
Even though the Marleaux Consat Soprano bass, shown on the bottom, has a 22.44" micro scale, it feels surprisingly familiar. The Consat Signature, at left, has a 34" scale length.
Our columnist debunks some of the many myths surrounding Leo Fender's P-bass design.
Why is it that the majority of today's basses have a 34" scale? The quick answer would be: Because the popular Fender Precision bass had a 34" scale, and most manufacturers simply followed this layout. Then, the question becomes, why did the original Precision—introduced in October 1951—come with a 34" scale? There are lots of speculations on why it ended up with this specific scale and many of these are conflicting. Most of them have questionable and hard to verify sources but unveil lots of creativity.
This is from Legendary Lows: The Precision Bass Story on Fender's website:
One of the most important features of the Precision Bass was its scale length, which Leo Fender, after careful consideration and lengthy experimentation, set at 34".
And in another statement:
Because if Clarence Leo Fender were to be remembered for nothing else, surely it would be the Precision—an instrument—indeed a whole new kind of instrument—that simply didn't exist before he invented it, that would forever ensure his place in history.
There is no question about his place in history and that he will be remembered for it. But it's worth noting that he wasn't first. Once we agree that an electric bass basically consists of a body, neck, pickup, tuners, frets, and a thick set of strings (neglecting the fact that fretless basses are electric basses, too), the honor of being first truly belongs to Seattle-based Paul H. Tutmarc and his 1933 bass, or bull-fiddle. His final product, the Audiovox 736 had a 30 5/16" scale length.
As a funny side note, here is what his son, Bud Tutmarc, wrote about the motivation behind his father's invention:
My dad, being a band leader and traveling musician, always felt sorry for the string bass player as his instrument was so large that once he put it in his car, there was only enough room left for him to drive. The other band members would travel together in a car and have much enjoyment being together while the bass player was always alone. That is the actual idea that got my father into making an electric bass. The first one he handcarved out of solid, soft white pine, the size and shape of a cello. To this instrument he fastened one of his "friction tape" pickups and the first electric bass was created. This was in 1933.
Turns out it was more of a social project for us poor, lonely bassists?
Many other scales will work just fine, but it's about what is practical, feels right, and where you're coming from.
Back to the 34" scale length question. Here are a few of the myths, theories, and rumors floating around. One is that Clarence Leo Fender was known as thrifty, to say it mildly. He had 25.5" fretting tools, he went for a 34" scale, adding only five lower frets and using the same tools.
This "Cheapo-Leo" argument sure sounds credible, but there is a tiny deviation on these identical bass and guitar fret-spaces. The guitar's nut-to-fret distance is 1.431", while a 34" bass' fifth to sixth fret span is 1.430". To get to 1.431", the bass scale would need to be 34.03". These .001" or .0254 mms are surely within the production tolerance, but it's not an exact fit if it's not exact.
Other authors have thrown in that short-scale Fender guitars were 24" and 22". They were cut on the same fretboard saw as 25.5" scale boards, moved over one or two fret positions. This doesn't add any credibility to the argument if you do the math. These fret spacings are far from being identical!
It's almost the same as with the "Let's just take the middle!" argument. With a standard upright at 43" and a guitar at 25", it's correct that the middle would be 34". Unfortunately, the guitar is 25.5" and, once again, it's not an exact hit.
Another theory is that classic instrument sizes were often given in fractions, like halves or quarters, and, rarely, thirds. With the Fender guitar at 25.5" being 4/4, the 34" Precision comes out at exactly 4/3. Or, vice versa and something bassists might prefer: The 34" bass is the 4/4 instrument, while the 25.5" guitar comes out as 3/4.
Things get credible once they get printed, right? Author Richard R. Smith—who did lengthy interviews with Leo—wrote in his book, Fender: The Sound Heard 'Round the World,that Leo's scale length was derived from information from a physics book owned by Leo's secretary Elizabeth Nagel Hayzlett. I have no secretary, but I do have my own physics books and there is no such optimization process for scale length in physics! It's always an interplay of string gauge, tension, and preferred portion of lower harmonics.
In the end, many other scales will work just fine, but it's about what is practical, feels right, and where you're coming from. And, instead of making anything up, it's way more realistic to simply accept it was just a pragmatic trial-and-error process. Leo's longtime coworker George Fullerton told Smith: "We tried 30" and 32" and possibly 36", but chose 34" for being more practical for the player."
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Empress Effects is proud to announce the release of the Bass ParaEq, a bass-specific parametric EQ pedal.
Building on the success of their acclaimed ParaEq MKII series, which has already gained popularity with bassists, the Bass ParaEq offers the same studio-grade precision but with features tailored for bass instruments.
Basses of all types – including electric and upright basses with active and passive electronics – can benefit from the Bass ParaEq’s tone-sculpting capabilities.
The new pedal follows the success of the Empress Bass Compressor and ParaEq MKII Deluxe, which have become some of the company’s best-reviewed and top-selling products. The Bass Compressor’s popularity confirmed what Empress had long suspected: bassists are eager for tools built with their needs in mind, not just adaptations of guitar gear.
The Bass ParaEq retains the line’s powerful 3-band parametric EQ and studio-style features while introducing a bass-optimized frequency layout, a selectable 10MΩ Hi-Z input for piezo-equipped instruments, a dynamically-adjusted low shelf, and automatic balanced output detection—perfect for live and studio use alike.
The Bass ParaEq also offers an output boost, adjustable by a dedicated top-mounted knob and activated by its own footswitch, capable of delivering up to 30dB of boost. It’s perfect for helping your bass punch through during key moments in live performance.
Whether dialing in clarity for a dense mix or compensating for an unfamiliar venue, the Bass ParaEq offers precise tonal control in a compact, road-ready form. With 27V of internal headroom to prevent clipping from even the hottest active pickups, the Bass ParaEq is the ultimate studio-style EQ designed to travel.
Key features of the Bass ParaEq include:
- Adjustable frequency bands tailored for bass instruments
- Selectable 10MΩ Hi-Z input for upright basses and piezo pickups
- Auto-detecting balanced output for long cable runs and direct recording
- Three sweepable parametric bands with variable Q
- High-pass, low-pass, low shelf, and high shelf filters
- Transparent analog signal path with 27V of internal headroom
- Buffered bypass switching
- Powered by standard 9V external supply, 300mA (no battery compartment)
The Bass ParaEq is now shipping worldwide. It can be purchased from the Empress Effects website for $374 USD and through authorized Empress dealers globally.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).
PRS Guitars celebrates 40 years with the limited edition McCarty SC56. Featuring vintage-inspired design and modern innovations, this single-cutaway guitar pays tribute to Ted McCarty and his impact on the industry. With only 400 pieces available, this instrument is a must-have for collectors and performers alike.
PRS Guitars today announced the 40th Anniversary McCarty SC56 Limited Edition. With a classic PRS single-cutaway body shape and carefully chosen specifications, the McCarty SC56 is both a tribute to tradition and a reliable tool for the modern performer. Only 400 pieces will be made.
“The SC56, signifying Singlecut and 1956, model is our most recent tribute to my late mentor Ted McCarty and his impact on the guitar industry. We started with our take on a classic late ‘50s singlecut body. 1956 marks the year that Ted first had guitars made with his newly coined 'humbucker' pickups. It also happens to be the year I was born. Bringing vintage design into the modern era, we loaded this model with our McCarty III pickups, meticulously designed to deliver warm, clear, vintage tone with exceptional note separation and dynamics,” said PRS Guitars Founder & Managing General Partner, Paul Reed Smith.
Anchored by a maple top and mahogany back, the 24.594” scale length and 22-fret Pattern Vintage neck work with Phase III non-locking tuners and PRS two-piece bridge to promote its musical sustain. The PRS McCarty III pickups are controlled by a simple layout — two volume controls, two tone controls, and a three-way toggle on the upper bout.
Single-cutaway guitars are known to be heavier than their double-cutaway counterparts. The McCarty SC56 Limited Edition design incorporates weight-relief, decreasing the weight of the guitar by about 2/3 of a pound, while maintaining several points of attachment between the guitar top and back to eliminate the “hollow” sound of the cavities and promote tone transfer.
With appointments like binding on the fretboard, classic bird inlays, and a vintage-inspired nitrocellulose finish, the 40th Anniversary McCarty SC56 Limited Edition blends heritage and innovation into a timeless instrument.
PRS Guitars continues its schedule of launching new products each month in 2025.
For more information, please visit prsguitars.com.