Epiphone Eb1

epiphone eb-1

I guess I could complain about the stark white color of the plush lining that Gibson is now using inside their hardshell cases – as I’ve mentioned in earlier reviews, I suspect it will tend to get dirty over time and may not look as nice after a few years as it does now… but again, that’s a minor quibble. The Canadian-built case is rugged and well-constructed, fits  of felix pappalardi bass sound the EB Bass like the proverbial glove Epiphone Eb1, and at this price, it’s nice to see a solid case included with the bass instead of a gig bag. Sonically, this is a really versatile bass. Rolling off the tone control and using the neck pickup results in a darker tone that is similar to what you’d hear on an old Motown record, while opening it up reveals much brighter and more articulate timbres that can really cut through; especially when using the bridge pickup. While the EB Bass can get big, beefy tones, it’s by no means limited to them. Both pickups have a lot more output than you might expect from passive pickups – even when coil-split for single coil sounds. Various combinations of the two pickups can easily be blended with the separate volume controls, and the coil tapping works wonderfully, giving you even more tonal options.

The Epiphone Eb1 is well-built, extremely comfortable to play, balances well (it doesn’t fight you when worn on a strap), and I think the new shape looks cool in a retro/modern sort of way. It’s definitely something a bit different than the earlier EB series basses from Gibson, and yet not too far out in left-field either. If players can get past some of the myths and misconceptions and give the EB Bass a fair try, I think a lot of them are going to be quite impressed with it – I know I was.

In 1970 I heard a hard rock band called ‘Mountain’ which just blew me away. The band consisted of an incredible lead guitarist by the name of Leslie West. Corky Laing commanded the drums like no other. Steve Knight on keyboards added subdued textures to the loud, “in your face” mix. Finally my hero, the late Felix Pappalardi. Felix had a degree in music from the University of Michigan but unable to find a suitable employment conducting an orchestra, garnered fame as producer for the supergroup trio ‘Cream’. In 1969 Felix met Leslie and formed ‘Mountain’.
Felix’s bassmanship and finesse on the Epiphone Eb1 was unlike anything I had heard before. His tone was unique and sounded like a buzz saw which complemented the bombastic sounds emanating from Leslie’s Les Paul Jr guitar. Felix developed his sound by playing a rather unpopular Gibson bass called the EB-1 (simply, the Electric Bass One). Rumour has it that Felix had this violin shaped short scale (32″) bass modified by Gibson with some sort of electronic circuitry (or perhaps just different capacitors) which when driven by his Sunn amplifiers, gave it that unique buzz saw sound. The violin shaped Gibson EB-1 should not be confused with the violin shaped Hofner Bass played by Paul McCartney in “The Beatles”. The Epiphone Eb1 can also be seen in action being played by the phenomenal Jack Bruce in the 2005 ‘Cream’ reunion DVD at Royal Albert Hall in London.

Looking far and wide I was able to locate an EB-1 in London England which a friend of mine was willing to pick up for me but I also found one in Lansing Michigan. I just had to have it so I scraped together my savings, my salary, yet being childless, I couldn’t offer my first borne – I made the purchase.I am the proud owner of a 1957 Gibson Epiphone Eb1 in pristine condition with all original parts.

Epiphone Eb 1

epiphone eb-1

The new Epiphone Eb 1’s unprecedented blend of power, fidelity, and versatility comes courtesy of an incredible pair of new Gibson bass pickups by Jim DeCola that give bassists the best of both worlds in cool bass tone. These newly designed pickups blend genuine Alnico V rod magnets with proprietary winding methods and other materials for a more focused tonality, taking you from thundering humbucker rumble to gutsy robust single coil tones on demand. Pop up either pickup’s volume control to access a new frequency tuned coil tap for a fatter single coil tone and better output balance, with hum canceling when both pickups are combined, and low-noise operation when used individually. Blended as desired via independent volume controls and a master tone control, they are wound for warmth and clarity in the neck position, and a hotter, punchier tone in the bridge position for maximum rumble—or blend infinitely at will to create your own sonic brew.

A great, highly engineered Babicz™ full contact Epiphone Eb 1 bridge feeds these incredible pickups with the optimum clarity and sustain, while being easily adjustable for perfect intonation, completing a new jack bruce bass rig Bass that looks and feels entirely “classic,” yet offers a versatile contemporary performance that every modern bassist will appreciate. Check out the new Epiphone Eb 1 today at your authorized Gibson dealer, and see what these new heights of tone and playability can do for your music.

Each EB Bass includes a Gibson hardshell case and owner’s manual, and is covered by Gibson’s Limited Lifetime Warranty and 24/7/365 Customer Service.While some of Gibson’s earlier basses have had a tendency to be neck-heavy due to their design, their strap button locations, and the way they balance on a strap, that’s just not an issue with the EB Bass. To test it, I used the thinnest (2″) and slickest (nylon-backed) strap I could find laying around instead of my usual wide (3″), rough suede-backed leather bass strap, and when I took my hands away, the EB Bass stayed wherever I had last positioned it, without the neck heading immediately for the floor. In other words, it’s a well-balanced bass that’s very comfortable to hold and play, even when using a strap. All Gibson basses are neck-heavy? Well, not this one, so that’s another myth busted.

I honestly don’t have any significant complaints. Sure, the satin finish was most likely done as a cost-cutting measure so Gibson could bring this Epiphone Eb 1 in at the highly competitive $1,000 “street” price point, but the looks of the bass are still quite nice, regardless of the lack of gloss. In fact, some players may prefer the satin – it certainly is less likely to show fingerprints than a gloss finish would, and it does look quite nice in its own right.

Gibson Eb Bass Review

gibson eb bass review

The Gibson Eb Bass Review has deep roots in rock’n’roll, with its SG-derived body and chunky pickups rumbling out the low end for countless rockers from the ’60s to today. Now Gibson USA blends its knack for innovation with Gibson tradition in an ingenious reinvention of the format to bring you the new EB Bass, one of the most powerful and versatile four strings available today. The new EB Bass marries a brand new and extremely comfortable body shape to a glued-in, full-scale neck and two awesome sounding new humbucking bass pickups for unprecedented power and fidelity. Whether you play in-the-pocket funk, warm and sultry jazz, or raging rock, the Gibson Eb Bass Review is primed to take it on. It looks great in the process, too, in your choice of four gorgeous grain-textured nitrocellulose lacquer finishes, in Natural Satin, Satin Ebony, Satin Cream, and Satin Fireburst, each offset by a stylishly swept-back red tortoise pickguard.

Gibson Eb Bass Review from jack bruce basses USA lies in a solid ash body and glued-in maple neck. Ash has long been respected for its open, resonant tone, and lends itself perfectly to a rich, versatile-voiced bass. A glued-in solid Grade-A maple neck adds punch and clarity to the brew, and feels superbly playable with its rounded profile that measures .800″ at the 1st fret and .900″ at the 12th. Its unbound genuine rosewood fingerboard follows the full 34″ scale length, and carries 20 medium jumbo frets, all easily reached by the playing hand thanks to the Gibson Eb Bass Review’s new offset double-cutaway styling. Up at the other end, a traditional Gibson headstock and high-quality Grover™ tuners stick with tradition, while a precision PLEK cut Corian™ nut optimizes sustain and intonation.

The pickups of Gibson Eb Bass Review also feature a coil tap – by pulling the volume control for the associated pickup away from the body, you kick it into single-coil mode. Gibson refers to this as a “frequency compensated coil tap”, and it really does sound great – there’s not a huge volume drop when you go to single coil mode, which is very nice. The timbres are definitely brighter and more focused in single coil mode. All Gibson basses are muddy? Not this one, so let’s put that myth to rest too. Noise is very low when running either pickup alone in single coil mode, and when running them together, they’re hum canceling, even when coil tapped.

Epiphone Eb-1

epiphone eb-1

The neck isn’t tiny, but it’s not a gigantic monster either. I suspect players with a wide variety of hand shapes and sizes will like it. Epiphone Eb-1 has a rounded profile, and it’s nice and thin from the fingerboard to the back of the neck (I measured .812″ at the first fret, .905″ at the 12th fret) and not too narrow or wide – the neck on the review unit is 1.650″ wide at the nut, and it widens out a bit as you move up the fretboard, measuring 2.185″ wide at the 12th fret according to my digital calipers. The satin nitro finish on the mildly-figured maple feels really good, and you can fly around this neck quite easily. Best of all, there were no noticeable dead spots to be found anywhere.

The neck of Epiphone Eb-1 violin bassfeatures a volute on the back where it meets the headstock. Volutes have been used on some Gibson models in the past (particularly from 1969 to 1981), and generally their purpose is to strengthen the headstock / neck joint to make it less likely to break. The headstock is angled back a few degrees, but it appears that there is no second piece of wood glued on to form the headstock; rather, it’s a continuation of the same single piece of maple that forms the rest of the neck. The face of the traditional Gibson “open book” shaped headstock is satin black, and adorned with a simple Gibson bell shaped truss rod cover and a gold Gibson logo.

The nut of Epiphone Eb-1 is Corian, and once again I must point out the excellent Plek assisted setup job on this instrument – it plays fantastic right out of the case, with great intonation, excellent buzz-free action, and no need for adjustments of any kind. Gibson’s set-up work on all of the instruments I’ve tried lately has been simply superb.The new EB Bass comes equipped with two humbucking pickups. There are two volume controls (one for each pickup) and a master tone control. No pickup switching is available; instead, the pickups can be used individually, or combined in various ratios by adjusting their individual volume controls.

The pickups in the Epiphone Eb-1 Bass, which were designed by Gibson luthier Jim DeCola, are really beefy humbuckers. They feature Alnico V rod magnets and have a thick, rich tone with great fundamental and lots of bottom; but there’s also great definition and brassiness to the mids and highs, and the rich bottom isn’t there at the expense of the rest of the sonic spectrum.

 

Gibson Eb Guitar Sale

gibson eb

The more I got into writing this review, the more it’s felt of Gibson Eb like I was writing an episode of Mythbusters. When I write a review, I like to have a look around various forums to see what comments people are making, and to make sure that I have not overlooked any questions that people are asking about the instrument. In this case, I noticed that there are a few misconceptions about Gibson basses, as well as a few comments and opinions being shared about this bass by people who have obviously never had the opportunity to try one. Some of the comments about Gibson basses that I saw included statements that Gibson’s a guitar company and basses really aren’t a priority for them (considering the wide variety of bass models they’ve offered over the years, I think we can dismiss that myth immediately), as well as comments about their basses all sounding muddy, or complaints about them being neck-heavy, or not very versatile from a sonic standpoint. Are these comments based on facts that apply to the EB Bass, or just examples of the uninformed and baseless opinions you sometimes read online? We’ll be considering all of those things, and much more, as the review progresses.

gibson eb-1 violin bass’s first bass, the Gibson Eb Guitar Sale jack bruce sg bass, was a violin-shaped instrument that was first introduced back in 1953. Later EB series basses like the EB-0 (1959) and EB-3 (1961) both featured more SG-inspired body shapes after the SG-Les Paul’s introduction in 1961. Although the EB-3L was available for players who wanted a 34″ scale length, both models more commonly came with short scale (30.5″) necks. While some of these earlier basses did indeed sound rather dark, their original goal was to replicate an upright bass tone, which is darker too. As time went on, Gibson’s basses also changed, and many models that were introduced in the 70s or later are far from dark or muddy-sounding, so there’s another myth busted.

Gibson claims the new EB (which stands for “Electric Bass”) has an “SG-derived body”, and while there may be some hints of the SG shape in the elongated horns of the EB body’s asymmetrical double-cutaway, it’s still quite a departure from the SG itself, or the earlier EB series basses (such as the EB-0 and EB-3) that were more obviously SG-inspired. To me, the body contours and cutaway shape is almost more of a cross between a traditional EB-3 and a mid-70s era Gibson Ripper or Grabber. The horns are less pointy than the SG-shaped EB-3, but not as thin and elongated as the Grabber, and there are subtle hints of Mosrite also thrown into the mix in the way the back of the body is curved. I think it looks pretty cool, and while opinions about the looks of the bass are going to come down (as always) to the tastes of the individual, the questions remain – how does it perform, and is there any truth to the rest of the myths? Let’s find out…

Gibson Eb1 Guitar

gibson eb1

The frets of new gibson eb bass and fingerboard are original, as are the pickup and electronics (except for a newer jack and jackplate). The knobs, pickguard, special endpin, and bridge and posts are original as well; it appears the original bridge has been buffed somewhat to restore some shine. An extra strap button has been added to the heel. The tuners are the correct Kluson banjo pegs but are newer, still in production for use on Firebirds-they are fitted with the correct style plastic keystone buttons. The Gibson Eb1 Guitar bass is a very fine player, and although it must have suffered some sort of disaster long ago has been expertly resurrected and is now a fine and very early example of Gibson’s first Electric Bass at a less than premium price. Includes a battered but still fully functional brown OHSC. Very Good + Condition.

But.. there’s been some really great music made with gibson bass eb‘s and EB-0’s. A good friend of mine owned Chas Chandler’s original Epiphone Rivoli bass and it had that exact tone that he got on those early Animals records. Sadly, the bass went up in smoke when his house burned down 2 years ago in a big brush fire out here in L.A. He lost 70+ instruments (including a 1960 L.P. Std.) he saved 33 instruments before the fire totally engulfed his home. The smoke was so dark and black you couldn’t see shit. He and his wife lost nearly everything they owned.
Anyway, check the wiring on the bass and if it has the .01 cap in with the pickup, you can disconnect it for a clearer sound.

The gibson ebo bass guitar is very different from other basses and even from other Gibson basses. The EB-0 would be considered it’s closet sibling. The EB-1 is my bass of choice. It just feels right. The sound is so very full all over the neck. It is a very consistent support platform for the entire band. Dancers LOVE this bass as do the drummers I work with. I can cover any style, even slap if needed. The tone is unique. The sustain is superb and it is a joy to play. This instrument has it’s own thing, plays like a breeze and always garners the attention of even the most jaded bass players.

Gibson Eb-1 For Sale

gibson eb-1

I had been on the “Want” list at Elderly Instruments for a Gibson EB-1 for a couple years. They called me saying they finally had one. When I saw this beauty, it had a hole carved out near the bridge where the former owner was planning on installing a Jazz pickup. (Thus-$200) I got it dirt cheap, finished the install with an EMG active Jazz pickup and it has been my main bass for 20 years. Felix Pappalardi made me aware of this unique instrument. He created a one of a kind tone that touched my heart. I named the Bass “Felix” in his honor. The bass features a medium/short scale. A detachable telescoping end peg for playing stand up. A thunderous Humbucker near the neck. In the case it weighs a ton, (Solid Mahogany) however the weight is distributed evenly and I’ve played many other basses that are heavier. The balance is perfect…(For Me) This model is a re-issue. I also have the recent Ephiphone EB-1 re-re-issue as a backup. I often get approached by bass players asking me if this is a copy of the Hofner. I explain that the hollow body Hofner is a knock off of the original EB-1, Gibsons first electric bass from the early 50’s.

Gibson EB-1 Model Solid Body ,epiphone eb-1 fretless bass Bass Guitar (1953), made in Kalamazoo, Michigan, dark mahogany finish, mahogany body and neck, rosewood fingerboard, original brown tolex hard shell case.

Just about the coolest and most distinctive electric bass ever designed…and one of the most eccentric! The “Gibson Electric Bass” (The EB-1 name was not used until 1958, when the semi-hollow EB-2 debuted) was first issued in mid-1953 and is one of the earliest solidbody basses. The “fiddle-shaped” body design is unique and owes nothing but general concept to the slightly earlier (late 1951) Fender Precision-and was likely an inspiration to Hofner in Germany! The violin-body EB’s were produced in fairly small numbers from 1953 through ’58, when they were replaced by the simpler slab-bodied EB-0.

Generally these early EB-1’s are the clearest sounding of the 30″ scale Gibson basses…the large brown-covered pickup is actually a single coil (the huge coil is mounted on its side) and has more mid/high content than the 1958 and later humbucking versions. This particular bass is missing its inked-on serial number but the pots are dated to 1953, making it likely an early example.

Overall length is 44 1/2 in. (113 cm.), 11 3/8 in. (28.9 cm.) wide at lower bout, and 1 13/16 in. (4.6 cm.) in depth, measured at side of rim. Scale length is 30 in. (762 mm.). Width of nut is 1 11/16 in. (43 mm.). This old Gibson bass presents very well and is an excellent player; it has had a well handled major restoration. The headstock is a very finely crafted exact replacement, joined to the neck at the first few frets with a scarf joint; this work is extremely high standard and you have to look closely to see the seam. The rest of the finish on the instrument is original, and the new finish on the head is very well executed and seamlessly blended to the original neck finish. The only obviously visible sign of the restoration is that the pearl “Gibson” logo is seated slightly higher on the headstock than it originally would have been. The rest of the instrument is quite well preserved; there is average light finish wear (more on the back than front) and much of the hardware is original as well.

Gibson Eb 1 Shop

gibson eb 1

The violin shaped “Gibson Eb 1 Shop “, as Gibsons first electric bass guitar was known, was first produced in 1953 as a response to the Fender Precision Bass. Only an average of 91 EBs were produced each year untill 1958 when, with the launch of the hollow-body EB2 the EB was renamed the EB1, a name which has now been attributed to the whole production run of this model.

The epiphone eb 1 fretless violin shaped body was carved out of solid mahogony and fitted with a large, brown, pickup at the base of the neck, with the poles situated along the lower, bridge, end. The head was fitted with banjo-style tuners, as were all basses in the 1950’s, and the end of the body was fitted with a socket to take a screw-in telescopic end-pin which allowed the bass to be played as an upright.

Production ceased at the end of 1958, with a total 546 produced, making this an extremely rare model.”Oh, I got a hold of a very nice old Gibson violin bass pictured in the little cutout wheel on the cover of Led Zeppelin III. That was nice, too: it’s not stage-worthy, but it gives a beautiful warm sound. I don’t like Gibson basses generally because they feel all rubbery; I like something you can get your teeth into. But the violin bass was the only Gibson that was as heavy as a Fender to play, but still had that fine Gibson sound.

I used it on Led Zeppelin III and I’ve used it every now and again, usually when I’m tracking a bass after I’ve done keyboard for the main track. The one I have went through Little Richard’s band and then through James Brown’s band, and it arrived in England. In fact, I saw it on an old movie clip of Little Richard, It was probably about a 48 or 50 or something like that: it was the original one.” – John Paul Jones, July 1977

According to a Marc 4, 2012 interview with Dave Lewis, John Paul said, “Yes, I still have that. I didn’t use it live but it is on record. I think it was used for Tangerine.”

A good friend of mine named Rick Reed (a really great bass player) has one. Rick and I have been in a few bands together. He’s got one of the early EB-1’s with the end peg and for a while it was his main bass. He did buy it modded though as someone put a Jazz Bass pickup in it closer to the bridge. I know the neck pickups varied as some were big single coils and later ones were humbucking. I know the neck pickup on my EB-3 is right at 30K d.c. and is a tad muddy (but balanced out by the bridge pickup). One reason they’re so muddy is Gibson used a .01 cap in parallel with the pickup which gives it more mids.

Gibson did some strange stuff wiring basses. The EB-3’s and EB-2D’s have a 220K resistor in series with the neck pickup along with the .01 cap and the “Baritone” switch kicks in a 15Hy inductor coil with a .02 cap. Talk about mud

Gibson Eb Bass

gibson eb bass

After the Blues breakers, Bruce had his first commercial success as a member of Manfred Mann in 1966, including “Pretty Flamingo” which reached number one in the UK singles chart (one of two number one records of his career – the other being an uncredited bass part on The Scaffold’s “Lily the Pink”) as well as the free-wheeling and ground-breaking jazz-rock of Instrumental Asylum. When interviewed on the edition of the VH1 show Classic Albums which featured Disraeli Gears, Mayall said that Bruce had been lured away by the lucrative commercial success of Manfred Mann, while Mann himself recalled that Bruce attended recording sessions without having rehearsed but played songs straight through without error, commenting that perhaps the chord changes seemed obvious to Bruce.

To the layman, gibson eb 1 bass guitar is famed for its electric 6- and 12-string and acoustics, but aficionados know that the story of Gibson basses is just as fascinating. Gibson made its first bass, the EB (“Electric Bass”, of course) in 1953, just a year after the Les Paul 6-string debuted and for the last 69 years, numerous models have been favored by some of the best basses in rock, soul, jazz and beyond.

1. The Gibson EB debuted in 1953 with a Gibson Eb Bass mahogany body, mahogany neck, rosewood fingerboard and a single humbucker. To emphasize that double bass vibe, the EB even had fake f-holes painted onto its small body and had an extendable end-pin so you could play it horizontally like a standard electric bass or stand it upright like a double bass. Kooky! Hofner’s 500/1 (Paul McCartney’s “Beatle bass”) looks similar, yes? But it actually came later in 1956, though that made some sense as the German company were originally violin makers. Just 105 Gibson EBs were made in 1953.

2. After relatively modest sales, the EB (or EB-1 as it is commonly known) was replaced in the late ‘50s by a Les Paul Junior-shaped solidbody (slightly confusingly called the EB-0 even though it superceded the EB-1) and the 335-shaped semi-solid EB-2. In 1961, the EB-0 changed its shape again to that of the newly-launched twin-cutaway Les Paul SG.

3.The SG-alike EB became famed from the ‘60s onwards. It was briefly offered as the EB-0F (1962-‘65) with built-in fuzztone, but most notably as the dual-‘bucker EB-3 (from 1961). With a launch price of $285, the EB-3 was immensely popular with the British bands of the late 1960s. Jack Bruce (Cream), Bill Wyman (The Rolling Stones), Andy Fraser (Free), Trevor Bolder (David Bowie) and Chris White (Zombies) all played one, as did Phil Lesh (The Grateful Dead). Jared Followill (Kings of Leon) and Mike Watt (Iggy and the Stooges) are current users.

Jack Bruce Bass

jack bruce bass

John Symon Asher “Jack Bruce Bass” Bruce (14 May 1943 – 25 October 2014) was a Scottish musician, composer and vocalist, known primarily for his multi-faceted contributions to the legendary British supergroup Cream, which included guitarist-singer Eric Clapton and drummer-founder Ginger Baker. In March, 2011, Rolling Stone readers selected him as the eighth greatest bass guitarist of all time. “Most musicians would have a very hard time distinguishing themselves if they wound up in a band with Eric Clapton and Ginger Baker,” the magazine said at the time, “but Jack Bruce was so gifted on the bass that he did it with ease.”

jack bruce bass tabs maintained a solo career that spanned several decades and also played in several musical groups. Although recognized first and foremost as a vocalist, bassist and songwriter, he also played double bass, harmonica, piano and cello. He was trained as a classical cellist and considered himself a jazz musician, although much of his catalogue of compositions and recordings tended toward blues and rock and roll.
Bruce was born on 14 May 1943 in Bishopbriggs, Lanarkshire, to Betty (Asher) and Charlie Bruce,[1] musical parents who moved frequently, resulting in the young Bruce attending 14 different schools, ending up at Bellahouston Academy. He began playing the jazz bass in his teens and won a scholarship to study cello and musical composition at the Royal Scottish Academy of Music and Drama while playing in Jim McHarg’s Scotsville Jazzband to support himself.[2] The academy disapproved of its students playing jazz. “They found out”, Bruce told Musician correspondent Jim Macnie, “and said ‘you either stop, or leave college.’ So I left college.”

After leaving school he toured Italy, playing double bass with the Murray Campbell Big Band. In 1962 Bruce became a member of the London-based band Blues Incorporated,led by Alexis Korner, in which he played the upright bass. The band also included organist Graham Bond, saxophonist Dick Heckstall-Smith and Ginger Baker. In 1963 the group broke up and Bruce went on to form the Graham Bond Quartet with Bond, Baker and guitarist John McLaughlin.

They played an eclectic range of music genres, including bebop, blues and rhythm and blues. As a result of session work at this time, Bruce switched from the upright bass to the electric bass guitar. The move to electric bass happened as McLaughlin was dropped from the band; he was replaced by Heckstall-Smith on saxophone and the band pursued a more concise R&B sound and changed their name to the Graham Bond Organisation. They released two studio albums and several singles but were not commercially successful.

During the time that Bruce and Baker played with the Graham Bond Organisation, they were known for their hostility towards each other. There were numerous stories of the two sabotaging each other’s equipment and fighting on stage. Relations grew so bad between the two that Bruce left the group in August 1965.

After leaving, Bruce recorded a solo single, “I’m Gettin Tired”, for Polydor Records. He joined John Mayall and his Bluesbreakers group, which featured guitarist Eric Clapton. Although his stay was brief; the Universal Deluxe double album Blues Breakers with Eric Clapton contains all the known tracks featuring Bruce.