When we talk about scale length in relation to a bass guitar—and in fact any stringed instrument—we’re referring to the distance, always stated in inches, from the bridge to the nut. Of course, this has a bearing on the length of the neck itself, but it’s more to do with the resonating length of the string than the bend at your elbow.
So, some numbers. Short scale length clocks in at 30 inches, long scale at 34 inches. You’ll also find medium-scale offerings around 32 inches, but these are less common. Thanks to Leo Fender’s Precision Bass, introduced in 1951, long-scale instruments became the most desirable representation of the electric bass guitar. But in those early years, plenty of short-scale instruments hit the market, too, notably the Hofner violin bass, made famous by a certain Beatle named McCartney, and a little later the Gibson EB-3, wielded by the late great Jack Bruce with Cream.
There are several reasons why this short-scale foothold did not endure. At first, these basses were aimed at beginners and those of smaller stature, which meant that early professionals viewed them as a less serious bottom-end option. They were regarded as toys and, therefore, not the instrument of the grown-up. Bigger is better, right?
Also, short-scale offerings at this time from less well known makers were frequently built to average quality, at best, with poor electronics that resulted in a dubious rendition of the sound of the electric bass. Meanwhile, the long-scale P-Bass was viewed as tonal perfection. It didn’t help, too, that short-scale basses gained popularity with guitarists looking to double-up, which fostered an elitist attitude in some quarters from those who considered themselves "proper" bass players.
Of course, a lot of this is simply rubbish. True, you’re unlikely to get the range of sounds from short-scale basses that you do from their long-scale cousins. But you’ll still get punch and depth and, overall, an appropriate sound for bass playing purposes—especially when you factor in modern build quality and electronics in the basses themselves as well as in the amplifiers and effects they’re funneled through.
Being more compact on every level makes a short-scale bass easier to wield, less weighty round the neck, and consequently less physically demanding. This is further emphasized by the shorter neck length and smaller fret size, the latter a distinct boon in the lower-register zone. Furthermore, all this naturally produces a looser string tension, meaning that physically pulling through the strings requires less weight and effort. Longer stretches are easier to achieve—and it’s arguable that the budding bass shredder could more comfortably achieve their kinetic goals on a short-scale bass.
Over the last decade, there has been an undeniable resurgence of interest in short-scale basses. The first bass Fender produced in this style was not alone in providing or pushing the smaller size, but in recent years it’s enjoyed an expansion in model variations and price-points, making for a popular choice among bass players. Of course, we’re talking about the Mustang.
As far back as 1966, Fender introduced the Mustang Bass as a short-scale bass companion to its Mustang guitar models, first seen two years earlier. It used the same body as the guitar versions, providing a handy streamlining of build costs for the whole line, and was loaded with one split single-coil pickup along with controls for volume and treble-boost tone.
The alder body was a downsized version of Fender familiarity, evenly proportioned at the bridge end (the rear bouts) and with stumpy horns framing offset cutaways. When new, the bass had a tug-bar sited below the G-string, but often players would relocate it just past the neck above the E-string as a thumb-rest.
The Mustang had the expected 30-inch short scale length, and you’ll find a maple neck with dotted rosewood fingerboard comprising 19 frets. The bass was loaded with the standard and slightly flimsy-looking Fender bridge, featuring string-through capability and sited on an expansive chrome plate.
Initially in production from 1966–81, the Mustang Bass was reissued by Fender Japan in 1998, and later as part of the Squier catalogue (2011). It’s remained a highly popular option, both used and new, and not only for beginners or doublers. Players ranging from Bill Wyman (original Rolling Stones bassist), Tina Weymouth (Talking Heads), Justin Meldal-Johnsen (various artists including Beck and Nine Inch Nails), Kim Gordon (Sonic Youth), and Tomethy Furse (The Horrors) all chose the Mustang as a weapon, if not always the main one, in their groove arsenal.
Judging by the popularity of the Mustang here at Reverb, the less bulky configuration is widely appealing, with sales here growing by over 180 percent since 2018. Fender currently offers a variety of new options, catering for those on a budget with the Squier Classic Vibe ‘60s Mustang Bass, replete with split single-coil pickup and oversized bridge plate, plus a go-faster-striped Competition variant. Moving gradually up in price, there’s Fender’s Player model, the Vintera II ‘70s Competition option, and the traditionally bedecked Road Worn and American Performer varieties.
But if you’re desperate to dive into short-scale waters and—perish the thought—you’re not seduced by the Mustang’s allure, what else is out there? Hofner’s long established and much loved 30-inch-scale violin bass has been available new for a few years as part of its more affordable Ignition line, where you’ll still get plenty of thump from the spruce/maple hollow body, and the familiar chrome trapeze tailpiece, quirky control panel, and pearloid pickguard add old-skool class to proceedings.
Ibanez meanwhile offers the GSRM20. Visually this is a fiercely contemporary offering, its poplar body boasting thin, offset horns, the maple neck topped off with a funky hourglass headstock. But loaded with P and J pickups and passive electronics, its core is pure and traditional. At 28.8 inches, it might be the shortest scale length available, and the attractive prices surely add to a win-win, especially with a five-string version available, too, for a relatively small outlay.
Originally released in 1958, Danelectro’s Longhorn Bass is renowned as the model John Entwistle used to record the breaks on The Who’s "My Generation," its 29.75-inch scale undoubtedly assisting the Ox’s acrobatics. The fat rear bouts and super-thin horns make it quirky and original, while the pair of high-impedance lipstick pickups offer more tonal variation than you might think.
We’d like to have included a new EB-3 in this list, but bizarrely the current Epiphone version is long-scale. Thankfully, Gibson does offer a 30.5-inch short-scale representation of the EB-3 vibe in the form of the higher-end SG Standard Bass. Never a truer name was chosen! The sculpted, stumpy-horned mahogany body and neck offer excellent playability, and alongside the pair of chrome SG Bass humbuckers, Gibson eschews the Varitone switch, favoring instead a standard passive option of two volumes and a tone.
The Epiphone Newport Bass, another 30.5-inch shorty, debuted in 1961—and it was the instrument used to masterful effect by XTC’s Colin Moulding. The Newport is available again now at budget prices, with mahogany the choice of wood for the funky, symmetrical double-cutaway body and ultra playable glued-in neck. Courtesy of steadfastly passive electronics, a chunky neck humbucker and bridge single-coil deliver an excellent range of groove tones that are easy to dial up with simple volume, blend, and master tone controls.
Other notables, all with 30-inch scale, include the budget Fender Jaguar Bass (Affinity Series) and Hofner Club Bass Ignition, the mid-price Warwick RB Corvette Basic 4 Short Scale, and the higher-end Sandberg California II VS Passive. All in all, there’s a surprising amount of choice for the budding short-scaler looking for a new or used bass.
Thanks to instruments like the Fender Mustang Bass, the stigma once associated with short-scale basses has disappeared and their popularity continues to grow. No longer is a slightly shorter neck on your bass regarded as any sort of disadvantage—it’s simply another option, and one that sounds just as good as its long-scale cousin. Modern amplifiers of course allow us to deal with any perceived or actual frequency deficiencies on basses of any scale length you care to play. No drama!
A smaller instrument equals less weight, and that in turn equals less physical stress—which surely enables us to play high quality grooves for longer. There’s probably some physics involved in all this, too, but let’s not go there. Let’s just celebrate the fact that the growth in the range and availability of short-scale basses further widens the choices available for those of us dedicated to the low frequencies.