The Last Bass Outpost
Gear Discussion Forums => Gibson Basses => Topic started by: ilan on March 04, 2019, 02:24:44 PM
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Bought this 1970 EB-0L (https://www.ebay.com/itm/303083523802) off eBay today for $480. Let's hope I like it more than the 1968 EB2C I once had.
Now the wait.
(https://i.ebayimg.com/images/g/M2QAAOSwjfhcfFAe/s-l1600.jpg)
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A very nice catch and an absolute steal at that price.
May it serve you well.
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Wow! That's less than I paid for mine last century. :thumbsup:
Put some tapewounds on her.
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Gee, that bass looks incomplete - no neck break!
Nice find!! Hope you enjoy it a lot.
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Nice! Subtract the case & you got it for around $300!
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Slotheads are almost always what you get if it's a deal on a not-trashed EB. You'd think it would be the other way round due to the short period they were made, but people want the normal Gibby headstock real bad apparently.
Congrats.
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If it doesn't have bullet holes, it's not a real one. Or not from Texas. :mrgreen:
Congrats, Ilan, welcome to the dark side again - where truss rods are functional plus easy to adjust and routings for bridge pups not cavernous holes ...
Slotheads have their fans, even today, Michael Devin of the current Whitesnake played one (an EB-3L to be exact) for years, and not just for a song or two, but for most of every nightly set throughout their "Purple Tour" (Rob and I witnessed it in Utrecht):
https://www.youtube.com/watch?v=1Atai1Ftj7w
(http://www3.pictures.zimbio.com/gi/Michael+Devin+Whitesnake+Concert+Hard+Rock+9KOT1gr996hl.jpg)
You do know you have room for extra pups on it, right? ;D
Would you like refin recommendations? That cherry is kinda dreary you know and we have daring color advisors from Tacoma in this forum ...
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Nice score. Looks like it has a good grain pattern in the wood body as well. Hope you take those gold reflector knobs off in favor of some witch hats.
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Thanks guys. I have always had Gibson guitars around, but my last Gibson bass was sold 20+ years ago.
@Dave W - Tapewounds? For real? I was thinking I would probably look for the brightest rounds and then go thru my Sadowsky outboard preamp for edge... How does it sound with flats/tapewounds?
@Granny G - Visually I prefer the slotted headstock.
@Uwe - I like the faded cherry, and if in real life it looks like the pics, I'm not messing with the finish. As for disfunctional rods and swimming pools under the guard - let me assure you that I still love my Rics to death, and my current go-to bass is the Shadow.
@4stinger77 - I didn't know the reflector tops were wrong. Where do I find period-correct witch hats? Or - being black that doesn't amber, are repros OK?
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@ilan - I always used the original 60-115 LaBella black tapewounds on my EB-0L. The longer scale has noticeably more definition than the EB-0, the LaBellas are low tension which is good for that long skinny mahogany neck. Richard Cocco of LaBella told me years ago that the core of those LaBellas is a 44-98 roundwound set.They have good definition while being nice and warm.
If that won't be bright enough for you, I'd recommend sticking to light gauge rounds.
What I really like about the slotheads is that there's no neck-to-body angle. The fretboard sits higher off the body which puts some people off but I like it better.
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As long as we're posting slothead videos, here's Rick Danko and his slothead EB-3, from his Homespun video. That's Happy Traum on guitar.
https://www.youtube.com/watch?v=RDagQoBF_OI
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"low tension which is good for that long skinny mahogany neck"
I know that neck looks worrisomely thin, but - this is no Ric! :mrgreen: - it is as stable as a Merkava tank as regards string pull (just don't drop it!). Not only does it bravely take bullet holes (Ilan could even take it to IDF reservist callups!), but also regular 105 gauge strings from all brands, the neck of mine hasn't given me any issues since you thankfully found it for me with that Texas dealer. It's one of my favourites.
Where the tension may give issues - and Dave will kill me for writing this - is the wonderfully thought out, stable and finely tooled two-point auto-tip (patent pending, extra string holder under consideration of research dep) bridge. You'll see. Not one of my long scale Gibbies has retained it, it simply wasn't made for long scale pull. My vintage long scale EBs all have the Hipshot Supertone II replacement bridge - except for the gun shot victim which has a Schaller loaned off a Victory bass. So you might stick to low tension strings after all, if only for that splendid piece of American hardware so often poetically lauded by our beloved Minnesotan! :-*
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I know that neck looks worrisomely thin, but - this is no Ric! :mrgreen: - it is as stable as a Merkava tank as regards string pull (just don't drop it!). Not only does it bravely take bullet holes (Ilan could even take it to IDF reservist callups!), but also regular 105 gauge strings from all brands, the neck of mine hasn't given me any issues since you thankfully found it for me with that Texas dealer. It's one of my favourites.
Where the tension may give issues - and Dave will kill me for writing this - is the wonderfully thought out, stable and finely tooled two-point auto-tip (patent pending, extra string holder under consideration of research dep) bridge. You'll see. Not one of my long scale Gibbies has retained it, it simply wasn't made for long scale pull. My vintage long scale EBs all have the Hipshot Supertone II replacement bridge - except for the gun shot victim which has a Schaller loaned off a Victory bass. So you might stick to low tension strings after all, if only for that splendid piece of American hardware so often poetically lauded by our beloved Minnesotan! :-*
It's not thin front-to-back, it's fairly deep. But it's a shade under 1 1/2" at the nut and barely 2 1/16" at the body end. And it's mahogany, not maple. Mine came with ancient-looking rounds, when I put on a set of medium Boomers, the relief was huge. I bought the LaBellas and never looked back. YMMV.
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I vote for Thomastik Infeld!
I might have two witchhats somewhere, but might take some time finding them; I'm moving my workshop next month..
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I vote for Thomastik Infeld!
I knew someone was gonna bring up Steve "Dude" Barr's unholy legacy sooner or later. ;)
A rubbery lot those strings are, I honestly tried to get to like them for a long time, but nah ...
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I knew someone was gonna bring up Steve "Dude" Barr's unholy legacy sooner or later. ;)
A rubbery lot those strings are, I honestly tried to get to like them for a long time, but nah ...
I tried TI flats when they cost half as much as they do now. Couldn't stand 'em. Big blurry midrange, short on fundamental and short on high end. To each his own, of course, some people love them, and they still have a following long after Steve exited the bass world. But I never understood the cult mentality about whatever gear or accessories Steve was pushing. People would jump on each bandwagon just to be part of the crowd.
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LaBella has a low tension flat now. I'd be more inclined to try them, for budget reasons and because I like LaBellas.
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I never use TI's in a situation where I play Rock music, but they have a touch/quality no other strings have. And they are a winner on my EB6's, though I have to buy four bass strings and two guitar strings. I asked TI if they would consider making a bass six set, but they don't think the market is big enough for it. :bored: I have a bass with a 23 year old TI set, still sounds great! I use Chromes on my longs (Grabber, Fender P) because I never foud TI sets that played well on those two. The only bass I use 'regular' D'Addario XL rounds on, is my '74 4001 bass - although I recall liking XL RED's best on it back when I used it more.
I did try a set of LaBella flats after recommendation from several LBO'ers, and they are now my favourite EB3 short scale four string set -
so there is hope for me too!
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And they are a winner on my EB6's
When I had the Fender VI, I used a LaBella flats VI set (https://www.juststrings.com/lab-767-6f.html) and the bass sounded just like it should. Highly recommended.
LaBella has a low tension flat now. I'd be more inclined to try them, for budget reasons and because I like LaBellas.
I have a set on one of my Hofners (the Blonde '64 in my avatar) and they are very nice. The other 3 have short-scale TI Jazz Flats. After a couple of months they sound and feel the same.
I have a bass with a 23 year old TI set, still sounds great
Try boiling them. I didn't know that works with flats until I tried, and it does. You'll like it.
I vote for Thomastik Infeld!
I was a TI fan but then I was gifted an Ernie Ball Group IV flats, and fell in love. Low tension but tighter than TI's, sound better to me, feel great, and cost less than half (42%) of TI's.
(https://sep.yimg.com/ay/juststrings/ernie-ball-electric-bass-guitar-flat-wound-group-iv-040-095-2808-8.gif)
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Getting back to the control knobs, witch hats would have been there originally.
http://www.flyguitars.com/gibson/bass/1970gibsonEB0.php
I'd say repro knobs would be fine or anything black would look better than gold.
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LaBella has a low tension flat now. I'd be more inclined to try them, for budget reasons and because I like LaBellas.
That's what I have on my EB-0L right now, so far that has been the only set of flats that I can live with on *any* bass, even on a temporary basis.
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I have been using the LaBella low tension flexible flats for a couple years now. I love them.
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The Ernie Ball Group III flats are my favorite flats.
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When I had the Fender VI, I used a LaBella flats VI set (https://www.juststrings.com/lab-767-6f.html) and the bass sounded just like it should. Highly recommended.
Oh, tried flats on the 6'ers but stick to TI rounds. But if I could get the LaBella 6'er set here in Norway I'd try them.
I only have TI flats on one instrument, I like the rounds best when it comes to TI.
I'm not sure why, but LaBella cost the same as TI's here. I've heard before that people rather buy LaBellas because they are
'half the price', unfortunately they have a horrible importer here. Now they don't even have short scale bass strings.
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What I really like about the slotheads is that there's no neck-to-body angle. The fretboard sits higher off the body which puts some people off but I like it better.
I can see it here (another EB-0L on eBay (https://www.ebay.com/itm/163492137898))
(https://i.ebayimg.com/images/g/v~MAAOSwr7ZcQLRp/s-l1600.jpg)
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You do know you have room for extra pups on it, right? ;D
:mrgreen: I see what you mean
(https://i.imgur.com/APbH0kS.jpg)
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Just arrived.
Serial number 958894 - she's a 1968, not 1970.
Did a quick setup with EB Group IV 040 flats. The truss rod needed a quarter turn to be dead straight, and then I deepened the saddle grooves a bit. Plays nice now.
I didn't realize they were so lightweight! The neck dive isn't as serious as I expected, but it's definitely there. But the Sadowsky outboard preamp stuck on the strap near the lower strap button balances it out. And I need it anyway to add highs because, you know.
The bridge... I don't like it very much but it intonates and it's original so it stays.
Sound... through the Sadowsky I can get a nice tone. Maybe I'll mess with the wiring. I was thinking about modifying the tone control to bass-cut. It's not like I'm ever going to use it to cut highs, right? I can also try the Curtis Novak pickup.
(https://www.ibass.co.il/forum/uploads/monthly_2019_03/EB-0L.thumb.jpg.f1000f6553714953208db6d5acbb6193.jpg)
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Nice.
Incidentally, I love TIs on my EB3, RD Artist and Vic Std; hate them on my Triumph. With the first 2 you need the extra mids (RD is a bit scooped, and the mudbucker, well...), with the Vic I find it really brings out the growl in a cool way. I stocked up when they were $40 a set and they last forever so I'm good. ... reminds m,e I should change strings on the Triumph - mismatched set on there, due for an intonation and I have a few sets of those Allparts flats we did the group buy for a while back to try out.
As for the lack of neck angle on slotheads - never knew. Good to know because I find it really helps with maintaining usable action (considering a set neck that can't be shimmed).
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I tried TI flats when they cost half as much as they do now. Couldn't stand 'em. Big blurry midrange, short on fundamental and short on high end. To each his own, of course, some people love them, and they still have a following long after Steve exited the bass world. But I never understood the cult mentality about whatever gear or accessories Steve was pushing. People would jump on each bandwagon just to be part of the crowd.
That's true.
I have them on my P-Bass mostly because it is old and wobbly like me so the low tension is nice but I broke the G last week.
I do think that they have a "woody" sound on that bass which is appealing to me. The thought of $75 for a set however is not..
What other low Tension flats are good?
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Just arrived.
Serial number 958894 - she's a 1968, not 1970.
Did a quick setup with EB Group IV 040 flats. The truss rod needed a quarter turn to be dead straight, and then I deepened the saddle grooves a bit. Plays nice now.
I didn't realize they were so lightweight! The neck dive isn't as serious as I expected, but it's definitely there. But the Sadowsky outboard preamp stuck on the strap near the lower strap button balances it out. And I need it anyway to add highs because, you know.
The bridge... I don't like it very much but it intonates and it's original so it stays.
Sound... through the Sadowsky I can get a nice tone. Maybe I'll mess with the wiring. I was thinking about modifying the tone control to bass-cut. It's not like I'm ever going to use it to cut highs, right? I can also try the Curtis Novak pickup.
Looks great!
Mine also had a s/n that indicated 1968 but the pots, which were original, were from 1971. These didn't appear in Gibson's catalog or price list until 1970. These allegedly date from late 1969 but Gibson bass shipping totals show no EB-0L shipped until 1970 and no EB-3L shipped before 1971.
All depends on what tone you expect. The Sadowsky pre is certainly worth experimenting with if you aren't satisfied with the basic tone.
Check the wiring and note the second illustration here (http://www.flyguitars.com/gibson/bass/EB0_circuit.php). I remove the .01 cap, it shunts highs to ground.
There's no sin in changing pickups, but IMHO the only advantage of Novak's options are that they look the same as the original. None of his sound samples I've heard sound as good to me as the Dimarzio Model One.
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That's true.
I have them on my P-Bass mostly because it is old and wobbly like me so the low tension is nice but I broke the G last week.
I do think that they have a "woody" sound on that bass which is appealing to me. The thought of $75 for a set however is not..
What other low Tension flats are good?
The LaBella Low Tension Flats are the only other specifically low tension ones I know of. I seem to be the only one who didn't care for them so don't listen to me. :) They're about $45. If I needed low tension, though, I'd either go with the LaBella Deep Talkin' Bass Extra Lights (39-96) or what Ilan has done, Ernie Ball Group IV flats. Both will give you traditional flatwound tone.
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Check the wiring and note the second illustration here (http://www.flyguitars.com/gibson/bass/EB0_circuit.php). I remove the .01 cap, it shunts highs to ground.
Someone got there before me and robbed me of my longtime guilty pleasure of shunting capacitors.
So it's a 1970 after all? Well, just as good.
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The LaBella Low Tension Flats are the only other specifically low tension ones I know of. I seem to be the only one who didn't care for them so don't listen to me. :) They're about $45. If I needed low tension, though, I'd either go with the LaBella Deep Talkin' Bass Extra Lights (39-96) or what Ilan has done, Ernie Ball Group IV flats. Both will give you traditional flatwound tone.
Thanks!
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:mrgreen: I see what you mean
(https://i.imgur.com/APbH0kS.jpg)
What a fashionista!
"I think I'll pose with the. . . blue strings so this shirt should just right."
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The LaBella Low Tension Flats are the only other specifically low tension ones I know of. I seem to be the only one who didn't care for them so don't listen to me. :) They're about $45. If I needed low tension, though, I'd either go with the LaBella Deep Talkin' Bass Extra Lights (39-96) or what Ilan has done, Ernie Ball Group IV flats. Both will give you traditional flatwound tone.
I use the Labella Deep Talkin' flats in light gauge (.043-.104) on most basses. I haven't tried the Extra Lights, but may do so.
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I really like the bass so far. I can't wait for the witch hat knobs to arrive. It didn't bother me at first when I was ignorant, but since you guys mentioned that the gold skirted knobs are incorrect, it drives me nuts to look at them.
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I use the Labella Deep Talkin' flats in light gauge (.043-.104) on most basses. I haven't tried the Extra Lights, but may do so.
The 43-104 light gauge LaBellas are relatively low tension on the neck, much less so than 45-100 Chromes. But they don't feel loose like the Low Tension LaBellas or the TIs. Fine by me, I don't like strings that loose.
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Well. . . I grabbed a set of the Labella's' and will try to contrast them with TI's if I don't like them it will be on to the next set.
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I really like the bass so far. I can't wait for the witch hat knobs to arrive. It didn't bother me at first when I was ignorant, but since you guys mentioned that the gold skirted knobs are incorrect, it drives me nuts to look at them.
"Incorrect" is an ambivalent term with Gibson, I've had sixties and seventies EB in SG-shape that have had the gold skirted knobs and I did not take these to be replacement/after-market. I don't believe that Gibson would have ever delayed delivery of a bass for even a day after the witch hat knob box was empty if the gold skirted knob one was still full. They didn't work like that.
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I agree with Uwe's comment.
Being an old guy offers an interesting perspective, when you understand that Gibson and Fender sent what they had. Guitars were sold everywhere and for both brands (and many cheapies) it was the golden years.
There were as many twisted necks and dead sounding guitars in the 60's as there are now. . . in fact perhaps less.
A lot of the mods that were made were not necessarily for the sound they created but to personalize the guys instrument.
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Either way, witch hats are still cooler, mainly because they evoke a certain Deep Purple guitairist's choice of headwear. They should also make the bass sound better when you play Smoke on the water, or perhaps Space Truckin' which should sound pretty cool on a slot head too. Play it loud and proud!
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Tangent: Uwe - that pretty burst slothead with the three pickups - how's it sound? And how the heck is it wired up?
There's only three knobs on that thing, what do they each do?
Seems like you'd need at least four unless you either forgo a tone control entirely, or one of the pickups is always full up.
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Someone got there before me and robbed me of my longtime guilty pleasure of shunting capacitors.
The simple pleasures are sometimes the best. :mrgreen:
I really like the bass so far. I can't wait for the witch hat knobs to arrive. It didn't bother me at first when I was ignorant, but since you guys mentioned that the gold skirted knobs are incorrect, it drives me nuts to look at them.
The skirted knobs wouldn't look bad or out of place if they weren't gold. At least they weren't gold speed knobs.
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Tangent: Uwe - that pretty burst slothead with the three pickups - how's it sound? And how the heck is it wired up?
There's only three knobs on that thing, what do they each do?
Seems like you'd need at least four unless you either forgo a tone control entirely, or one of the pickups is always full up.
That's the bass I found for him in San Antonio. Remember that from back in the Pit days? It was a nice cherry EB-0L with one insignificant flaw, a bullet hole through the neck that also caused a lengthwise split. When Uwe had his luthier repair it, he had the poor thing refinished, no doubt against its will. ;)
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Yeah I remember admiring the photos of it before, but I have forgotten how it works and can't make sense of it :)
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Unless you play reggae, I can't see the point of the tone control on a gibson bass :)
I'm guessing three volumes.
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That's the bass I found for him in San Antonio. Remember that from back in the Pit days? It was a nice cherry EB-0L with one insignificant flaw, a bullet hole through the neck that also caused a lengthwise split. When Uwe had his luthier repair it, he had the poor thing refinished, no doubt against its will. ;)
Is this how I am thanked for this selfless Lazarus-type resurrection?! :mrgreen:
Tone contr-WWWHHHAAAT? :o I don't even use that on active basses, at least not the treble one. I'm a full-on guy and with "gunshot baby" the choice of pup determines how bright my sound is. It's three volumes, right.
I'm sure there are people who can work with a passive tone control effectively - it's a precious gift that unfortunately totally escapes me to this day. If I play a bright sounding bass like, say, a Ric, I have no desire to take that characteristic away from it. I'd rather switch basses then.
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agreed about passive tone...
I have started to control tone with the pups...
I generally like a 2 pickup bass, and slightly back off the bass pickup, so the bridge dominates. If I need darker I increase the bass pickup volume.
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The only basses I use tone control on are maple board Fenders. Full on for the gnarly sound and 1/4 off for a more rosewood-ish sound.
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Is this how I am thanked for this selfless Lazarus-type resurrection?! :mrgreen:
Tone contr-WWWHHHAAAT? :o I don't even use that on active basses, at least not the treble one. I'm a full-on guy and with "gunshot baby" the choice of pup determines how bright my sound is. It's three volumes, right.
I'm sure there are people who can work with a passive tone control effectively - it's a precious gift that unfortunately totally escapes me to this day. If I play a bright sounding bass like, say, a Ric, I have no desire to take that characteristic away from it. I'd rather switch basses then.
I do remember that find very well. Uwe do you have a "before" photo?
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About tone knobs on an EB....
When I installed the mudbucker on this EB-0 (the Dimarzio was already there) I made the executive level decision that a tone knob would be useless. No one needs to roll off treble on either of these pickups.
So I just made each pot a volume control. Works great!
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I do remember that find very well. Uwe do you have a "before" photo?
I have these.
(https://i.imgur.com/icjIWqz.jpg)
(https://i.imgur.com/j4cZADx.jpg)
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Is this how I am thanked for this selfless Lazarus-type resurrection?! :mrgreen:
Tone contr-WWWHHHAAAT? :o I don't even use that on active basses, at least not the treble one. I'm a full-on guy and with "gunshot baby" the choice of pup determines how bright my sound is. It's three volumes, right.
I'm sure there are people who can work with a passive tone control effectively - it's a precious gift that unfortunately totally escapes me to this day. If I play a bright sounding bass like, say, a Ric, I have no desire to take that characteristic away from it. I'd rather switch basses then.
I remember showing Jason (the seller) a pic after the restoration. Too bad I didn't have a smartphone to capture the look on his face. :) He was happy though, since he got his investment back.
Passive tone controls are useful to me, even with a mudbucker. Volume and tone controls do interact.
"gunshot baby" Bob Seger song, right? :mrgreen:
https://youtu.be/ujTTjt5VkZM
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Thanks for the pictures!
I had forgotten how bad it was.
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Well, since we're celebrating the EB-0 as well as Uwe's minimalist tendencies in restoring one, I will post my battle-scarred addition - a '68 that was originally cherry, but was "refinished" as you see here (except the headstock, where the cherry begins rather abruptly). I picked it up dirt cheap some years back and am planning a Supertone 2 bridge upgrade and the addition of a chrome TB+ in the bridge position. The headstock has a crack, but I ran some CYA into it and it seems to be relatively stable.
(http://i.imgur.com/6qf0X4j.jpg) (https://imgur.com/6qf0X4j)
(http://i.imgur.com/7tgDogn.jpg) (https://imgur.com/7tgDogn)
(http://i.imgur.com/j7gnhK9.jpg) (https://imgur.com/j7gnhK9)
(http://i.imgur.com/CEeDM25.jpg) (https://imgur.com/CEeDM25)
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Looks great!
"Minimalist tendencies in restoring ...." , yup, that's me, sums me up. 8) I hate to be invasive unless The Netherlands are concerned.
And to all you NRAists out there: Indisputably, the US of A has the highest rate of gunshot wounds inflicted on unsuspecting EB-OL necks. Statistics don't lie, so there!
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This wasn't just in the USA; this was in Texas. I'm not sure if any further explanation is even needed
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Looks great!
"Minimalist tendencies in restoring ...." , yup, that's me, sums me up. 8) I hate to be invasive unless The Netherlands are concerned.
And to all you NRAists out there: Indisputably, the US of A has the highest rate of gunshot wounds inflicted on unsuspecting EB-OL necks. Statistics don't lie, so there!
They do have a habit of jumping into the line of fire.
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The bass was sitting on a stand on stage when a fight broke out in the crowd. It was an innocent bystander.
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That story somehow isn't surprising.
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I took the EB-0L to band rehearsal today. That's a swing big band. Plugged into an Ampeg Micro CL (2x10"). After about 20 minutes the speakers gave up. I think I blew one of them. I switched to a Fender Bassman 60 (1x15", the old model with the silver grille cloth), which sounded decent (vol. 2, low 3.5, low mid 5.5, high mid 10, high 10). The bass wasn't a natural fit, to be honest. On Tuesday I'll take her to a whole different gig - a Black Sabbath tribute.
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That doesn't have a separate gain knob, just a master volume. With a mudbucker, I've found that you really have to watch the gain with a solid state amp.
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I took the EB-0L to band rehearsal today. That's a swing big band. Plugged into an Ampeg Micro CL (2x10"). After about 20 minutes the speakers gave up. I think I blew one of them.
Did you have the -15dB pad switch engaged? When I plug mine into a SS amp, I always used the attenuated input, as if it had active electronics. At the very least, I roll the volume back about halfway and start from there.
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When I still had my '76 EB3 I never sounded right - in my ears. As if the amps just couldn't take the big sound.
One day the normal combo wasn't in our rehearsal room so I had to use an old tube head and a 4x12" guitar cab. And wow: the whole band looked around: what is this? The whole bass came to life! It was fat, sweet, and what I wanted to hear.
For a second I was amazed but after that I remembered all big EB3 users played over a Marshall tube head and 4x12".
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When I plug mine into a SS amp, I always used the attenuated input, as if it had active electronics. At the very least, I roll the volume back about halfway and start from there.
+ 1 right here, the volume on my EB-0L almost never goes past 7. And yes, the "active" input is your friend.
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Thee was a guy in town years back...maybe 30 years...I think he teaches at Eastman now...
He played one through a B15 for a big band...Carmen Deleone's big band. I always thought it sounded wonderful... I have great memories of that sound at the Viking lounge.
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When I still had my '76 EB3 I never sounded right - in my ears. As if the amps just couldn't take the big sound.
One day the normal combo wasn't in our rehearsal room so I had to use an old tube head and a 4x12" guitar cab. And wow: the whole band looked around: what is this? The whole bass came to life! It was fat, sweet, and what I wanted to hear.
For a second I was amazed but after that I remembered all big EB3 users played over a Marshall tube head and 4x12".
A '73 Superbass and a 412 with neos is my go-to rig with all mudbucker basses these days. Thankfully the bass knob is passive and only cuts the lows :) Many tube amps of the past had the 'bass' channel designed to handle bass heavy instruments.
With an output of about one Volt, it takes some tweaking on many input stages.
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Well I'm not going to schlep 412 cabs now! ;) Tonight I'll be playing the bass in a Black Sabbath tribute gig, stage amplification should have large bass cabs.
I ordered a Retrovibe HotMud pickup yesterday. They are 1/5 the price of a Curtis Novak and offer all wiring options, series, parallel, single coil(s), I'll try and see what works for me.
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Guitar 4x12s are surprisingly light compared to any bass cab!
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Posing with the new witch-hats
(http://i287.photobucket.com/albums/ll127/ilanlukatch/witchhats.jpg)
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Sweet. Looking good. Hope you manage to keep this bass out of the line of fire. Let us know how it sounds through the 4x 12.
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Looks great, of course.
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OOh, really nice! Those witch hats really tied the bass together ;D
Guitar 4x12s are surprisingly light compared to any bass cab!
I got the 1960TV (tall vintage) cab, but loaded with Celestion bass neo's it weighs nothing.
Still a big cab, though. I eventually sold my '85 Corolla and got me a Hiace, so now I have no excuse for not using cumbersome and heavy equipment! My cab's lost a fair share of tolex being lumped in and out of a small car.
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What do you guys think about a 5-ply b/w/b/w/b guard, like an EB3, instead of the 3-ply with the broken tip? Tony Dudzik has black/ivory 5-ply so that it doesn't look too new, and I can degloss it.
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What do you guys think about a 5-ply b/w/b/w/b guard, like an EB3, instead of the 3-ply with the broken tip? Tony Dudzik has black/ivory 5-ply so that it doesn't look too new, and I can degloss it.
Why? Nothing wrong with doing that, but you said you wanted to keep it looking original.
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My 77 Jazz and 75 Precision have 5-ply guards and I like the double white stripes, like a tort guard has. Oddly, on the P it's an original 70s Fender guard. I've seen a few others like it, I think Fender were trying 5-ply and decided against but some were sold with the 5-ply guards. To me, it's what makes it special and "mine" without altering the bass. Only I notice it.
(http://i287.photobucket.com/albums/ll127/ilanlukatch/FenderPrecision75_1.jpg)
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I think it the little nuances (like that) that cause musicians to favor certain instruments over other similar ones.
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I tried putting a Ric toaster temporarily under the cover (wired directly to a cable, no solder joint was harmed in the process). Wow.
My conclusion is that this is a wonderful bass that I am definitely keeping, with an unfortunate pickup that kills 90% of the bass's potential - and I want all of it.
I've placed an order for a splittable Retrovibe HotMud pickup. If I don't like it, I'll just install the toaster under the hood.
(http://i287.photobucket.com/albums/ll127/ilanlukatch/toaster%20on%20EB-0L.jpg)
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so, uh, whatcha gonna do with that mudbucker then, eh, bud?
(https://i.ytimg.com/vi/BV3QgDq2TGw/hqdefault.jpg)
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The mudbucker signal is too indirect for most forms of modern bass playing. But it gives lovely extra phatness when played in combination with the TB pups on my "gunshot baby". It's a "halo of deep frequencies" no active circuit with a sparate bass volume could provide as nicely.
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Uwe, I'm not going to route for extra pickups, and the single pickup has to be usable. I don't want to turn it into a Fender or a Ric - I have plenty of those already. I want the full potential of this bass, and I have just heard a taste of it and it's promising.
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Uwe, I'm not going to route for extra pickups, and the single pickup has to be usable. I don't want to turn it into a Fender or a Ric - I have plenty of those already. I want the full potential of this bass, and I have just heard a taste of it and it's promising.
If you like a rick in there, a single coil mud will take you in the same direction. I have even made a pickup testbed with an epi EB-0 body and a long scale maple neck for swapping/testing pickups quick and compare. I think that everybody should try to split their muds before buying anything, it's very easy to do and it is reversable. You can even put a push pull pot and make it switchable, still it's pretty much stock.
As for the five ply.... Sure you wanna go that way?? A bold move, I must say. I put a three ply on an EB3 once, it was never the same after 8)
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I think that everybody should try to split their muds before buying anything, it's very easy to do and it is reversable
I'm not sure I know how.
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I'm not sure I know how.
Disconnect the wires that connect the 2 coils. They can be seen easily when the cover is off. Theres your 4 leads for coil splitting etc. It s been a while since i been in there but IIRC they are in the middle by the bottom edge.
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Until the Retrovibe arrives, I took the mudbucker out of the bass and put a J pickup under the cover, just to see what it sounds like. It's not going to stay there. The Ric toaster sounded better. The J is thin - not Ric-with-the-cap thin, but too thin for my liking, not much character, and I want some of the low end of the original mud.
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I'm not surprised.
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Until the Retrovibe arrives, I took the mudbucker out of the bass and put a J pickup under the cover, just to see what it sounds like. It's not going to stay there. The Ric toaster sounded better. The J is thin - not Ric-with-the-cap thin, but too thin for my liking, not much character, and I want some of the low end of the original mud.
I say get that soldering iron out! The single mud will not let you down, it's nice and deep but with more precense and clarity than in humbucker mode. It's very easy to do, as said before. And it's free :)
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I say get that soldering iron out! The single mud will not let you down, it's nice and deep but with more precense and clarity than in humbucker mode. It's very easy to do, as said before. And it's free :)
I have opened the mud, removed some of the insulation tape, but couldn't see the wires and didn't want to damage a vintage pickup. I will experiment with the new pickup and maybe then I will build up the courage to split the mud.
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Another Gibson newbie Q - what exactly happens in the Varitone tone choke position on an EB-3?
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It forms a midrange notch on the mudbucker output.
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I'm not surprised.
Mel could have told you, Ilan! We're an American mud.
(https://i.pinimg.com/736x/f8/5e/61/f85e6119439e70bb282ba1d125004ca9.jpg)
I'm surprised Fender never did a signature model of his Jazz - just because it was a Gibson product replacement pup? As Dave once rightfully said, his bass playing and that "Mazz" (mud & Jazz) sound drove all those early Grand Funk Railroad recordings.
GF(R) aren't even in the RRHF, right? That is a crime. They were among the truest of American bands - and not just because of a song title. Hugely underrated outfit.
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If it had a bridge pickup I'd never replace the mud. I really like the bass, I just need a sound I can use. If the Retrovibe doesn't do it for me, I'll go back to the Ric toaster under the big cover. It sounded excellent, and in a sense, only poetic justice after all those 70s Rics violated with mudbuckers :-)
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Add a bridge pup and you're all set. EB-0Ls won't turn into 50ies Les Paul Goldtops anytime soon.
Which Judas Priest song had the subliminal message "Do it! Do it! Do it!" again? Ah, this one here ...
https://www.youtube.com/watch?v=PqAPVB4u9Zs
Listen to it backwards, Ilan. Again and again. Concentrate on Robbie's backward breathing ... ;)
(https://media1.tenor.com/images/d72aa2b3240fb99167c0f05477cd7549/tenor.gif?itemid=12384987)
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Not a notch - 2nd order ( 12 db per octave) high pass filter. I once calculated the corner freq but don't remember now.
editted to add: the Ripper (using the same inductor coil - diff part number but same value) does have a notch filter IIRC, so that may be the cause of the confusion (and fixed the above; high pass not low pass)
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Mel could have told you, Ilan! We're an American mud.
(https://i.pinimg.com/736x/f8/5e/61/f85e6119439e70bb282ba1d125004ca9.jpg)
I'm surprised Fender never did a signature model of his Jazz - just because it was a Gibson product replacement pup? As Dave once rightfully said, his bass playing and that "Mazz" (mud & Jazz) sound drove all those early Grand Funk Railroad recordings.
GF(R) aren't even in the RRHF, right? That is a crime. They were among the truest of American bands - and not just because of a song title. Hugely underrated outfit.
I loved the Mel Schacher bass sound. But the critics were always harsh on GFR. Especially critical of Mark Farner's guitar playing. Yet I'd gladly wager that not a single one of them would be capable of playing and singing like he did. His voice was a big factor in their sound. And better than the voices of more than a fair number of people in the RRHOF, IMO.
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Not a notch - 2nd order ( 12 db per octave) low pass filter. I once calculated to corner freq but dont remember not.
LOWpass? On a mudbucker?
Does that even do anything?
:o
I've never owned a bass with a varitone, always been curious what the various sounds are.
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Not a notch - 2nd order ( 12 db per octave) low pass filter. I once calculated to corner freq but dont remember not.
Are talking about the same choke varitone position here Jake? I thought Ilan meant when the choke coil is engaged, on my '69 EB-3 that means in pos 3 and 4.
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Are talking about the same choke varitone position here Jake? I thought Ilan meant when the choke coil is engaged, on my '69 EB-3 that means in pos 3 and 4.
LOWpass? On a mudbucker?
Does that even do anything?
:o
I've never owned a bass with a varitone, always been curious what the various sounds are.
Sorry, meant high pass. Point is it's not a notch but a shelf. Corrected above.
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By the time Fender got around to offering signature basses, Mel had moved on to Zon.
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"Especially critical of Mark Farner's guitar playing."
He sounded self-tutored, so what? If that rules out his musicianship, then you have to discard all the blues greats too.
This might be inviting double entendres, but there was something very throbbing and organic about GFR, clinical they weren't. And they had more groove than a lot of heavy bands of the time. Coming from Flint, Michigan, was good for something.
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I just happened to run across this the other day in which Mark Farner comments on each of their albums.
https://web.musicaficionado.com/main.html#!/article/mark_farner_relives_grand_funk_album_by_album_by_joebosso
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"Especially critical of Mark Farner's guitar playing."
He sounded self-tutored, so what? If that rules out his musicianship, then you have to discard all the blues greats too.
This might be inviting double entendres, but there was something very throbbing and organic about GFR, clinical they weren't. And they had more groove than a lot of heavy bands of the time. Coming from Flint, Michigan, was good for something.
I saw those guys at a fairly small venue just before they truly exploded. They were powerhouses!
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I saw those guys at a fairly small venue just before they truly exploded. They were powerhouses!
I never had the pleasure of seeing Grand Funk, but I did catch ZZ Top sometime in between "Rio Grande Mud" and "Tres Hombres." I would also describe that as a powerhouse performance.
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I think that everybody should try to split their muds before buying anything, it's very easy to do and it is reversable.
I took your advice and had a tech split the mud (I was too afraid to do it myself). That is exactly the sound I wanted. I'm very happy with the way the bass sounds now. Fat but with definition, and a slight mid notch or hollowness that is a bit Ric-ish but still retains the character of the EB.
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Great! I'm not sure if you have wired it as a coil tap(single coil) but if so and it gets a little noisy wiring it as both coils in parallel gets rid of the hum and does not change the tone all that much.You should still retain enough lows to demolish small buildings.Enjoy!
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I took your advice and had a tech split the mud (I was too afraid to do it myself). That is exactly the sound I wanted. I'm very happy with the way the bass sounds now. Fat but with definition, and a slight mid notch or hollowness that is a bit Ric-ish but still retains the character of the EB.
Good to hear. I think that back then, Gibson would be better off ditching the coil/filter and have a mud coil tap in the 4th position on the EB-3 models.
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I took your advice and had a tech split the mud (I was too afraid to do it myself). That is exactly the sound I wanted. I'm very happy with the way the bass sounds now. Fat but with definition, and a slight mid notch or hollowness that is a bit Ric-ish but still retains the character of the EB.
You're running it as a single coil? Or as a humbucker in parallel?
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You're running it as a single coil? Or as a humbucker in parallel?
Single coil.
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Jake = mudbucker violator
Nothing good will come of this. :-X
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Add a bridge pup and you're all set. EB-0Ls won't turn into 50ies Les Paul Goldtops anytime soon.
If I'm going to take your advice, is the original EB-3L location optimal?
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The guy is demoing an EB-3L, stretches his left hand out to the nut and says, "this is the shorter scale".
https://www.youtube.com/watch?v=8ldYhxq8sTA
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I've never bought anything from him, but I believe he is from Duluth Minnesota. I just looked through his website, he's not afraid to charge for his stuff.....
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The guy is demoing an EB-3L, stretches his left hand out to the nut and says, "this is the shorter scale".
....
"I'm doing this for a visual" lol
It was sold a few years ago so I'm guessing any buyer dissatisfaction has been sorted out by now.
I've never bought anything from him, but I believe he is from Duluth Minnesota. I just looked through his website, he's not afraid to charge for his stuff.....
Eddie Matthews. Operates out of his house in Cloquet.
He's on the high end but he does have some choice gear. I want this Switchmaster (https://www.ebay.com/itm/1960-ORIG-GIBSON-ES-5-SWITCHMASTER-Vintage/350652661977?hash=item51a48700d9:g:L34AAOxyW1NREZb2) he has on eBay now. Just as soon as my lottery jackpot comes in...
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It's plugged into a guitar amp in that video, I assume.
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"I'm doing this for a visual" lol
It was sold a few years ago so I'm guessing any buyer dissatisfaction has been sorted out by now.
Eddie Matthews. Operates out of his house in Cloquet.
He's on the high end but he does have some choice gear. I want this Switchmaster (https://www.ebay.com/itm/1960-ORIG-GIBSON-ES-5-SWITCHMASTER-Vintage/350652661977?hash=item51a48700d9:g:L34AAOxyW1NREZb2) he has on eBay now. Just as soon as my lottery jackpot comes in...
Why not the blue Strat for $32,500?
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It's plugged into a guitar amp in that video, I assume.
Either that or he has the bass turned all the way down and the treble all the way up.
Why not the blue Strat for $32,500?
Because you can buy a Strat for under $1K and it will still sound and play like a Strat.
The Switchmaster has its own sound. I'd be happy with one of the late 90s reissues at about 1/3 the price.
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WOW she's a looker.
(https://i.ebayimg.com/images/g/wR8AAMXQdohREaqi/s-l1600.jpg)
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That is one freakin' beautiful guitar. There is something about hollows and semi-hollws that just looks like a guitar (or bass) SHOULD look like.
The colors are just right.
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FZ with his Florentine cutaway ES-5 Switchmaster and Claudia Cardinale
(http://globalia.net/donlope/fz/images/1966_Cardinale_01.jpg)
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I'd be happy with one of the late 90s reissues at about 1/3 the price.
How about a Zephyr Blues Deluxe at 1/20 the price?
(https://images.reverb.com/image/upload/s--LiT_a2Aq--/a_exif,c_limit,e_unsharp_mask:80,f_auto,fl_progressive,g_south,h_620,q_90,w_620/v1485715129/nbr5zbkym91jygadezup.jpg)(https://i.ebayimg.com/images/g/guUAAOSwquBctQK8/s-l1600.jpg)
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How about a Zephyr Blues Deluxe at 1/20 the price?
...
I wouldn't pay $900 for any MIC guitar.
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The Gristleman with a CS Reissue.
https://www.youtube.com/watch?v=Krmk6IXk_gs
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Sounds brilliant. The all-3 position is very Fenderish.
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Jake = mudbucker violator
Nothing good will come of this. :-X
What the heck did I do?
Violator is a great album tho.
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I wouldn't pay $900 for any MIC guitar.
MIK by Peerless. Quality is considered on par with good MIJ/CIJ guitars.
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I wouldn't pay $900 for any MIC guitar.
Amen to that.
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I wouldn't pay $900 for any MIC guitar.
And soon enough you can look forward to not paying $1,125 for that same guitar. One has to wonder how long Embassy basses can be had for $400 as well.
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And soon enough you can look forward to not paying $1,125 for that same guitar. One has to wonder how long Embassy basses can be had for $400 as well.
The only Embassy I've tried had fretwork so bad that I wouldn't have bought it for a $140, let alone $400...and yes, it was brand new.
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MIK by Peerless. Quality is considered on par with good MIJ/CIJ guitars.
I wouldn't pay more for any MIK guitar than it cost new.
To be fair, I do understand that non-US buyers don't necessarily see things the same way.
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I wouldn't pay more for any MIK guitar than it cost new.
To be fair, I do understand that non-US buyers don't necessarily see things the same way.
Up here in Scandinavia, people seem to look at US or asian fenders pretty much like the same thing - if it plays well it does not matter what the headstock says. But when it comes to Gibson, a lot of people just don't play an Epiphone on a stage. I've seen the logo taped or overpainted and whatnot like it's a disease.
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Up here in Scandinavia, people seem to look at US or asian fenders pretty much like the same thing - if it plays well it does not matter what the headstock says. But when it comes to Gibson, a lot of people just don't play an Epiphone on a stage. I've seen the logo taped or overpainted and whatnot like it's a disease.
Yes it's a bit different here. I can also understand the loyalty side of it in the U.S. If you can afford a U.S built instrument you feel better supporting your own country rather than see U.S companies going out of business. On top of that most of the guitars from Asia are U.S designs.
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Almost (*) all Gretsches aren Asian - even the 3500 euro Billy Bo Bass and White Falcon Bass - and almost all Laklands in shops (**) are Asian and I guess that changes a lot in perception. Of course Americans still think USA stuff is better :mrgreen:
Having that said: I know European and US brands with pickups or other parts made in Asia, even in the expensive basses. Or US amps with Asian speakers. So I do think a brand name surely makes a difference of what something is worth - A Fender is an easier resell than a 'better' (***) bass made by a small unknown luthier. But the perception a US bass may rise in value and an Asian one not? That goes against all logic.
(*) A handfull of US models are made every year.
(**) Most Laklands you see are Skyline and the US versions are more like Custom Shop. They hardly come over to Europe.
(***) 'Better'. What is better.....
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I'm not a buyer of higher-end instruments; my Gretsch Thunderjet is the most expensive bass I own. But I can't fault the workmanship of the asian-made instruments I have used. That includes Gretsch, Dean, Epiphone, and Ibanez Artcore. The fit and finish has been consistently excellent.
I realize that to some, there is allure from a made in US instrument, but I haven't persuaded myself that it would be worth paying moer for that.
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I want an old Hagstrom just for the fun of it.
I think way too much BS circles vintage instruments. It seems people expect them to be holy grail but even in the mid 60's you might play 10 of the same guitars to find the one that worked for you.
I do suspect that some of the Made in USA bravado will deflate over time as pricing is pretty much world wide.
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...
But the perception a US bass may rise in value and an Asian one not? That goes against all logic.
It's not just a perception in the US. It's a reality for the most part. There are a few exceptions, but as a general rule, Asian guitars and basses don't appreciate in value here. The marketplace is always about what buyers value, which may or may not be logical.
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I think it depends. Nothing from the nineties is really worth more: US nor Asian. But I see stuff like good Japanese Rick copies and old Tokais for quite some money. I guess it depends on the age.
Strange: In Europe normal '70s Musicmasters are sold for around 600-700 euros. Some early ones and Daphne ones a bit more. But the pink and powder blue '97 Squier Vista Musicmasters with matched headstock go for 700-800 here!! I was very surprised when a girl bought a pink one for 700 and sold it for 750 and a guy wanted to trade his Mexican JMJ Mustang for my powder blue Squier!
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I wouldn't pay $900 for any MIC guitar.
Just the other day I was looking at Dingwall basses. Nice stuff with fanned frets and advanced electronics (if you're into that sort of thing). Made in China versions are like 2 grand! They do mention this on their website:
"PLEASE NOTE: While the Combustion models are manufactured in China to our exacting specs, when they arrive here in Canada each bass goes through a rigorous two hour quality check including all the electronics, fret leveling and final setup. These basses don't leave our Canadian shop till they are up to our high standards."
You can get a brand new Rickenbacker 4003S for $1500.
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A mindset I guess? The more expensive British Burns basses have bodies and necks made in China but all parts are mounted on in England, so is the lacquering and building. Most Laklands are made in Asia and as I said the Gretsch White Falcon Bass is 3500 euros here. That's almost double the amount of a Rickenbacker and it's Japanese.
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I gig my EPI T Bird Pro
Fit and finish are perfect. So is fretwork.
I had to cut the nut slots down to the proper height. That's it.
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I think it depends. Nothing from the nineties is really worth more: US nor Asian. But I see stuff like good Japanese Rick copies and old Tokais for quite some money. I guess it depends on the age.
Strange: In Europe normal '70s Musicmasters are sold for around 600-700 euros. Some early ones and Daphne ones a bit more. But the pink and powder blue '97 Squier Vista Musicmasters with matched headstock go for 700-800 here!! I was very surprised when a girl bought a pink one for 700 and sold it for 750 and a guy wanted to trade his Mexican JMJ Mustang for my powder blue Squier!
That's all well and good, but that's not what the used market is in the US, which is what I was talking about.
Just the other day I was looking at Dingwall basses. Nice stuff with fanned frets and advanced electronics (if you're into that sort of thing). Made in China versions are like 2 grand! They do mention this on their website:
"PLEASE NOTE: While the Combustion models are manufactured in China to our exacting specs, when they arrive here in Canada each bass goes through a rigorous two hour quality check including all the electronics, fret leveling and final setup. These basses don't leave our Canadian shop till they are up to our high standards."
You can get a brand new Rickenbacker 4003S for $1500.
Reminds me of the days when Gibson claimed all Epiphones were set up in Nashville. I was skeptical. I don't doubt that Dingwall is doing it on $2K basses. No way I'd buy it, though.
I gig my EPI T Bird Pro
Fit and finish are perfect. So is fretwork.
I had to cut the nut slots down to the proper height. That's it.
And you're paying an appropriate price.
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Bought this 1970 EB-0L (https://www.ebay.com/itm/303083523802) off eBay today for $480. Let's hope I like it more than the 1968 EB2C I once had.
Now the wait.
(https://i.ebayimg.com/images/g/M2QAAOSwjfhcfFAe/s-l1600.jpg)
Wow, that was a deal and a half.
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So by now this is my current favourite bass, but the neck dive was starting to annoy me. This is what I came up with. I stuffed a roll of coins, weighing 400 gr (0.9 pound), in a plastic bag, into the control cavity. The <8 lbs. bass is now, with the added mass at its rear end, still under 9 lbs., so it's very comfortable, and balances well on a strap. Did anyone else try this?
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I never tried it with my EB-0L, but I do know of someone who put lead weights in his Bicentennial TBird for balance.
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I had a Jay Turser with a super-light body and neck dive as a result. I added a tele-bass style bridge cover to it and then put adhesive tire weight strips under the cover where they were concealed. Worked well to re-balance the bass, and it was so light that the total weight still was not a problem.
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I've read that Chris Squire hung a pouch full of coins off the end pin on his non-rev T-Bird.
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So Illan, have any ladies said something like "Oh my your bass neck is particularly erect. Is there a roll of coins in your control cavity or are you just happy to see me?" :rimshot:
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So Illan, have any ladies said something like "Oh my your bass neck is particularly erect. Is there a roll of coins in your control cavity or are you just happy to see me?" :rimshot:
:mrgreen: :mrgreen: :mrgreen:
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I was thinking about taking Uwe's advice to rout the bass for a bridge pickup. So today I attempted to simulate what it will sound like - by mounting it upside down over the strings.
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I was thinking about taking Uwe's advice to rout the bass for a bridge pickup. So today I attempted to simulate what it will sound like - by mounting it upside down over the strings.
Now that's an approach that I've never considered - and I did contemplate routing my own EB-0L on more than one occasion - so thanks for the idea... :)
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This attractive contraption is made with a Staedtler eraser for side blocks, held in place to the pickup with paper clips through the screw holes in the ring.
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I wouldn't place it that close to the bridge. IMHO that's the weakness of the EB-3 bridge pickup.
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I wouldn't place it that close to the bridge. IMHO that's the weakness of the EB-3 bridge pickup.
Curious I am on what you consider "that close" ? How far would you place it from the bridge ?
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I have tried slightly different locations. The one where the space between the pickup and the bridge is about the same as the width of the pickup ring sounds good to me. If I rout, it will have to be in the exact spot of a real EB-3L, and I will ask here for exact measurements. Otherwise I wouldn't be able to look at it.
The stock bridge pickup itself is not very impressive, at least upside-down. If it fails to impress after it's properly installed, any suggestions for good drop-in replacements?
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I have tried slightly different locations. The one where the space between the pickup and the bridge is about the same as the width of the pickup ring sounds good to me. If I rout, it will have to be in the exact spot of a real EB-3L, and I will ask here for exact measurements. Otherwise I wouldn't be able to look at it.
The stock bridge pickup itself is not very impressive, at least upside-down. If it fails to impress after it's properly installed, any suggestions for good drop-in replacements?
There's always the Dimarzio Model One. Meant to be a mudbucker replacement but a bit more civilized...unless the rout size is different.
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Curious I am on what you consider "that close" ? How far would you place it from the bridge ?
I'd place it close to the middle position, but that's just my own preference.
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The stock bridge pickup itself is not very impressive, at least upside-down. If it fails to impress after it's properly installed, any suggestions for good drop-in replacements?
I have tried a couple of the import/allparts bridge pups, not too impressive. Best was a EY-Pickups Firebird pup.
A few years back I did experiment a lot with winding more powerful drop-in pickups for the bridge pos. Over winding stock
allparts (and putting in more powerful magnets) was ok but not too much better, I wound a huge singlecoil lying down (like the first
gibson singlecoil) that was also ok and looked like stock , but the best was a mini sidewinder, with poles in the middle. That one became
punchy and loud, a bit less trebly but with more 'full' tone. I think I have one or two left - the only problem was that it took too long making them, and having poles in the middle it did not look stock.. If the market was bigger...
I'd place it close to the middle position, but that's just my own preference.
Agree; I once had a stock EB3 (but with allparts bridge pup) and put in another allparts bridge pup into my EB0F, which has a bridge pup route a bit farther from the bridge. I could swear it sounded less thin in the EB0F, but then again the test was not carried out in a lab environment.. The EB0F tend to sound best whatever I compare it to 8)
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Agree; I once had a stock EB3 (but with allparts bridge pup) and put in another allparts bridge pup into my EB0F, which has a bridge pup route a bit farther from the bridge. I could swear it sounded less thin in the EB0F, but then again the test was not carried out in a lab environment.. The EB0F tend to sound best whatever I compare it to 8)
Your EB-OF was routed for a bridge pickup? Surely not factory routed.
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Your EB-OF was routed for a bridge pickup? Surely not factory routed.
No, I routed it for bridge pickup - that I placed a tad closer to the middle of the body.
When I bought it, someone (70's or 80's) had routed it for a slanted J pickup :sad: and refinished in a thick poly red with a purple hue.
And, worst of all - they put a three pointer on the poor thing!
So I refinned with proper nitro, put in a proper pickup and of course got a bar bridge for it :)
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No, I routed it for bridge pickup - that I placed a tad closer to the middle of the body.
When I bought it, someone (70's or 80's) had routed it for a slanted J pickup :sad: and refinished in a thick poly red with a purple hue.
And, worst of all - they put a three pointer on the poor thing!
So I refinned with proper nitro, put in a proper pickup and of course got a bar bridge for it :)
Well done!
Hopefully you used a sledgehammer on that three pointer! :mrgreen:
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Well done!
Hopefully you used a sledgehammer on that three pointer! :mrgreen:
I made a two point mold, so now everything that annoys me is melted and cast into perfection. Then I look at it, and say 'how do
you feel, you're a bar bridge now' :-*
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I made a two point mold, so now everything that annoys me is melted and cast into perfection. Then I look at it, and say 'how do
you feel, you're a bar bridge now' :-*
Can you fit Neil Young into the mold? :mrgreen:
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Can you fit Neil Young into the mold? :mrgreen:
Hey, don't insult the mold!
At least it has some degree of intonation! :mrgreen:
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Hey, don't insult the mold!
At least it has some degree of intonation! :mrgreen:
Excellent point!
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A friend and vintage Ric collector has played my slot-head EB-0L the other day through his vintage (and totally awesome) SVT (both cabinets) and after 30 seconds said, I have to get me one like this.
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A friend and vintage Ric collector has played my slot-head EB-0L the other day through his vintage (and totally awesome) SVT (both cabinets) and after 30 seconds said, I have to get me one like this.
But of course! :thumbsup:
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I was offered a good deal on a slothead EB0 about a month ago .
Probably should have grabbed it . Gone now .
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I traded my '70 EB-0L about a year ago. Great bass in many respects but I can't say that I really miss it. Nevertheless, I'd love to pick up an EB-3L at some point in the future.
Bass V is currently on the top of my "want" list.
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I traded my '70 EB-0L about a year ago. Great bass in many respects but I can't say that I really miss it. Nevertheless, I'd love to pick up an EB-3L at some point in the future.
I'm still contemplating a conversion. I have a period-correct mini humbucker waiting.
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I'm still contemplating a conversion. I have a period-correct mini humbucker waiting.
I hear you, but couldn't bring myself to taking that path. To each their own.
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Me neither, yet. If I've learned anything from 30+ years of owning and playing vintage collectibles, it's never drill a vintage guitar. So for the time being I'm letting the bass be what it is. Uwe, OTOH, encouraged me to add a bridge pickup, saying these will never be 59 bursts.
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No, it will never be as collectible as a 59 burst, but I love my EB-0 for what it is. When I want that sound, it's there. No need for all my basses to sound clean and clear.
Still, adding a bridge pickup isn't a mortal sin, as long as it's not a hack job and the pickup looks like it fits (e.g. no slanted J pickups).
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and the pickup looks like it fits (e.g. no slanted J pickups).
But...but...but...Tom Scholz... :mrgreen:
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But...but...but...Tom Scholz... :mrgreen:
All the more reason not to! :mrgreen:
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All the more reason not to! :mrgreen:
This type of comments is what I come here for... :thumbsup:
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But...but...but...Tom Scholz... :mrgreen:
That mod was perhaps executed with less than a feeling: I see my EB's value walking away-ay-ay ... (cue in copious harmony guitars)