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-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

Eb-1

eb-1

The EB-1 extraordinary ability classification is for people who are recognized as being at the very top of their field and who are coming to the United States to continue work in that field. To establish eligibility, you must demonstrate sustained national or international acclaim and that your achievements have been recognized in the field of gibson eb 1 for sale expertise by showing: (1) that you have received a major internationally recognized award, similar to a Nobel Prize; or (2) that you meet at least three of the ten requirements listed below and all your evidence, when evaluated together, shows that you are among the small percentage of individuals that have risen to the very top of your field. If you have not received a major internationally recognized award, you must answer yes and submit evidence for at least 3 of the 10 questions below:

Have you received any lesser nationally or internationally recognized prizes or awards for excellence in the field of endeavor?

Are you a member of associations that require outstanding achievements of their members as judged by recognized national or international experts? Is there published material in professional or major trade publications or major media about you which relates to your work in the field?

Have you participated on a panel or individually as a judge of the work of others in the same or in an allied field of specialization?
Have you made original scientific, scholarly or business contributions that are of major significance?Have you authored scholarly articles in professional journals or other major media?Has your work been displayed at artistic exhibitions or showcases?Have you played a leading or critical role for an organization with a distinguished reputation ?Have you or will you command a high salary or other remuneration for your services in comparison to others in your field?

Have you enjoyed commercial successes in the performing arts?
Note: If the criteria discussed in this section do not readily apply to your occupation, you may submit comparable evidence to establish your eligibility. However, there is no comparable evidence for the one-time achievement of a major, international recognized award.