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Long and Short-scale Bass Differences Explained!

Long and Short-scale Bass Differences Explained Featured Image

What’s the difference between a short-scale bass and a long-scale bass?

In the context of guitars, bass guitars, and other string instruments, scale length refers to the distance between the bridge and the nut, not the length of the neck. What we call “long-scale” basses have become more or less the standard scale length for basses, thanks to Leo Fender and the Precision Bass he introduced in 1951. While the 34″ scale is now considered the standard, it wasn’t always so. 

In the early days of electric basses some of Fender’s competitors like Gibson and Höfner — along with a slew of lesser-known builders such as Framus, Eko, and numerous Japanese manufacturers — sold basses with shorter, more finger-friendly scale lengths. Referred to as “short-scale” basses, these instruments generally had scale lengths of less than 31″. 

The most recognizable short-scale bass from the late-1950s and early 1960s was undoubtedly the Höfner 500/1 Violin Bass. Designed by Walter Höfner in 1955, the 30″ Höfner Violin Bass was given its signature violin shape so that Höfner’s craftsmen, who had been constructing classically styled orchestral instruments for decades, could easily adapt their processes to a new type of instrument. The Violin Bass was cemented in rock and roll history when a young Paul McCartney showed up on Ed Sullivan’s stage on February 9, 1964, with his 1961 Höfner “Cavern” bass in hand. Since then, it has remained a staple in the world of short-scale basses.

In 1966 Fender entered the short-scale game with the Mustang Bass, which attained a level of cult status after it went out of production in 1981. It reentered the market in 2002, but it really caught on again after Fender included a version in its Squier line in 2011. Since then it has remained in Fender’s permanent line-up with several configurations. Fender’s Bronco Bass, released in 1967, was another short-scale option, but it never quite achieved the same reputation as the Mustang Bass, and was also discontinued in 1981. However, the Bronco Bass has recently found its way back as a Squier-branded reissue.

So, why didn’t short-scale basses catch on like their 34″ cousins? It’s difficult to determine exactly why, but two factors may have contributed. First, the short-scale bass had its boom in the 1960s, and the market saw a wave of cheap instruments hit the market. These instruments were shoddily built, contained poor electronics, and produced a flubby, hollow sound. Second, but related to the first, many of these basses were aimed at the student market, so the short-scale bass earned a reputation as an instrument for children. That certainly dropped the short-scale bass’s cool factor, turning more serious players away from them and toward long-scale basses. 

However, the short-scale bass has fought that stigma. It is now regarded as a viable option, with its own idiosyncratic and desirable tone that’s great as primary bass or as part of a collection.

Why choose a short-scale bass?

The first and most obvious reason to use a short-scale bass is its physical size. With their shorter necks, less distance between frets, and more compact general dimensions, short-scale basses are an excellent choice for players with smaller hands. They’re also ideal for guitarists who want to explore the bass, since they feel more like a standard electric guitar than a long-scale bass does, thus making the transition easier. But, short-scale basses aren’t chosen simply for their convenient size. Serious players and studio pros have long known a secret about short-scale basses: despite their more diminutive footprint, they have a massive sound with a fat low end unique from long-scale basses, and it can excel at filling in a mix.

Here’s why: each note played on bass (or any instrument, for that matter) includes a series of harmonics that are predictable ratios of that note. The volumes of these harmonics give an instrument its unique tone, or timbre. When the string length changes, the character of those harmonics (and their volumes) change. 

This is easily demonstrated on any stringed instrument. For instance, play an E on the 12th fret of the low E string. Then, play the same note on the 7th fret of the A string. While the pitches are the same, the timbre is different. The E played on the 12th fret of the low E string is darker than the E played on the A string, which is due to the shorter length of string resonating in that position. So, because of their reduced scale length, short-scale basses are inherently darker and, arguably, richer in tone than long-scale basses.

Another reason to opt for a short-scale bass over a long-scale bass is its distinctive feel. Historically, short-scale basses were strung with the same string sets as long-scale basses. On a short-scale bass the strings are under less tension, so they have a looser, slightly “floppy” feel, which also impacts the instrument’s attack, sustain, and dynamics. However, for players looking for a tighter feel, many string manufacturers offer short-scale bass strings that respond more like standard strings on a long-scale instrument. But, even with those strings, a short-scale bass retains its dark tone but with a more focused low-end thump.

Additionally, short-scale basses let you employ techniques that are difficult to pull off on long-scale basses. Long stretches between notes are far more manageable. The compact fingerboard is great for speedy, note-filled bass lines. Playing full chords is no problem and sounds incredible — and you can bend the strings on a short-scale bass without crippling your fingers. All of this adds up to a flexible and fun playing experience! 

Which famous musicians play short-scale bass?

As mentioned above, Sir Paul is perhaps the musician most identified for sporting a short-scale bass. But countless legendary bass players representing numerous genres are in the short-scale club. Classic short-scale bass players from the 1960s and 1970s include Jack Casady (Jefferson Airplane), Phil Lesh (Grateful Dead), Bill Wyman (The Rolling Stones), and Jack Bruce (Cream). 

Of these players, Jack Bruce was one of the most emphatic short-scale enthusiasts. One of his first short-scale basses was the Fender Bass VI, an oddball of an instrument with six strings tuned down an octave lower than a guitar with an added tremolo arm, which produced some truly diverse bass sounds. Bruce was also known for playing a Gibson EB-3, which was his constant touring companion for much of Cream’s early years.

In the late-1970s and early 1980s, Tina Weymouth of Talking Heads brought short-scales back into the limelight. Like McCartney, she favored a Höfner — a single-cutaway, two-pickup Club Bass. But she experimented with many short-scale basses over the years. Weymouth has said in interviews that short-scale basses helped her to get her confidence up before folding long-scale basses into her repertoire. Another notable short-scale player from that period is Mike Watt from Minutemen, Dos, and Firehose. Watt is notorious for his moving, geometric bass lines and aggressive post-punk style — for which short-scale basses are particularly well-suited.

Today, a newer generation of musicians are keeping the short-scale legacy alive. Two notable short-scale bass players are Owen Biddle, formerly of The Roots, who plays a CallowHill OBS, and Justin Meldal-Johnsen (Beck, Drake, NIN, M83), who prefers a Mustang Bass. In fact, Johnsen has partnered with Fender to create the Fender Justin Meldal-Johnsen Road Worn version of his vintage 1967 Mustang Bass, a vibey, tone-packed short-scale that perfectly complements his indie-rock aesthetic.  

Why Choose a Long-scale Bass?

As we’ve established, short-scale basses have a sound — one distinct enough that fine-tuned ears can easily identify them in a mix. Long-scale basses, on the other hand, are considerably more versatile. Because of their higher string tension, long-scale basses are capable of producing more pronounced midrange and high-end frequencies. Some watchwords associated with long-scale basses are “punch,” “bite,” and “growl.” But, with the right combination of strings and playing style and a twist of the tone controls, long-scale basses can also be warm, thumpy, and round.

If you’re looking to buy a single bass that can perform in any style, then a long-scale bass is a prudent choice. Sweetwater carries a staggering selection of long-scale and short-scale basses; see them all here.

Which Famous Musicians Play Long-scale Basses?

The better question might be, “Which famous musicians don’t play long-scale basses?” Besides the musicians we highlighted in the previous section on short-scale players, most famous bass players select long-scale basses, such as the ubiquitous P- and J-style basses.

From Jaco Pastorius, James Jamerson, and Carol Kaye to Flea, Cliff Burton, and Lemmy Kilmister, long-scale basses are the instrument of choice for countless legendary players. That said, many of popular music’s most notable players have also dabbled in short-scale basses.

Are there medium-scale basses? 

The short answer (pun definitely intended), is yes. Medium-scale basses are generally considered to occupy the range between 31″ and 33″. The Squier Classic Vibe Jaguar Bass falls under this category, as does the Ibanez Mezzo, and the Strandberg Boden Bass. Medium-scale basses boast the playability and blooming lows of short-scale basses but have a top-end punch more similar to long-scale basses. So, they fill a distinctive tonal space and are a super choice for players on the fence between choosing a short-scale or long-scale option.   

The Long and Short of It

Short-scale basses possess a super-fat sound, are incredibly comfortable to play, and can inject a matchless character and energy into your playing. And, as mentioned, many companies continue to make short-scale basses with reissues of classic models and brand-new designs that are expanding the format. Long-scale basses are the tried-and-true low-end warriors of popular music, and they come in numerous styles to match any player. Talk to any bass player at Sweetwater, and they’ll happily chat your ear off about the awesomeness of short-scale and long-scale basses!


If you’re shopping for a bass — short-scale, long-scale, or anything in between — or need help perfecting your bass tone, call your Sweetwater Sales Engineer at (800) 222-4700.

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