Fender Jazz Bass FL American Professional II RW Olympic White
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Manufacturer Information
Fender
https://www.fender.com
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Fender (EDC) B.V.
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A Modern Jazz Bass, Heir to Over 60 Years of Evolution
With the American Professional II, Fender evolves a classic by adapting it to current demands: a more "natural" playing feel, more refined finishes, and redesigned electronics. This fretless version retains the Jazz Bass DNA while pushing comfort and definition further, offering a bass that feels immediately familiar but significantly more refined in the details.
For Which Bassists and Styles?
The American Pro II Jazz Bass Fretless is aimed at intermediate to professional bassists seeking true dynamics under the fingers and controlled intonation without frets. It excels in jazz, fusion, soul, funk, pop, and atmospheric music-anywhere expressiveness (vibrato, glissando, nuances) is front and center. Thanks to its two volumes and master tone, it easily shifts from a round, full sound to a more biting and articulate attack.
Sound
The pair of V-Mod II Single-Coil Jazz Bass pickups delivers a clear, punchy, and precise reproduction, with excellent note separation: ideal for singing fretless lines and very defined placements. The alder body contributes to overall balance (firm lows, present mids, clear highs), while the rosewood fingerboard promotes a soft touch and warm response. The HiMass Vintage bridge enhances stability and sustain, and the possible String-Through-Body or Top-Load mounting allows you to adjust feel and resonance according to your playing style.
Technical specifications
| Left handed | No | Fingerboard | Rosewood |
| Strings | Steel | Nbrs of frets | 0 |
| Nbr of strings | 4 | Color | White |
| Type | fretless electric bass | Nut | bone |
| Body Shape | Jazz Bass | Nut Material | bone |
| Wood | alder | Nut Width | 1.5" / 38.1 mm |
| Body Finish | glossy polyurethane | Scale Length | 34" / 864 mm |
| Pickguard | 4-ply tortoise shell | Hardware | nickel/chrome |
| Knobs | vintage-style black plastic Jazz Bass | Bridge | HiMass Vintage 4-saddle (String-Through-Body or Top-Load) |
| Orientation | right-handed | Tuners | lightweight vintage-style Fender keys with tapered shafts |
| Neck Construction | 4-bolt | Configuration | SS |
| Neck Profile | Slim "C" | Pickup Configuration | SS |
| Neck Shape (refinement) | C shape | Pickup Type | Single Coil |
| Neck Finish | satin "Super-Natural" urethane finish on the back, glossy urethane headstock | Neck Pickup | V-Mod II Single-Coil Jazz Bass |
| Neck Material | maple | Bridge Pickup | V-Mod II Single-Coil Jazz Bass |
| Radius | 9.5" / 241 mm | Switch | none |
| Frets | 20 (fretless) | Controls | Volume 1 (neck pickup), Volume 2 (bridge pickup), Master Tone |
| Fret Size | fretless | Case/Cover | luxury molded case (included) |
| Inlays | White Line Fret Markers | ||
Questions frequently asked
Is the Fender Jazz Bass American Professional II Fretless suitable for jazz and fusion?
This model is suitable for jazz, fusion, soul, funk, pop, and atmospheric music styles. The rosewood fretless fingerboard allows for vibrato, glissando, and dynamic nuances with a warm response.
What is the neck like on this fretless Jazz Bass?
The neck is made of maple with a Slim "C" profile, a nut width of 38.1 mm, and a 864 mm scale length. Its back features a satin "Super-Natural" urethane finish, while the headstock has a glossy urethane finish. The 241 mm radius and White Line Fret Markers support playing without frets.
What pickups are installed on this bass?
Two V-Mod II Single-Coil Jazz Bass pickups are mounted in the middle and bridge positions. Controls include a volume knob for each pickup and a master tone control, with no selector switch.
Does the bridge allow for string-through-body mounting?
The 4-saddle HiMass Vintage bridge supports both String-Through-Body and Top-Load stringing methods, using steel strings.
Is a case included with this Fender bass?
A deluxe molded case is included. The alder body features a glossy Olympic White polyurethane finish and a 4-ply tortoiseshell pickguard.



