Fender: The Sounds & Players of the Precision Bass

The Fender Precision – most affectionately known as the P-bass – is one-half of the iconic Fender lineup, and is widely regarded as the most famous and used bass guitar. While the very first Precision bass looked a little different from the shape we know now, the original model launched in 1951 and can be seen being played famously by Sting of The Police. 

1957 saw the updated Precision bass hit shelves and it has remained the same ever since, with minor tweaks and adjustments over the years to suit the demands of players. The most notable feature of the Fender Precision bass is the split-coil design pickup; designed to create a humbucking pickup through the splitting of a coil across the two pickups. This unmistakable tone has drawn many players to it and remains a rooted part of modern music today.

What bassists use Precision basses?

It might genuinely be easier to list who doesn’t use a precision bass. The list of legendary bassists that picked a p-bass dates back to the 50s with James Jamerson at the helm through to Carol Kaye, Pino Palladino, and Steve Harris. Hell, even movie star Keanu Reeves has been rocking a Fender Precision lately in his band! 

Let’s dig into some iconic tracks that were recorded by these legendary players to show just how essential a p-bass is for any collection. 

James Jamerson: Marvin Gaye’s Ain’t No Mountain High Enough (1967)

James Jamerson may be one of the most recorded bassists to have lived, though the unfortunate truth is that many of his contributions were not properly attributed. Many of the hit Motown records throughout the 1960s will have had Jamerson on them, so much so that the ‘Motown sound’ and the ‘Jamerson sound’ are almost indistinguishable. 

He’s consistently in the conversation for most influential bass players ever and often placed right at the top spot – all for good reason. His playing style clashed with the common approach at the time, focusing on agile chromatic runs and syncopated rhythms to create unique sounds. Marvin Gaye’s classic Ain’t No Mountain High Enough shows this perfectly, where the bass takes centre stage and leads the listener on a thrilling melodic journey. 

The intro bass line is tabbed below, showing off Jamerson’s chromatic style, use of ghost notes, and syncopation all in 8 bars! 

How to get the Ain’t No Mountain High Enough tone

Jamerson’s tone has been explored in great depth over the years, so we’ve got a pretty good handle on how to get that thumpy tone:

• Passive Fender Precision bass
• Flatwound strings that have worn in nicely
• Higher than standard string action
• Foam mute beneath the strings at the base of the bridge
• Tone rolled off around halfway 

Phil Lynott: Thin Lizzy’s The Boys Are Back In Town (1976)

Perennially underrated by many, Thin Lizzy is a quintessential tour-de-force of classic rock. Their innovative harmonic guitar lead breaks supported by the shuffling rhythm section and Irish-inspired melodies have kept Thin Lizzy a relevant and important part of the rock conversation for decades. At the helm of this outfit stood Phil Lynott, who takes on both the bass and lead vocals for the band. 

The Boys Are Back In Town is likely their most famous song – alongside Whiskey In The Jar – from an extensive catalogue and has an unmistakable intro to boot. Phil’s style focused on hard-hitting riffs with plenty of pushed notes to fit with Brian Downey’s swing-style rhythms. 

It’s important to note that the majority of Thin Lizzy’s catalogue were recorded and performed in Eb standard, essentially dropping each string down by a semitone – Eb, Ab, Db, Gb – and the tab above has been written in Eb standard. To play along with an E standard tuned bass simply move the riff down one fret and you’re there! 

How to get the Boys Are Back In Town tone

• Passive Fender Precision bass
  • Rosewood fretboard most commonly preferred by Lynott
• Roundwound strings
• Tone wide open
• Played with a pick 

Sting: The Police’s So Lonely (1978)

Sting is a uniquely creative and bombastic player, bringing elements of rock, reggae, funk, classical, and jazz music into his playing. He is notorious for using his thumb as part of his primary technique and is one of the most interesting bassists to study for his wide range of unforgettable bass lines. He’s yet another addition to the bass-led frontman position alongside Phil Lynott and this has certainly informed his approach to crafting bass lines.

1978’s hit song So Lonely is an impressively simple arrangement, simply moving between a I-V-VI-IV progression, walking into each root note chromatically. The notes are C, G, A, and F, and this progression is the same for both the verse and chorus. What sets this song apart is the mix of the reggae-infused verse and the hard-rock drive of the chorus. We’ve included the verse below, but listen to the chorus of So Lonely and follow the same progression played straight with 8th notes and you’re there. 

The Bottom Line

The Fender Precision is an essential tool in your bass toolbox, offering an iconic sound that sits in the mix with ease and has been used across genres and eras since its original launch in the early 1950s. 

If you’re unsure of what to take to your next gig – grab a p-bass. If you want a no-fuss workhorse bass that will withstand the test of time – grab a p-bass. It sits alongside the Fender Jazz bass as the most played and utilised bass guitar in history and every bassist owes it to themselves to give a Precision some serious time and see whether it works for them. Volume, tone, nothing else required.