At the rate they are rejuvenating old models they will soon approach the eighties - Victories and 20/20 are threatening!!! :mrgreen:
Short scale I'm assuming?
Another picture and confirmation of 34" scale.
http://www.premierguitar.com/Magazine/Issue/2013/Feb/GALLERY_NAMM_2013_Day_4.aspx?Page=27&#gallery
Another picture and confirmation of 34" scale.
http://www.premierguitar.com/Magazine/Issue/2013/Feb/GALLERY_NAMM_2013_Day_4.aspx?Page=27&#gallery
And suddenly I see another 335-bodied cherry Gibson bass in my future... ;D this time NO mudbucker! And I have nothing against the 3-point bridge.
If these are the same pickups they put in the SG basses under the retro-looking covers, I think it's a winner.
Just a bit worried about the neck dive. So I'll wait for a review.
What do you think the street price will be?
12 years ago... my incredibly beautiful-but-sounding-like-crap '68 EB2C Sparkling Burgundy - the only Gibson bass I ever had:
(http://i287.photobucket.com/albums/ll127/ilanlukatch/withGibsonEB2C.jpg)
You don't look happy with it either on that pic, Ilan!Nah, that's just my guitar face. :-[
"Gibson ES-335 Bass
For the first time in nearly 50 years, Gibson has once again created a totally rad ES-335 semi-hollowbody bass. It features a 34" scale, 24 frets, humbuckers, and a historically accurate 3-point bridge."
:popcorn: That will cause some controversy here I fear ...
Nah, that's just my guitar face. :-[
dark cherry whizz ze binding.
So again, like with the Midtown (why do they need both models splitting thevotetarget market for hollowbody ES style basses, dooming both to probable commercial failure and therefore discontinument?), they have taken what I liked about the original, and thrown 80% of it in the trash.
In a way I am glad, because I can't be buying any more instruments right now (even though I always felt a hole in my stable that could only be fille3d with a hollowbody; eventually I will find a decent Starfire/EB2/Rivoli body is project shape and make the bass I have been dreaming of - Lo Z LP pup in the bridge and mudbucker in the mid/sweet spot).
Also, as always, nothing wrong with the 3 point. Fine stable bridge that.
I couldn't give a crap why Gibson wants to release ANYTHING. I just know what I like and it ain't that, a mashed up combo of whatever is in the parts bin.
And I thought you would find at least the binding-less version commendable, Jake. How you disappoint. :-\ :mrgreen:
Your assumptions, guys, are all wrong. You criticize Gibson for taking a position it hasn't claimed. It hasn't said it would reissue the EB-2. It said it would bring out the Midnight and the ES-335 bass, both unprecedented models. Just because one looks like and one is a semi-hollow, you guys assume it is an "EB-2", a bass that was never offered in long scale and suffered for it as short scale went out of fashion at the end of the sixties and people started looking for a brighter bass sound. ...
As if it was ever different!!! Gibson bought alder for the Ripper bodies and then starts producing SG shape alder bodies as well - the budget SB series. They bought korina because it was cheaper than maho and - voilà - a few years later it's a cult wood. Making apparently new product from stuff you already have - components - is nothing new or despicable, but sensible industry production. And Gibson are industry, not a boutique luthier. Why should they be any different than the people who make my Volvo?
Your view of Gibson past production - even pre-Norlin - is severely rose-tinted. I fail to see what is so much better on my sixties TBirds than on the new stuff I buy. At least these days they place the bridge right. :mrgreen:
And speaking of the here much derided TB Plus pup family: If you can't get a Gibson sound you like out of bass equipped with two TB Plus pups then you should possibly play more tennis as a pasttime. Or buy a Jazz Bass. :mrgreen: People would have killed for these pups in the sixties or seventies.
If you buy an American Standard Fender today (not a vintage reissue) , you get a modern interpretation of the original, and as always there are some interchangeable parts, but you don't get leftover parts from other models just because they're on hand.
Are we really talking about Fender, that brand which produces essentially two basses in umpteenth variations? Standard, Faded, Highway, Classic, American Standard, American Vintage, Affinity, Deluxe, Pawn Shop ...??? :o :o :o No, that is not barrel scraping at all and they never use the parts from one series in the other. Or simply rename a series in marketing mastication, that they would never do!
....
Yes, that same Fender. Yes, I've criticized them for all the different versions. But you're missing the point (deliberately, I'm sure): Fender doesn't put the same pickup and hardware in every bass, or even every bass of the same type. E.g., most of those different Ps have different pickups, some have different control circuits, etc. It's oversaturation, but it's not done to use up spare parts in the parts bin.
Gibson won't even use their own new pickups or the Babicz bridge. Same old tired TB Plus and three-point on almost everything.
medium-low action obsessive
I find the TB Plus the best mass-produced non-Fender sounding passive pup in the world, honest. :-X :-X :-X They are modern growl monsters with just enough presence and low bass to not sound too vintage.
I find that tone suffers if action is too low even if buzz-free. I'm not a hard player (anymore), but I don't want any buzz at all unless I play hilariously hard.
to see string marks on pickup covers looks weird to me. how can anyone play like that.
... It's a good pick-up and it's theirs, hardly any other pup sounds like it, why change? When they used Seymour Duncans on the Ripper II and the Novoselic RD, I saw no one in this forum rushing out to buy those models (the Ripper was faithful to the original in all other aspects). The (new) Gibson grapes are always too sour for most people here.
And the three point bridge is after 40 years of use a Gibson trademark look on basses, much like the Ric bridge which isn't perfect either, but belongs to that bass. I like the three point, it is stable, idiosyncratic, good handrest, doesn't cover up the bass surface like base mounted bridges do, yet does not lack sustain or string to saddle pressure, no fidgety allen wrenches, just a (very) mansize and a regular size screwdriver is all you need. And I have intonated and set up several 100 of them and continue to - as a no fret buzz, but medium-low action obsessive I just don't have issues with them.
i don't think it's fair to point to the Ripper II or the Novoselic RD; the pickups aren't the reason those haven't sold well.
I find that tone suffers if action is too low even if buzz-free. I'm not a hard player (anymore), but I don't want any buzz at all unless I play hilariously hard. A lot of instruction videos of bassists I see I find the sound too buzzy, nearly all slappers, Guy Pratt, Billy Sheehan, JAE's buzz is horrid to me. As I try to avoid it, it inhibits my playing if a set up is too low. Basses in shops are generally either set up too low or not set up at all. 3 to 4 mm at the 12th fret is about as low as I go. Lower feels weird to me. I don't even like buzz if I can't hear it in a loudly amplified situation, I still feel it through my hands!
I'm with you on that. I also notice with my 3-Point equipped birds, that the acoustic (unplugged) tone of the bass changes as the action is adjusted by raising and lowering the bridge. With the action low and more of the post length screwed into the body, the brighter and tighter it sounds. With the action set to what I consider "medium" (most people probably consider higher than average) and more of the posts unscrewed, there comes a sweet spot where the low end opens up a bit more and the bass sounds much more rich and full. I tend to set my bridges based on where I find that acoustic sweet spot, rather than how high or low the action is- unless of course there is any kind of fret buzz.
Getting the pup real close to the strings doesn't work on all basses. Some pups will begin to sound all middish, other's magnetic field starts interfering with the high register notes, giving them weird "doubling" effects and ghost harmonics. Ironically, with TB Plus pups you can get so close that the strings can barely still swing without these ill effects.
Ah, something learned! Always wondered what the ceramic thingy was good for.
... how can anyone play like that.
I'll have to get one of those when I start a Cure tribute band. ;)
And here's the sunburst one,
http://www.musikhaus-hermann.de/xtv/index.php?page=product&info=8887
Hmm... that sunburst one has (not that accessible) 24 frets!
But then I want to be like him! :-\
(http://www.bigsbyguitars.com/vibe/wp-content/uploads/artist_blackmore.jpg)
Smack dab on the back cover of Bass Player mag, a familiar looking instrument from D'Angelico
http://dangelicoguitars.com/#StandardSeries/EX-BASS-2013
Pickups look like TB+ and the bridge looks like the LP bass tune-O-matic.
Is Gibson trying to pull a fast one with some rebranding?
Of course, The Outlaws. The man who recommended Ian Gillan to Blackmore and Jon Lord as their new singer following Rod Evans.
Nope. D'angelico always made Gibson-inspired guitars. The brand was bought last year and is returning. If this is their standard line, it's an import and if the pricing is similar to the archtop guitars already out in that line, it will probably be in the $1200 range. If it's the US masterbuilt line, probably over $10k.Maybe the same company bought the D'Angelico string brand as well and is planning on releasing proprietary strings exclusively for their own basses ???
The specs on this one show a 32 1/4" scale. Odd.
Maybe the same company bought the D'Angelico string brand as well and is planning on releasing proprietary strings exclusively for their own basses ???
http://www.juststrings.com/dangelicoelectricbassguitarstainless.html
I love how all their string packages have to include the word concept.