*All recorded direct using a PreSonus FireStudio and PreSonus Studio One*
Clip 1 - Active mode, J pickup soloed with treble, mid, and bass slightly boosted.
Clip 2 - Active mode, P and J pickups engaged and balanced evenly. Treble, mid, and bass slightly boosted.
Clip 3 - Passive mode, J pickup soloed with tone knob dimed.
Clip 4 - Passive mode, P pickup soloed with tone knob dimed.
Clip 5 - Passive mode, P and J pickups engaged and balanced evenly with tone knob dimed.
There’s an interesting parallel between Fender purists and Star Wars fans. Both are wildly loyal, quick to point out discrepancies between releases, and ready to devour almost anything (except Jar Jar Binks) that is put on big screens or shelves. Fender has always pushed in new directions, including variations on their mainstay wares. Introduced in 1983 towards the end of the CBS era, the Precision Elite was one such revision. It had a short production life of just a couple years and, yes, there are some who loved it and some who didn’t. But that was a long time ago, so let’s fast-forward to today and the brand-new American Elite Precision—a 21st century incarnation of the P that didn’t leave this bassist wanting for much else.
American Dream
The American Elite arrived in a rock-solid custom case. I’m happy to see companies ramping up their case game because I still don’t like putting my basses in the cargo hold. Flying with this case would make me rest easier, so kudos to Fender for making it part of the package. Once I opened the case, I was hit with a touch of sensory overload from the new-bass smell and my first glance at this tobacco-burst beauty that brims with familiar lines and new features. For the record, four other finishes are also offered.
The 9.4-pound Elite P just looked and felt right from the get-go. It’s comfortable and balanced, the neck pocket super tight, and the satin-finished maple neck was slick and seemed superbly familiar. Unplugged, this bass resonated huge and fat with no rattles.
Complete Elite Treat
I plugged the Elite P into my PreSonus FireStudio Project, opened up Studio One Pro, and started dialing in the controls that consist of four knobs—two single and two stacked—and a mini toggle. The controls might be a little daunting at first if you’re a traditional Precision player, but they’re actually very easy to navigate.
When in passive mode, the volume (first knob), pickup pan control (second knob), and the tone control (outer control on the second stack) are in play. Keeping both the P and J pickups at even strength with the volume all the way up, I dialed the tone knob to about the halfway point and realized the bass tone was being choked. When I rolled the tone knob up all the way, however, this bass started singing. And thanks to the 5-bolt neck and high-mass bridge, there was punch and sustain to spare. The P side was articulate and big, and the jazz side was almost what one would expect—solid and tonally relevant, albeit just a little shy of the full range of Jazz tones. With this P/J configuration, the J is meant to expand the palette, not fully replace a Jazz bass.
Ratings
Pros:
Classic P design and tones with modern upgrades make this a super-versatile instrument.
Cons:
Some might still have visions of the ’80s Elite stuck in their heads. Shame on them.
Tones:
Playability:
Build/Design:
Value:
Street:
$1,799
Fender American Elite Precision
fender.com
The American Elite’s neck has a nut width of 1.625" and it feels refined, not bulky. It’s a compoundneck that graduates from a C shape at the bone nut to a more modern D shape at the 12th fret. And that’s a feature I didn’t think I needed until I played it. Having slightly more mass in the money section of the bass gives a very solid foundation. The design also makes the higher notes easily accessible. Combine this with the Elite P’s satin finish and well-dressed frets, and you have a neck that’s a dream to play.
The Elite quickly jumped to a new level when I switched the mini-toggle to active mode. When going active, the first stacked control comes to life, with the top dial controlling the treble and the outer ring governing the bass. Both offer 18 dB of boost or cut. The midrange control (top knob on the second stack) offers 12 dB of boost or cut.
The tones that pop from the American Elite in active mode are wide-ranging and will appeal to a mighty broad cross-section of players. With only the split pickups engaged, the tones are more articulate and pointed, and, by simple adjustments with the 3-band EQ, I was able to get sounds from mid-scoop slap-happy to bold and thunderous. I got to a sweet, solo-bass tone by engaging just the bridge pickup, and with a bit of bass EQ boost, found that the pickup could stand on its own all night. Great as each pickup sounded on its own, my personal sweet spot on the American Elite was achieved by blending both pickups and favoring the neck pickup just a touch more. This setting gave me everything I needed for solid rock tone, but it was comforting to know the bass had a lot more to offer.
The Verdict
From a one-bass-fits-all perspective, the American Elite Precision has it. Fender has managed to capture the essence of a classic P, add a pinch of Jazz, and blend them together with the tonal prowess of a high-end custom instrument. Yes, plenty of basses are marketed as built for all styles of music, but the American Elite Precision can truly back this claim. From jazz to funk to rock to death metal, this bass will carry the load. The satin-finished, graduated neck feels oh-so-nice, and Fender’s noiseless pickups sound fantastic. The price will seem hefty to some, but since this bass is capable of replacing several in your arsenal … well, do the math. This is a solid, classic bass you could call home for years to come.
Watch the Review Demo:
Duane Betts enjoys a control set modification that was preferred by his father, the late, legendary Dickey Betts.
Guest Picker - Duane Betts
Betts’ 1961 ES-335 has its toggle and volume-dial positions switched.
A: My favorite mod is the one on my 1961 Gibson ES-335. The toggle switch and neck volume knob positions have been switched so the volume knob is more accessible for volume swells using your pinky finger. This is something my dad had done when he obtained the guitar in the ’90s as he loved using the volume swell effect.
A pedal primed for vintage fuzz sounds.
Obsession: My current obsession is this DanDrive Secret Machine fuzz that JD Simo gave me a few years ago. I don’t use fuzz often but I’ve loved it as a way to change things up and give the listener something fresh. My normal tone is very natural with the amp turned up. This is just a great fuzz tone that gives me a new angle that I really enjoy pursuing both live and in the studio.
Reader of the Month - Steve Nowicki
A: A push/pull knob for humbucker coil split. It’s a sneaky little mod I throw on my tone pots. You won’t get amazing Strat tone, but the ability to instantly swap between Les Paul chunk and Fender twang during a jam opens a ton of possibilities tonally. Plus, no extra switches or routing needed—even though it’s fun to hack guitars apart.
Obsession: The EVH 5150 Iconic EL34 amp. Owning an 80-watt half-stack in a Brooklyn apartment might be overkill, but damn this amp is awesome. It delivers insane amounts of gain and distortion, yet every little nuance of your playing comes through crystal clear. I pair it with a Bugera Power Soak so I can crank the head and get that warm “Brown Sound” tone at lower volumes.
John Bohlinger - Nashville Correspondent
John Bohlinger and his Lukather-ized Strat.
A: I’ve hacked up a bunch of guitars over the years, but my favorite mod remains the highly intrusive, expensive, and quixotic B-bender install. It is the equivalent of open heart surgery, and there’s no going back—but the first time you play the Clarence White “You Ain’t Goin’ Nowhere” intro right, it’s totally worth it.
John at work. When it comes to mods, he know the drill!
Obsession: I recently filmed a PG video where we swapped pickups in my ’90s Strat with an EMG Lukather set. I never thought I’d go active, but what gets me is how smoothly the volume and tone work. I’m rethinking all my gear biases. Like maybe there’s been some progress since 1957.
Jon Levy - Publisher
Let it bleed: Jon dials back the treble on his Tele.
A: Installing a treble bleed on my volume pots has changed how I play electric guitar. Previously, I never dialed back my volume knob because it dulled my sound. Now I can fine-tune loudness and gain while retaining tone—it’s a game changer. I still swap pickups and hardware, but one mod always comes first: the humble treble bleed.
Did you know both John Paul Jones and Jimmy Page played on Shirley Bassey’s iconic recording of “Goldfinger?”
Obsession: John Paul Jones. I’ve always loved his bass (and other instrumental contributions) with Led Zeppelin. But after seeing the Zep documentary [Becoming Led Zeppelin] I searched his session work from 1964–1968, which includes Shirley Bassey, Lulu, Donovan and more. What an amazingly versatile and talented artist he is!
“I am thrilled to announce the launch of The Collection: Kirk Hammett. I’ve worked diligently on this curated collection of vintage and modern guitars for the book. I feel the book captures the rich history and artistry behind each of these unique and rare instruments. Every picture tells a story and thanks to Ross Halfin and his exceptional photography, every picture in this book is worth a million words! This book could not be possible without the help of Gibson, so I’d like to thank them for making my passion for Greeny, and guitars a reality. I hope all of you enjoy this journey as much as I did.”
“It’s exciting the time has come to release The Collection: Kirk Hammett by Gibson,” adds Cesar Gueikian, President and CEO of Gibson. “We have been working on this project with Kirk for years now, and I had the opportunity to work closely with Kirk on the composition of the collection for the book. It was a thrill to put this together and it took a village to get it done! I hope everyone appreciates the work that went into this book and enjoys every story behind the guitars.”
The Collection: Kirk Hammett, Custom Edition is limited to just 300 numbered copies signed by KIRK HAMMETT and comes in a huge 19 x 14.5” (490 x 370mm) presentation box featuring custom artwork and an outstanding case candy package. In addition to the large-format 17 x 12” (432 x 310mm) hardcover version of the book with a stunning lenticular cover, the boxset includes a frameable 16 x 11.6” (407 x 295mm) art print of a Ross Halfin portrait of KIRK HAMMETT signed by both Halfin and the Metallica guitarist. Other case candy includes an Axe Heaven miniature replica of Hammett’s 1979 Gibson Flying V with case and stand, an exclusive pick tin complete with six Dunlop® Kirk Hammett signature Jazz III guitar picks, and a Gibson Publishing Certificate of Authenticity.
Explore The Collection: Kirk Hammett book HERE.
