The Enduring Allure of the Fender Jazzmaster: A Deep Dive into its Specifications, Dimensions, and Variants

Introduction: The Unconventional Icon – A Jazzmaster’s Journey

The Fender Jazzmaster. Just the name conjures images of surf-soaked beaches, indie rock stages, and a certain undeniable cool. But its journey to iconic status was anything but straightforward. Launched in 1958, the Jazzmaster was Leo Fender’s ambitious attempt to innovate beyond the wildly successful Telecaster and Stratocaster. His vision was to create a top-tier instrument that would finally appeal to serious jazz guitarists, a demographic largely loyal to the warm, mellow tones of hollow-body guitars.¹

However, the Jazzmaster, with its sleek, contoured body, unique pickups, and revolutionary tremolo system, did not quite hit the mark with its intended audience.² Jazz musicians, often veterans of established instruments, were not actively seeking something new from Fender.² Yet, in a twist of fate that defines its legacy, the Jazzmaster found its true calling elsewhere. It became the undisputed voice of the burgeoning surf rock scene in the 1960s, its expressive tremolo and distinct pickups perfectly capturing the genre’s shimmering, wave-like sounds.¹ Decades later, it would experience a powerful resurgence, becoming an indispensable tool for new wave, indie, and alternative rock artists.¹

This remarkable pattern of development illustrates a broader principle in product evolution: while a design might be innovative, its initial market targeting can sometimes be fundamentally misaligned. The Jazzmaster’s unique characteristics, such as its mellower pickups and expressive tremolo—perhaps too “plunky” for jazz but ideally suited for surf music—serendipitously resonated with the emerging needs and aesthetics of entirely different genres. This highlights that groundbreaking designs do not always succeed in their intended niche but can find unexpected and lasting success by appealing to unforeseen user groups or cultural movements. The Jazzmaster’s story is a compelling example of how the market often dictates the true utility and appeal of an innovation, rather than the designer’s initial vision.

This exploration will take a chronological deep dive into the Fender Jazzmaster’s fascinating evolution. It will uncover its initial design, the subtle and significant changes it underwent through different eras, its unexpected discontinuation, and its triumphant return through a myriad of reissues and modern interpretations. The following sections will detail the specifications, dimensions, and variants that define this unconventional icon, providing a comprehensive understanding of why it continues to captivate guitarists across generations.

Chapter 1: The Dawn of the Offset – Pre-CBS Era (1958-1965)

This era represents the Jazzmaster in its purest, original form, before the significant changes brought about by the CBS acquisition. These early models are highly coveted by collectors for their craftsmanship and unique sonic characteristics.

1958: Birth of a Legend

The Fender Jazzmaster was unveiled in 1958, a striking instrument that bore little resemblance to the Telecaster and a distinct, yet curvaceous, difference from the Stratocaster.¹ Leo Fender poured a “maximum of care and effort” into its early production, aiming for an “exceptionally fine instrument”.⁴

Original Design Philosophy and Target Audience:
The Jazzmaster was introduced as Fender’s new top-of-the-line model, intended to be a successor to the Telecaster and Stratocaster.1 Its primary target was serious jazz guitarists, a demographic Fender had struggled to reach, aiming for a “nobler, more serious” musical genre.1 The design sought to appeal to “sit-down” jazz players, who commonly used hollow-body guitars.2 A key design criterion was comfort while seated.2 It was also Fender’s first instrument to feature a rosewood fingerboard, replacing the earlier one-piece maple neck, to give it a more “luxurious” and “serious” feel.2 Early prototypes even experimented with ebony fingerboards.6
Key Specifications (1958 Original):
The body was crafted from alder, featuring a distinctive “offset-waist” contour body.1 This asymmetrical, elongated shape was designed for comfortable seated playability and balance.1 It was typically finished in a deep and rich 3-Color Sunburst nitro-cellulose lacquer.4 The Jazzmaster was notably “longer and heavier” than the Stratocaster due to this offset design.1 The neck was made of maple with a “C” shape profile and a 25.5″ (648 mm) scale length, consistent with the Telecaster and Stratocaster.5 It featured a thick “slab” rosewood fingerboard with “clay” dot inlays and 21 frets.4
Two wide, rectangular single-coil pickups with white plastic covers, often referred to as “soapbar” pickups, were unique to the Jazzmaster.¹ These were designed with magnetized pole pieces (unlike Gibson’s P-90s) and a wide, flat coil winding. This construction resulted in a mellower, less “pointy” sound by picking up a wider area of vibrating strings.² The pickups were mirrored (coil winding and polarity) to achieve a hum-cancelling effect when both were engaged.⁷
A revolutionary dual-circuit system was introduced, a first for Fender.¹ The
Lead Circuit was controlled by a master volume knob and master tone knob on the lower bout, with a three-position toggle pickup selector switch (bridge, neck, or both) on the lower horn.¹ This circuit utilized 1MΩ potentiometers, contributing to its unique tonal characteristics.⁶ The
Rhythm Circuit, activated by an upper-horn slide switch, engaged only the neck pickup, deactivating the bridge pickup and lower-bout controls.¹ It had its own separate volume and tone roller wheels on the upper horn, providing a warmer, darker “preset” tone.¹ This was intended to mimic the warm, deadened tones of jazzbox guitars.³
The guitar featured a floating bridge/anchored tailpiece design with a floating vibrato and tremolo-locking system.¹ The vibrato bar was notably longer than a Stratocaster’s, designed for smoother and more precise manipulation.² This system, while innovative, often proved temperamental with lighter gauge strings, as strings could pop out if strummed hard.¹ The guitar initially featured a gold-colored anodized aluminum pickguard, which also served as crucial brass shielding due to the wide single coils’ sensitivity to hum and circuit noise.² The serial number was located on the neck plate.⁷
Initial Reception and Selling Points:
The Jazzmaster was a “bold and brilliant” design, but ultimately “failed to entice dedicated Gibson players” or other jazz musicians.2 However, it found an unexpected and enthusiastic audience in the burgeoning surf rock scene of the 1960s.1 Its unique floating tremolo and mellower pickups were perfectly suited for the genre’s distinctive sound.5 Artists like The Ventures, whose guitarist Don Wilson used a Jazzmaster on their hit “Walk-Don’t Run,” helped popularize the instrument.1 Early examples are highly regarded for their exceptional craftsmanship and fine playability, often described as “exceptionally fine instruments” with a great feel and “lovely ‘ring'”.4

The distinctive, often gold-colored, anodized aluminum pickguard, which became a hallmark of the early Jazzmaster’s “atomic-age look” ¹, was not merely an aesthetic choice. The newly designed wide and flat single coils of the Jazzmaster ⁶ were inherently sensitive to hum and circuit noise.⁷ To mitigate this, Fender implemented brass-shielded cavities and an aluminum-covered pickguard.⁷ This functional necessity, serving as a large, integrated shield against electromagnetic interference, profoundly influenced a prominent visual and material aspect of the guitar. This design choice, born of necessity, inadvertently contributed to the instrument’s unique visual identity, showcasing how engineering solutions can serendipitously shape iconic aesthetics.

Despite its innovative design, the Jazzmaster’s all-new vibrato system, with its floating tremolo and individually adjustable bridge barrels ⁷, proved temperamental. While it produced a “jazzy-enough ‘plunk’ if set up correctly with the heavy-gauge strings typical of the period,” aggressive playing could “often pop the strings” from the bridge saddles.¹ This inherent instability, particularly as playing styles evolved to include lighter gauge strings and more aggressive strumming, became a significant functional limitation for many players. This persistent design challenge directly led to the emergence of a specialized aftermarket industry dedicated to improving Jazzmaster bridge stability. The Mastery Bridge, for example, was invented specifically for “solving age-old tuning-stability and string-tension problems associated with the original Fender design”.⁹ This demonstrates how a fundamental design flaw, even in an otherwise innovative and beloved instrument, can create an entire niche market for third-party improvements, influencing the guitar’s long-term usability, desirability, and fostering a culture of modification among its owners.

Evolution Through the Early Years (1959-1965)

This period saw subtle but significant refinements to the Jazzmaster’s design, reflecting manufacturing efficiencies and evolving aesthetic preferences, all while maintaining its core identity.

Mid-1959: The original anodized aluminum pickguard, which was unfortunately “prone to pick wear,” was replaced by a celluloid tortoise three-layer pickguard.⁴ Early models with the aluminum guard are “exponentially rarer”.⁴ This change was a practical improvement based on durability concerns, and the celluloid tortoise guard became a classic Jazzmaster aesthetic.
Mid-1962: The thick “slab” rosewood fingerboard was replaced by a thinner “veneer” rosewood fingerboard.⁷ After mid-1962, only veneer fingerboards were used.⁷ This was a significant manufacturing and aesthetic change for Fender, prompted by Leo’s “disappointment with the look of guitars with unsightly fingerboard wear” and a desire for a “nicer look”.¹¹
Late 1964: The original “spaghetti” logo was replaced by a thicker, gold Fender “transition” decal.⁷ The “clay” fingerboard dots were replaced by pearl fingerboard dots.⁷ Additionally, the celluloid tortoise pickguard was replaced by a plastic tortoise three-layer pickguard.⁷ These changes mark the very beginning of the “transition” period leading up to the CBS acquisition, reflecting subtle shifts in materials and branding that would become more pronounced later. The switch from celluloid to ABS or vinyl for pickguards was generally considered “far less attractive by most collectors”.¹³
Mid-1965: The volume/tone knobs changed from a Stratocaster-style knob to a unique white with chrome top Jazzmaster knob, famously known as “Witch Hat Knobs”.⁷
Selling Points and Unexpected Embrace:
Throughout this period, the Jazzmaster continued to solidify its place in surf rock, becoming a staple for bands like The Surfaris and The Fireballs.6 Its distinct sound and expressive vibrato were key attractions for this genre.2 Pre-CBS examples (up to 1965) are now highly collectible on the vintage guitar market, prized for their originality and craftsmanship.8 They are considered “exceptionally fine instruments”.4

These seemingly minor material and aesthetic changes, particularly the shift from celluloid to less attractive ABS/vinyl pickguards and from clay to pearloid dots ¹³, are often viewed by collectors as a subtle but definite decline in “vintage purity” or original design intent. While some changes might have been for durability (e.g., pickguard wear ⁴) or manufacturing efficiency (e.g., veneer fretboard ¹¹), they marked a departure from the earliest, most sought-after specifications. This foreshadowed the more significant mass-production shifts under CBS, demonstrating how even small material alterations can significantly impact a vintage instrument’s perceived authenticity and collector value over time, creating a hierarchy of desirability within the pre-CBS era itself.

Table 1: Fender Jazzmaster Key Dimensions (Examples from Modern Models)

While exact 1958 dimensions are not provided as a single snippet, the original Jazzmaster was described as “longer and heavier” than a Stratocaster.¹ Modern Jazzmaster models generally maintain similar overall dimensions, providing a good reference for the typical size and feel.

Dimension	Troy Van Leeuwen Jazzmaster ¹⁴	Player II Jazzmaster ¹⁵
Overall Length	40.5 in (1029 mm) – 41.0 in	39 in (99.1 cm) – 41.0 in
Body Length	18.75 in (476 mm)	18.5 in (47.0 cm)
Body Width	14.5 in (368 mm)	14.5 in (36.8 cm)
Body Depth	1.75 in (44.5 mm)	1.65 in (4.2 cm)
Scale Length	25.5 in (648 mm)	25.5 in (648 mm)
Fingerboard Radius	7.25 in (184.1 mm)	9.5 in (241 mm)
Nut Width	1.650 in (42 mm)	1.650 in (42 mm)
Average Weight	8.3 lbs (3.76 kg)	8.0 lbs (3.63 kg) – 8.5 lbs

Significance of this Table: This table is crucial for understanding the physical footprint of a Jazzmaster. The numerical dimensions offer a clear, concise, and easily digestible reference for the guitar’s size. For guitarists, dimensions such as scale length, nut width, and weight directly impact playability and comfort. Body width and depth are important for understanding how the guitar feels against the body, especially when seated, and for practical considerations like case fit. While specific 1958 dimensions are not comprehensively listed in a single source, these modern examples provide a representative understanding of the Jazzmaster’s characteristic large, offset body and 25.5-inch scale, which have remained consistent throughout its history. This allows readers to conceptualize the instrument’s physical presence and compare it to other guitars they may know.

Chapter 2: The CBS Years – Transition and Transformation (1966-1980)

The acquisition of Fender by CBS in 1965 marked a pivotal moment, ushering in an era of mass-production changes that significantly impacted the Jazzmaster’s specifications, perceived quality, and market standing.

Mid-to-Late 1960s: Post-CBS Shifts

The CBS takeover in 1965, a $13 million purchase ¹³, initiated a shift towards a more mass-production style of guitar making. This period, particularly from late 1964 to early 1966, is often called the “transition” era, identifiable by serial numbers beginning with “L”.¹³ The changes that followed were gradual but, for many collectors, signaled a decline in the meticulous craftsmanship of the pre-CBS years.

Key Changes (Late 1965 – 1969):

Neck Aesthetics: White binding on the neck was introduced in late 1965, followed by the replacement of dot position markers with distinctive rectangle “block” inlays in mid-1966.⁷ During 1968-69, Fender also offered maple cap fretboards with black binding and block markers.¹²
Tuners: The reliable “Kluson-Deluxe” tuning gears were replaced by Fender’s own “F” style tuners in mid-1966.⁷ Curiously, some 1968 and 1969 Jazzmasters were found with rare factory-installed pearl button Fender/Grover tuners, though this was not a widely known or cataloged option.¹²
Headstock Evolution: The peghead shape was enlarged in mid-1967.⁷ By late 1967/early 1968, the traditional large headstock was modified to resemble the shape used on post-1965 Stratocasters, featuring a more curved outline compared to the earlier, straighter design.¹² The “swoopy Jazzmaster” moniker with motion lines also transitioned to a larger, bold block letter style around this time.¹²
Finish Material: A significant change occurred by 1967/68, when the traditional nitrocellulose lacquer finish was replaced by a thicker polyester finish.⁷ While the neck faceplates remained nitro, the body finish became heavier and glossier.⁷
Body Construction: Body construction transitioned from 2-piece to 3-piece alder, with occasional 4-piece bodies appearing, a change that could be seen as early as late 1966.¹²
Pickguard Color: The tortoise pickguard’s color shifted from a red with white chunks to a brown-red with more black swirls and fewer white chunks.¹²
Impact on Quality Perception:
The CBS era, generally considered from 1966 until the early 1980s, is widely perceived as the “low-point of Fender quality” by collectors.13 Post-1965 Fenders are often “automatically accepted as inferior instruments”.13 Quality control and materials problems began to emerge in late 1966.12 While it was still “far easier to find a ‘good’ Fender instrument from the 1966-69 period” compared to the mid-to-late 1970s, inconsistencies were more prevalent.12 Changes like less sculpted body contours and the introduction of cheaper, heavier bridge and saddle designs were implemented primarily to reduce production costs.13

The acquisition of Fender by CBS in 1965 initiated a fundamental shift in the company’s operational philosophy, moving towards a “mass-production style of guitar making”.¹³ This new philosophy led to specific, observable changes in guitar construction: less sculpted body contours, the widespread adoption of thicker polyurethane lacquers (replacing nitrocellulose), and a switch to less attractive ABS or vinyl pickguard materials.¹³ These changes were primarily driven by cost reduction and manufacturing efficiency. These modifications, while potentially improving durability or streamlining production, resulted in a distinct “CBS aesthetic” that departed significantly from the earlier “craftsmanship” era. The “less curvaceous” bodies and “heavier gloss” finishes were perceived by many collectors and purists as a decline in refinement and artistic quality.¹³ This created a sharp divide in the historical perception and collector value of Fender instruments, demonstrating how industrialization, even with practical benefits, can inadvertently alienate a segment of the market that values traditional craftsmanship and specific aesthetic qualities, leading to a long-lasting, often negative, legacy for a brand’s output during that period.

Jazzmasters from 1968-69 were characterized by inconsistent quality and the new polyester lacquer finish, and fewer units were produced.¹² This led collectors to “steer away” from them.¹² These guitars were largely seen as less desirable “orphans” due to their perceived quality issues and aesthetic departures from the highly coveted pre-CBS models. Their scarcity was initially a result of lower demand and production, not high desirability. While initially undervalued, the very scarcity and unique characteristics of these “inconsistent” CBS-era guitars (such as the rare factory-installed Grover tuners found on some 1968-69 models ¹²) could, over time, contribute to their own niche collectibility. As truly “pre-CBS” instruments become prohibitively expensive and rare, these “transitional” or early CBS models might gain appreciation for their historical significance as markers of Fender’s evolution, even if they do not command the same prices as their earlier counterparts. This demonstrates how market perception of “quality” can evolve, and rarity, even of less-favored models, can eventually translate into value as the historical narrative matures and older, more pristine examples become unobtainable.

The 1970s and Discontinuation

The 1970s continued the trend of cost-cutting and design modifications under CBS, ultimately leading to the Jazzmaster’s temporary demise.

Further Design Changes (1970s):
Major design changes were implemented in 1971, including a switch from the earlier four-bolt neck-plate to a three-bolt design.13 Many bridges and saddles were replaced with “cheaper, heavier designs”.13 The “bullet” truss rod system was introduced.13 All these changes were primarily driven by the imperative to “reduce production costs”.13
Discontinuation (1982):
After a continuous production run since 1958, the Fender Jazzmaster was officially discontinued in 1982 due to a lack of popularity.3 By the late 1970s and early 1980s, the Jazzmaster’s original appeal had waned. Its unique features, once innovative, were perhaps seen as outdated or overly complex compared to newer guitar trends and the simpler, more direct designs favored by rock musicians of the era.

The CBS ownership’s overarching business strategy prioritized “mass-production style” manufacturing and aggressive cost reduction.¹³ This strategy translated into tangible changes in guitar components: the shift to a three-bolt neck, the use of “cheaper, heavier designs” for bridges and saddles, and the standardization of polyurethane finishes.¹³ Each of these changes was explicitly linked to reducing production costs.¹³ This systematic and visible cost-cutting, while potentially improving short-term profitability for CBS, severely eroded Fender’s long-standing reputation for quality and craftsmanship among musicians and collectors. It directly contributed to the perception of the CBS era as the “low-point of Fender quality”.¹³ This illustrates how a relentless pursuit of efficiency and cost reduction, if not balanced with a commitment to product integrity and brand heritage, can significantly damage a brand’s long-term standing and the perceived value of its historical output, leading to a period of decline and eventual discontinuation for models like the Jazzmaster.

Chapter 3: The Resurgence – Japanese and American Reissues (1980s-Early 2000s)

After its discontinuation, the Jazzmaster experienced a phoenix-like rise, largely driven by its reintroduction through Japanese manufacturing and later by Fender’s American Vintage Reissue series.

The Japanese Rebirth (1980s-1990s)

The Jazzmaster’s story did not end with its 1982 discontinuation. Its unique appeal, though niche, persisted, leading to an unexpected rebirth in Japan.

Introduction of Japanese-Made Reissues (1986/87):
The Jazzmaster was officially re-introduced to the market in 1986/87 as a Japanese-made 1962 Reissue model.3 These models were initially produced for the Japanese domestic market as part of the highly “coveted” “Japanese Vintage” (JV) line (1982-84), predating their official cataloging.16 Fender Japan also offered a 1966 Reissue model (JM66B) with a bound neck and block inlays, parallel to the ’62, often featuring a small pre-CBS headstock.6 Japanese production played a crucial role in keeping the Jazzmaster alive and making it accessible again after its discontinuation.3
Key Differences and Characteristics of Early MIJ/CIJ Models:
A common and significant difference was that early Japanese-made Jazzmaster reissues often featured pickups that looked correct but were constructed differently, with a narrower, higher coil winding, making them sound “thinner” and more like “traditional single-coils” or “Strat-like pups in JM housings” rather than the distinctive wide, flat vintage Jazzmaster pickups.9 This was often considered the “weak” part of MIJ Jazzmasters.17 While some early MIJ models had cheaper pots and switches, newer MIJ Fenders (post-2016/17) have improved electronics, often with CTS pots and Switchcraft jacks.18 Despite pickup differences, the overall build quality, neck, and tuners of MIJ/CIJ Jazzmasters were often considered “fantastic” and “on par with a good U.S. one”.18 Many MIJ Jazzmasters used basswood bodies, unlike the alder of vintage American models.19 The finish was typically polyurethane, unlike the nitrocellulose of vintage American models.18 The stock bridges on CIJ Jags and Jazzes were often seen as a weak point, leading many users to replace them with Mustang bridges or Mastery bridges.18
Selling Points:
These Japanese reissues offered a more affordable entry point to the Jazzmaster design compared to rare vintage models.18 Their high build quality (aside from pickups/electronics) made them excellent platforms for modification.18 The “slim glossy necks” were often praised for their playability.19

The discontinuation of original Jazzmasters and their subsequent high cost created a significant demand void.³ The introduction of Japanese reissues offered the Jazzmaster form factor at an accessible price.³ To achieve this price point, early MIJ models often made compromises on pickup accuracy (resulting in a more Strat-like tone) and bridge stability.⁹ This strategic compromise, however, did not deter buyers. Instead, it fostered a robust modification culture. Players would acquire MIJ Jazzmasters for their excellent build quality and then upgrade the pickups, bridge, and electronics to achieve a more “vintage” or desired tone.¹⁸ This illustrates how a manufacturer’s strategic compromises can inadvertently empower a vibrant aftermarket and DIY community, extending the product’s lifecycle and appeal beyond its original factory specifications.

The emergence of Japanese reissues also created a fascinating dynamic in the guitar market. While American-made Fenders from the pre-CBS era were the gold standard for quality, the CBS era saw a perceived decline in American-made Fender quality.¹³ Into this context, Japanese reissues emerged with “fantastic” build quality, often “on par with a good U.S. one” ¹⁸, despite being more affordable. This created a situation where “import” guitars were challenging the perceived quality superiority of “American-made” instruments, particularly during a period when US Fender quality was questioned. The success and high regard for MIJ Fenders, including Jazzmasters, ultimately compelled Fender (USA) to re-evaluate its own manufacturing processes and quality control for its reissues, pushing for higher standards across its product lines. It also established Japan as a credible source for high-quality, vintage-accurate instruments, influencing global guitar manufacturing trends and consumer expectations.

American Vintage Reissues (1999 onwards)

Introduction of MIA Reissues (1999):
Fender introduced the American-made 1962 Vintage Reissue (MIA) in 1999.3 This marked Fender’s renewed commitment to producing vintage-accurate Jazzmasters in the USA.
Focus on Period-Correct Specifications (e.g., American Vintage ’65, American Original ’60s):
These models faithfully recreate the voice and style of the classic Jazzmaster, while adding smooth, modern playability.22 The body is typically alder with a nitrocellulose lacquer finish, allowing the wood to “breathe” for natural resonance and to age authentically.22 The neck is maple, often with a Mid-’60s “C” profile.22 The fingerboard is round-laminated rosewood, often with a 7.25″ radius and vintage-tall frets, or a 9.5″ radius on American Original series.22 It features pearloid dots.22
Pickups are Pure Vintage ’65 Single-Coil Jazzmaster pickups, meticulously researched and crafted to reproduce authentic design and voice, with period-correct details like enamel-coated coil wire, cloth-covered output wires, fiber bobbins, alnico 5 magnets, and flush-mounted pole pieces.²² Hardware includes a vintage-style floating tremolo with lock button, a bone nut, and “Witch Hat” control knobs.²² These instruments come with period-correct hardshell cases and “ephemera” like straps, cables, polishing cloths, and owner’s manuals.²²
Selling Points:
These reissues offer unparalleled vintage accuracy in sound, feel, and aesthetics, appealing to purists and collectors.24 The nitrocellulose lacquer finish is a key feature for those who appreciate natural aging and resonance.24 They also tend to have a higher resale value compared to Japanese reissues.18

The context of Japanese reissues, which had gained popularity but were known for certain inaccuracies in pickups and materials ¹⁷, influenced Fender USA’s response. The introduction of American Vintage Reissues (AVRI) in 1999 ³ marked a strategic move. The AVRI series focused on meticulous attention to “accurate detail” and “period-correct specs” ²², including features like nitrocellulose finish, bone nut, and specially voiced ’65 pickups.²² This demonstrates a competitive drive within Fender to offer the “most authentic” reissue, directly addressing the perceived shortcomings of earlier reissues (especially Japanese ones). It highlights how market demand for historical accuracy, fueled by collectors and purists, can push manufacturers to invest heavily in detailed historical research and precise replication, creating a dynamic of increasing authenticity in the vintage reissue market.

Chapter 4: Modern Interpretations – Player-Centric and Accessible Variants (2000s-Present)

Beyond strict reissues, Fender has developed a diverse range of Jazzmasters catering to modern players, offering updated features, enhanced playability, and more accessible price points.

Classic Player Series (2008)

Introduction: The Classic Player Jazzmaster Special was introduced in June 2008.³ These models are made in Mexico.²⁶
Modern Updates for Enhanced Playability:
The Classic Player series features dual special design “hot” single-coil Jazzmaster pickups, often described as “P-90 style” with fatter tone and more output.3 This is a notable departure from vintage Jazzmaster pickup construction.9 The guitar incorporates an Adjusto-Matic™ bridge with a vintage-style “floating” tremolo tailpiece and tremolo lock button.11 This bridge, similar to a Gibson Tune-o-matic, aims to address the stability issues of the original Jazzmaster bridge.11 The neck pocket is optimized for better neck pitch, increasing the back-angle for improved stability and sustain.26 The fretboard is rosewood or Pau Ferro with a 9.5″ radius and 21 medium jumbo frets, offering a more modern feel compared to the vintage 7.25″ radius.3 The tremolo plate is moved closer to the bridge to increase break angle and sustain.27 The series retains the classic Jazzmaster “lead”/”rhythm” dual-circuit design.27
Selling Points:
These guitars are designed for the “modern guitarist who wants a classic Jazzmaster” but with updated features.26 They offer a more “player-friendly” experience by addressing common vintage Jazzmaster quirks 3 and are more affordable than American-made models.

While vintage Jazzmasters are iconic, their original bridge and pickup designs could be temperamental or not suit modern playing styles.¹ The Classic Player series represents a deliberate shift in Fender’s reissue strategy from strict historical accuracy (as seen in the AVRI series) to prioritizing modern playability and addressing common player complaints about vintage designs. By introducing “hotter pickups,” an “Adjusto-Matic bridge,” and a “neck pocket with increased back-angle” ²⁶, this “playability over purity” approach broadened the Jazzmaster’s appeal to a new generation of musicians who valued performance and reliability over absolute vintage correctness. This strategy successfully “catapulted the Jazzmaster back on to the scene”.³

American Professional & Professional II Series

Introduction (American Pro 2017, Pro II 2020):
The American Pro Jazzmaster was introduced in 2017 7, followed by the American Professional II Jazzmaster in 2020.7
Contemporary Features for Modern Players:
These models feature an alder body with a gloss urethane finish.28 The neck is a “Deep C”-shaped maple profile, offering a hybrid C/U shape for comfort and speed.28 It features a “Super-Natural” satin urethane finish on the back for smooth playability.29 The fretboard has 22 narrow-tall frets for easier bending and modern playability.28
Pickups are Michael Frank-designed V-Mod Single-Coil pickups (American Pro) or V-Mod II Single-Coil Jazzmaster pickups (American Pro II).²⁸ These are voiced for classic tone with hot, consistent output, retaining high-end presence at any volume due to new treble bleed circuitry.²⁸ V-Mod II pickups are slightly overwound for punch and presence, with a push/push switch on the tone control to tap the bridge pickup for vintage tone.²⁹ The American Pro features a standard tremolo ²⁸, while the American Pro II features a 9.5” Radius Jazzmaster®/Jaguar® Bridge with Panorama™ Tremolo System, engineered for ultra-stable performance with brass Mustang saddles and a pop-in arm.²⁹ The Panorama tremolo increases vibrato range for deeper dives.²⁹ The American Pro II also includes a Series Mode Rhythm Circuit, putting both pickups in series for a thicker tone with increased output.²⁹ A new sculpted neck heel and beveled neck-plate improve access to the upper register.²⁹
Selling Points:
These are high-performance instruments designed for professional musicians, blending classic Jazzmaster aesthetics with modern playability and versatile tones. They address common Jazzmaster issues like bridge stability and upper fret access with contemporary engineering.

This series demonstrates Fender’s strategy of evolving the Jazzmaster beyond strict vintage reissues or basic player models. The American Professional series aims to create a “hybrid” instrument that retains the Jazzmaster’s core identity but integrates modern ergonomic and sonic improvements. The introduction of “V-Mod II Single-Coil Jazzmaster pickups” ²⁹, which are “slightly overwound for punch and presence,” and a “Panorama™ Tremolo System” ²⁹ that “increases vibrato range for deep, Strat-style dives” ²⁹, along with a “Deep C” neck profile and “narrow-tall frets” ²⁹, caters to contemporary players who demand versatility, enhanced performance (e.g., better tremolo range, easier bending), and a more “modern” feel, without completely abandoning the vintage aesthetic. This signifies a move towards making the Jazzmaster a truly contemporary workhorse, not just a retro icon.

Player Series

Introduction: The Player Jazzmaster (HH configuration) and Player II Jazzmaster (SS configuration) are part of Fender’s accessible, Mexican-made Player series.
Accessible Options with Modern Playability:
These guitars feature a contoured Alder body with a gloss polyester finish.30 The neck is a Modern “C”-shaped maple profile with a satin urethane finish on the back and a gloss headstock face.30 The fingerboard is rosewood or Pau Ferro with a 9.5″ radius, rolled edges, and 22 medium jumbo frets.30
For pickups, the Player Jazzmaster (HH) features Player Series Alnico 2 Humbucking pickups, with a push/pull pot for coil split.³¹ This is a significant departure from traditional Jazzmaster single-coils. The
Player II Jazzmaster (SS), on the other hand, uses Player Series Alnico 5 Jazzmaster Single-Coil pickups.³⁰ Controls are simplified to Master Volume and Master Tone.³⁰ The bridge is a Jazzmaster Bridge with Mustang Saddles and a Vintage-Style “Floating” Tremolo Tailpiece.³⁰ Tuning machines are Fender ClassicGear™ or Standard Cast/Sealed.³⁰
Selling Points:
The Player series offers classic Fender style and tone at an accessible price point, making the Jazzmaster available to a wider audience. The modern “C” neck profile and 9.5″ radius cater to contemporary playing preferences. The HH configuration provides a fatter, higher-output sound for rock genres, expanding the Jazzmaster’s sonic versatility beyond its traditional single-coil voice.

Vintera Series

Introduction: The Vintera Series aims to blend vintage aesthetics with modern playability, focusing on specific era details (e.g., Vintera II ’50s Jazzmaster).
Blending Vintage Aesthetics with Modern Playability:
These guitars feature an alder body with a gloss polyester finish.32 The neck is maple with a specific era-accurate profile (e.g., Late-’50s “C”-Shape for Vintera II ’50s Jazzmaster).32 The fingerboard is slab rosewood with a 7.25″ radius and vintage-tall frets, providing vintage comfort with room for bends.32 Pickups are Vintage-Style ’50s Single-Coil Jazzmaster pickups, designed to capture the “timeless singing, snapping, screaming and sparkling sound” of Fender single-coils.32 The series retains the classic Lead/Rhythm Circuit for versatile tone shaping.32 Hardware includes a vintage-style floating tremolo with a push-in tremolo arm and a 6-saddle adjustable bridge.32
Selling Points:
The Vintera series appeals to players who desire the look and feel of a specific vintage era but with the reliability of a modern instrument. It offers period-correct features like the 7.25″ radius and vintage-style pickups, while still being a new, affordable option.

Squier Jazzmasters

Introduction: Squier, Fender’s more affordable brand, offers entry-level Jazzmaster models, making the offset design accessible to beginners and budget-conscious players.
Entry-Level Options and Key Characteristics:

Squier Vintage Modified Jazzmaster (Discontinued 2019):
This model featured a basswood body.34 It had a maple C-shape neck, a 9.5″ radius rosewood (later Indian Laurel) fingerboard, and 21 medium jumbo frets.34 Pickups were Duncan Designed™ JM-101B/N Single-Coil Jazzmaster Pickups with AlNiCo 5 Magnets 34, often praised for sounding “too good” for the price.35 It included the classic dual-circuit design, a vintage-style bridge with floating tremolo, and a large ’60s style headstock.34
Squier Affinity Series Jazzmaster:
This series features a poplar body, which is thin and lightweight.36 It has a slim and comfortable “C”-shaped maple neck, a 9.5″ radius Indian Laurel fingerboard, and 21 medium jumbo frets.36 Pickups are two Squier ceramic single-coil Jazzmaster pickups.36 Hardware includes a modern 2-point tremolo bridge for superior tremolo action and sealed die-cast tuning machines with split shafts.36 Controls are simplified to Master Volume and Master Tone.36
Squier 40th Anniversary Jazzmaster: This line offers Gold Edition models (Lake Placid Blue, Olympic White) and Vintage Edition models (Satin Seafoam Green, Satin Desert Sand).⁷
Squier Contemporary Active Jazzmaster HH: This variant features humbuckers and active electronics, a significant departure from traditional Jazzmaster voicing.⁷
Selling Points:
Squier Jazzmasters offer an extremely affordable entry point into the Jazzmaster world. They provide modern playability features (e.g., 9.5″ radius, medium jumbo frets) and serve as a good platform for modding and experimentation, especially for beginners.35

The market for guitars includes players with diverse budgets, and many are drawn to the Jazzmaster’s unique aesthetic and sound but cannot afford high-end Fender models. Squier’s role is to offer Jazzmasters at significantly lower price points (e.g., Vintage Modified MSRP $499.99 ³⁴). This strategic differentiation involves using more affordable woods (basswood, poplar) and sometimes different pickup types (Duncan Designed, Ceramic, HH) or simpler electronics.³⁴ This “accessibility ladder” strategy allows Fender to capture a broader market, from beginners to experienced players on a budget. It introduces the Jazzmaster design to a new generation, potentially fostering future Fender customers. The variations in specifications (e.g., humbuckers in some Squier models) also demonstrate a willingness to experiment with the Jazzmaster platform at lower price points, testing new market segments and sonic possibilities.

Made in Japan Traditional & Heritage Series

Continued Japanese Excellence:
Fender Japan continues to produce high-quality Jazzmaster models, known for their craftsmanship.19

Made in Japan Traditional 60s Jazzmaster:
This model features a basswood body with a gloss polyester finish.21 The neck is maple with a “U” shape profile, a 9.5″ radius rosewood fingerboard, and 21 vintage-style frets.37 Pickups are Vintage-Style Single-Coil Jazzmaster pickups, selected for the Traditional series to produce “realistic and musical vintage tones”.37 However, some reports indicate these pickups are still “closer to a strat pickup in a jazzmaster casing”.19 It includes the classic dual-circuit, vintage-style hardware, and often features unique finishes like pearl coatings or competition stripes.37
Made in Japan Heritage 60s Jazzmaster:
This series features an alder body (ash for blonde) with a nitrocellulose lacquer finish.21 The neck has a “Thin C” profile, a proper vintage 7.25″ radius with clay dots, and a veneer fretboard.21 It includes “premium vintage pickups” which are more accurate to original Jazzmaster pickups.21

Varying Degrees of Vintage Accuracy:
The Heritage series is noted for being a very accurate recreation of a late 1962-early 1964 Jazzmaster, even down to the veneer fretboard.21 In contrast, the Traditional series offers a vintage look but incorporates “shortcuts” and a more modern-feeling/playing neck.21
Selling Points:
These models offer high-quality Japanese craftsmanship, often seen as a strong alternative to American models.19 The Heritage series provides near-AVRI level vintage accuracy at a potentially lower price point.21 The Traditional series provides a blend of vintage looks with modern playability.

Fender’s Japanese manufacturing employs a tiered approach to authenticity, catering to different segments of the vintage-style market. The introduction of both “Traditional” and “Heritage” series ²¹ exemplifies this. The Traditional series utilizes basswood, a poly finish, a 9.5″ radius, a “U” neck profile, and pickups that are less accurate to vintage Jazzmasters; while the Heritage series features alder (or ash), a nitro finish, a 7.25″ radius, a “thin C” neck profile, clay dots, a veneer fretboard, and “premium vintage pickups”.²¹ This strategy allows Fender to cater to varying player preferences, acknowledging that not all players prioritize absolute vintage accuracy (Traditional), while simultaneously offering a premium, highly accurate option (Heritage) for purists who might not want to pay American Custom Shop prices. This approach maximizes market penetration by offering different levels of “authenticity” and playability at various price points, demonstrating a sophisticated understanding of consumer preferences within the global guitar market.

Chapter 5: Signature Sounds – Artist Models and Unique Editions

The Jazzmaster’s unique character has attracted numerous influential artists, leading to signature models that often reflect their personalized modifications and distinct playing styles.

J Mascis Jazzmaster (2007):

Artist: J Mascis, frontman of Dinosaur Jr., a pioneer of alternative rock.⁷
Key Features: Basswood body, C-shaped maple neck, 9.5″ radius rosewood (later Indian Laurel) fingerboard with 21 jumbo frets.³⁸ Two single-coil Jazzmaster pickups.³⁸
Unique Modifications/Aesthetics: Often features a striking Purple Sparkle finish ¹¹ or Vintage White ³⁸, a gold anodized aluminum pickguard, and aged white plastic parts.³⁸ Crucially, it includes an Adjusto-Matic bridge, a common modification for Jazzmaster aficionados to improve stability.¹¹ It retains the classic dual-circuit design.³⁸
Selling Points: Offers a “beefier sound than traditional single coils” and a “vintage handful with a modern radius” neck.³⁸ It is known for taking effects well and having versatile wiring.³⁸ This model provides tremendous tone and value, making it highly recommended.³⁸
Elvis Costello Signature Jazzmaster (2008):

Artist: Elvis Costello, influential singer-songwriter.⁷
Unique Features: Modeled after Costello’s original Jazzmaster, known for its distinct walnut stain finish and specially designed tremolo arm.¹¹
Thurston Moore & Lee Ranaldo Jazzmasters (2009):

Artists: Thurston Moore and Lee Ranaldo of Sonic Youth, known for their experimental, noisy, avant-garde approach to guitar.⁷
Unique Modifications: These models famously “stripped down and hot rodded right through the roof”.⁴¹ Common features include a lack of the traditional Jazzmaster tone and rhythm circuit controls, featuring just a single master volume knob.¹¹ They have a satin lacquer finish and satin black painted headstock.³⁹ The bridge is an American Vintage Jazzmaster tremolo with an Adjusto-Matic bridge and tremolo lock button.³⁹ Both feature a black anodized aluminum pickguard.³⁹

Thurston Moore: Alder body, Maple “C” neck, Rosewood 7.25″ radius fingerboard with 21 Jumbo Frets.³⁹ Features two Seymour Duncan Antiquity II for Jazzmaster Pickups.³⁹ Available in Forest Green Transparent.³⁹
Lee Ranaldo: Alder body, Maple “C” neck, Rosewood 7.25″ radius fingerboard with 21 Vintage Style Frets.⁴⁰ Features two new Fender “Wide Range” Humbucking Pickups re-voiced to original vintage spec.¹¹ Available in Sapphire Blue Transparent.⁴⁰
Selling Points: Designed for players who appreciate Sonic Youth’s experimental ethos and a simpler, more direct tonal approach. The humbuckers on Ranaldo’s model offer a distinct, fatter sound.⁴⁰
Troy Van Leeuwen Signature Jazzmaster (2014):

Artist: Troy Van Leeuwen, known for his work with Queens of the Stone Age and his precise, detailed approach to guitar.⁷
Key Features: Alder body, maple neck with a mid-’60s “C” profile, bound rosewood or maple fingerboard with 7.25″ radius and block inlays.¹⁴ Dual American Vintage ’65 Jazzmaster single-coil pickups.¹⁴
Unique Modifications/Aesthetics: Custom color finishes like Copper Age or Oxblood with matching headstock.⁴³ Features chrome-plated brass Mustang saddles and Jazzmaster floating tremolo.⁴³ Replaces the traditional two-way slide switch for the rhythm circuit with a chrome two-way toggle for easier accessibility.⁴³
Dimensions: Overall length approximately 40.5-41.0″, body length 18.75″, body width 14.5″, body depth 1.75″, weight around 8-8.3 lbs.¹⁴
Selling Points: Blends vintage aesthetics with player-specific enhancements, offering versatile electronics and a refined feel for precision players.
Other Notable Signature or Limited-Edition Models:
The Jazzmaster has seen various other artist and limited editions, including the Jim Root Signature Jazzmaster (2014) 7, a Japanese Limited Edition (1994/95) with an Olympic White Blond body and golden hardware 7, the ’66 Classic Jazzmaster Limited Edition in Candy Apple Red (2009) 7, the Blacktop Jazzmaster HS (2010) which features a humbucker in the bridge position 7, the Made in Japan Hybrid Jazzmaster Indigo (2018) 7, the 60th Anniversary ’58 Jazzmaster Limited Edition (2018) 7, and the American Ultra Jazzmaster (2019).7

The traditional Jazzmaster control layout is known for its complex dual-circuit system with lead/rhythm switches and multiple knobs.¹ However, the artist models for Thurston Moore and Lee Ranaldo of Sonic Youth famously remove most of these controls, leaving just a single master volume.¹¹ Ranaldo’s model also swaps traditional single-coils for humbuckers.⁴⁰ These artist models demonstrate that for some musicians, the perceived “complexity” of the Jazzmaster’s original design was a hindrance, not a feature. By simplifying the controls and altering the pickups, these artists (and Fender, by producing their signature models) are effectively re-imagining the traditional Jazzmaster to suit a more direct, often aggressive or experimental, playing style. This shows how artist influence can push a manufacturer to produce radical variations that challenge the very “DNA” of a classic instrument, highlighting the guitar’s adaptability beyond its original design intent.

Artist models also serve as a crucial feedback loop for Fender. Artists like J Mascis, who favored an Adjusto-Matic bridge ¹¹, or Troy Van Leeuwen, who preferred Mustang saddles and a toggle switch for the rhythm circuit ⁴³, make specific modifications to their Jazzmasters to improve playability or achieve a desired sound. When Fender collaborates with these artists to produce signature models incorporating these modifications, it allows the company to test out player-driven innovations on a smaller scale. If these signature models prove popular, the “custom” features (e.g., Adjusto-Matic bridge, different tremolo placement) can then be incorporated into mainstream production models (e.g., Classic Player series, American Professional II).²⁷ This demonstrates how artist collaboration directly informs and shapes the evolution of Fender’s standard offerings, making the Jazzmaster more versatile and appealing to a broader contemporary audience.

Table 2: Evolution of Key Jazzmaster Specifications by Era

Era/Model Type	Body Material	Body Finish	Neck Profile	Fingerboard Material	Fingerboard Radius	Fret Type	Pickup Type	Bridge Type	Notable Features/Changes	Country of Manufacture
Pre-CBS (1958)	Alder	Nitrocellulose Lacquer	“C” Shape	Slab Rosewood	7.25″	Vintage-Style	Wide Single-Coil (Hum-Cancelling)	Floating Tremolo w/ Lock Button	Anodized Pickguard, Dual Circuit, Clay Dots, Slab Fretboard	USA
Pre-CBS (1959-1965)	Alder	Nitrocellulose Lacquer	“C” Shape	Slab/Veneer Rosewood	7.25″	Vintage-Style	Wide Single-Coil	Floating Tremolo w/ Lock Button	Celluloid/Plastic Tortoise Pickguard, Pearl Dots, Witch Hat Knobs	USA
CBS Era (1966-1980)	Alder (2-4 pc)	Polyester	“C” Shape	Veneer Rosewood/Maple	7.25″	Vintage-Style	Wide Single-Coil	Floating Tremolo w/ Lock Button	Neck Binding, Block Inlays, “F” Tuners, Enlarged Headstock, 3-Bolt Neck Plate	USA
MIJ Reissues (1980s-90s)	Basswood	Polyurethane	“C” Shape	Rosewood	7.25″/9.5″	Vintage-Style	Narrower Single-Coil (Strat-like)	Floating Tremolo w/ Lock Button	Cost-effective entry, often modded pickups/bridge	Japan
American Vintage (1999+)	Alder	Nitrocellulose Lacquer	Mid-’60s “C”	Round-Lam Rosewood	7.25″	Vintage-Style	Pure Vintage ’65 Single-Coil	Floating Tremolo w/ Lock Button	Period-correct details, Bone Nut, Flash Coat Lacquer	USA
Classic Player (2008)	Alder	Polyester	“C” Shape	Rosewood/Pau Ferro	9.5″	Medium Jumbo	“Hot” Single-Coil (P-90 style)	Adjusto-Matic Bridge w/ Floating Tremolo	Optimized Neck Pocket, Increased Break Angle, Modern Playability	Mexico
American Pro II (2020)	Alder	Gloss Urethane	Deep “C”	Maple/Rosewood	9.5″	Narrow Tall	V-Mod II Single-Coil	Panorama™ Tremolo w/ Mustang Saddles	Sculpted Neck Heel, Series Mode Rhythm Circuit, Push/Push Tone Tap	USA
Player Series (Modern)	Alder	Gloss Polyester	Modern “C”	Rosewood/Pau Ferro	9.5″	Medium Jumbo	Player Series Alnico 5 SS / Alnico 2 HH	Jazzmaster Bridge w/ Mustang Saddles	Accessible price, HH option w/ coil split, Modern Playability	Mexico
Vintera II ’50s (Modern)	Alder	Gloss Polyester	Late-’50s “C”	Slab Rosewood	7.25″	Vintage Tall	Vintage-Style ’50s Single-Coil	Floating Tremolo w/ Lock Button	Blends vintage aesthetics with modern reliability	Mexico
Squier Affinity (Modern)	Poplar	Gloss Polyurethane	“C” Shape	Indian Laurel	9.5″	Medium Jumbo	Ceramic Single-Coil	2-point Synchronized Tremolo	Lightweight, Entry-level, Modern Tremolo	China/Indonesia
MIJ Heritage (Modern)	Alder/Ash	Nitrocellulose Lacquer	Thin “C”	Veneer Rosewood	7.25″	Vintage-Style	Premium Vintage Single-Coil	Floating Tremolo w/ Lock Button	Highly vintage-accurate, Clay Dots, Veneer Fretboard	Japan
MIJ Traditional (Modern)	Basswood	Gloss Polyester	“U” Shape	Rosewood	9.5″	Vintage	Vintage-Style Single-Coil (Strat-like)	Floating Tremolo w/ Lock Button	Vintage look, Modern feel, Unique finishes	Japan

Significance of this Table: This comprehensive comparative table is central to understanding the Jazzmaster’s evolution. It directly addresses the request to organize specifications and changes by year/model. By presenting key features side-by-side across different eras and variants, it allows for easy identification of trends and specific modifications. For enthusiasts, it serves as an invaluable quick reference guide to differentiate between models, understand the historical context of various features, and track the shifts in Fender’s design philosophy over decades. This structured format simplifies the complex history of the Jazzmaster, making its intricate variations more accessible and comprehensible.

Conclusion: The Enduring Legacy of the Jazzmaster

The Fender Jazzmaster’s journey is a remarkable narrative of design, adaptation, and unexpected triumph. Conceived in 1958 as Fender’s flagship instrument to conquer the jazz market, it initially failed to resonate with its intended audience, only to find an exuberant home in the burgeoning surf rock scene of the 1960s. After a period of decline and discontinuation in 1982, it experienced a phoenix-like resurgence, first through high-quality Japanese reissues, and later with Fender’s own American Vintage and modern player-focused series.

Its enduring appeal and versatility stem from several key factors:

Unique Sonic Character: The distinctive wide single-coil pickups, in both vintage and accurate reissue forms, offer a unique tonal palette that sets the Jazzmaster apart from its Stratocaster and Telecaster siblings. Its mellow yet articulate voice, combined with the expressive capabilities of its tremolo, has consistently attracted musicians seeking a distinct sound.
Expressive Tremolo System: Despite initial quirks that led to aftermarket innovations, the Jazzmaster’s floating tremolo remains a beloved feature. It offers a unique feel and a wide range of vibrato effects, from subtle shimmer to radical dives, making it an indispensable tool for genres that thrive on atmospheric and textural sounds.
Ergonomic Design: The iconic offset body, originally designed for seated jazz players, provides exceptional comfort and balance, whether played seated or standing. This thoughtful ergonomic design has contributed significantly to its long-term playability and appeal across diverse musical styles.
Adaptable Platform for Modification: The Jazzmaster’s inherent design, coupled with the availability of various reissues across different price points, has made it an incredibly popular platform for customization and experimentation. The willingness of players to modify pickups, bridges, and electronics has fostered a vibrant subculture that continually redefines the instrument’s capabilities.
Profound Cultural Impact: Its association with influential artists across a spectrum of genres—from surf rock pioneers to indie and alternative rock icons—has cemented its place in music history. These artists have not only championed the Jazzmaster but have also pushed its boundaries, inspiring Fender to create signature models that reflect radical deconstructions and innovative enhancements.

The Jazzmaster is more than just a guitar; it is a testament to adaptability, unexpected success, and enduring innovation. Its evolution reflects not only changes in manufacturing and market strategy but also the dynamic interplay between instrument design and the creative demands of musicians. From its initial misstep to its current status as a versatile workhorse and cherished icon, the Fender Jazzmaster continues to inspire musicians worldwide, proving that a truly great design can transcend its original purpose and find lasting relevance in ever-evolving musical landscapes.