gradually declined, both the Precision and Jazz Bass models eventually began to be produced without bridge/tailpiece covers. A number of cosmetic changes were made to the instrument when CBS purchased the Fender companies in 1965. During 1965/66, the Jazz Bass received bound rosewood fingerboards with pearloid dot position inlays (which replaced the older "clay"-style of the early 1960s) and oval-shaped tuning machines. Block-shaped fingerboard inlays and an optional maple fingerboard were introduced after 1966/67. At first, necks with rosewood fretboards received pearloid blocks/binding, and maple fretboard necks received black. Fender switched to pearloid blocks/binding on all necks in mid-to-late 1973. Fender also switched to the three-bolt neck "micro-tilt adjustable" neck and the "bullet" truss rod in mid-to-late 1974, before reverting to the more standard four-bolt neck fixing and dot-shaped fretboard markers in 1983. White pickup covers and a pickguard/control plate were introduced the same year. In 1986, Fender introduced the Japanese-made Fender Performer Bass, also with micro-tilt neck, designed by John Page and intended to be an Elite version of the Jazz Bass; however, the radical styling was not popular and production ceased the same year. Two other changes that were more important to the tone of the instrument also occurred in the early 1970s. From 1960 until late 1970, the two pickups on the Jazz Bass were spaced apart. The bridge pickup was then moved closer to the bridge, creating a spacing of . Many players believe that this change contributed to a somewhat brighter tone from the bridge pickup. According to Fender itself, this change happened in 1972. However, Fender's own history is clearly incorrect, as there are unquestionably examples of Jazz basses made in late 1970 that use the 4" pickup spacing. Both 3.6" and 4' spacing are found in Jazz basses made in 1971, and there are even a few Jazz basses made in 1972 that use the older 3.6" spacing. Around the same time, Fender began using ash for most of the instrument bodies. Prior to the early 70's, most Jazz basses had bodies made of alder, except for those that were finished in a clear or ("natural") finish - for those basses, ash was nearly always the wood of choice. In the early 70s, ash bodies became increasingly common, and by 1974 ash bodies were the rule, rather than the exception. Ash is generally thought to produce a somewhat brighter (and correspondingly less warm)