a fourth switch -- the so-called 'strangle switch' that cut low frequencies. The pickups were also modified and a mute added. The Bass VI was never very popular, but it remained in the catalog until 1975 and was later revived, in a Japanese-made reissue, in 1995" (Jim Roberts, American Basses, p. 55).

"Every musician will readily recognize the potential of the New Fender six-string Bass Guitar inasmuch as it offers an entirely 'new sound' to every playing group. Tuned one octave below the standard guitar, numerous new tone combinations are made possible with three full range pickups. The circuit incorporates three two position switches enabling the player to select the pickups individually or in any combination. In addition, a tone control positioned adjacent to the volume control permits further tone modifications of any selector position. The Bass Guitar is a fine addition to the Fender line and answers the demand for a high-quality six-string bass" (July 1961 Namm Daily advertisement in J.W. Black and Albert Molinaro, The Fender Bass, p. 31).

Jet Harris of The Shadows played a Fender Bass VI. His first solo single was a six-string Fender Bass VI guitar version of the Latin standard "Besame Mucho" (May 1962). The follow-up to "Besame Mucho," again featuring the Bass VI, was Elmer Bernstein's "Main Title Theme" from "The Man with the Golden Arm" (No. 17 in September 1962). His other big hits included "Diamonds" (No. 1 in February 1963), "Scarlett O'Hara" (No. 2 in May 1963), and "Applejack" (No. 9 in September 1963).