The Last Bass Outpost

You know, it's not my bag, but I dig that they're doing it. I think this is something they need in their bass line up, instead of mucking about with the established designs of say the Thunderbird as they did in 2015. It's different, but has some distinct Gibson features (thunderbird headstock), and has a pretty nice price point ($999 for the 4 string version). Good for them for trying something different in the bass department. Now just release a properly spec'd Thunderbird or EB-2 or something to make both sides of the equation (those who want modern, and those who want reissue).

I thought I'd seen the answer on this forum before, but does anyone have a good suggestion for paint to use for the bridge pickup surround and the neck pickup cover?

Does anyone know what type of screws were used for these black top pickups? From what I can tell from photos of other stock EBs, the pickup screws are not the same as the pickguard and backplate screws, which appear to be larger with a different head profile. Anyone have the # for these or any idea where I can source some?

Jesus goddamn christ that bass is sweet.

Here's a pic of Noel Redding with one:




Dunno how many there were, but if there were only something like 90 Newport Deluxes and 25 Newports w/Fuzztones made, I can't imagine there were more EB-6 Newports than that.

The fuzz on my '62 EB-0F wasn't really usable. It didn't work with only a mudbucker.

Whatever bass was used on Gibson's demo record for the Maestro FZ-1 couldn't have been an EB-0. Unless your tuba or sousaphone player calls in sick, the bass tones aren't that usable anyway. But if you have a "thin bodied guitar," you can play a nifty version of Mein Hut, der hat drei Ecken. 

That demo is 100% incredible. Wow, what sounds, such sousaphone, very tuba.

Dimed treble knob would do it (when on bridge, and not when on neck).

The mudbucker doesn't really have any upper mids or highs. I like to joke that it puts out a near pure sine wave of fundamental. I have found that it is a perfect match for small Peavey solid state practise amps for a really cool recording tone (somebody you know has a Peavey Bandit - try it, it is an unexpectedly awesome combination) or small to medium guitar combos generally (similar success with a Peavey Bravo 12... dunno what it is about Peavey and Mudbuckers, but they just get along). Otherwise I use a 10 band EQ pedal (MXR) to cut everything in the lowest band, 35Hz or something, and give a medium width boost in the upper mids).

Guess it'll be something to live with then, I don't think I'll be turning down the treble any time soon. And don't worry, I have no delusions that there's a secret untapped plethora of mids and highs trapped within the mudbucker, but I have read few various threads, many here, that say the EB-0 has a bit more of an open tone, and that the same can be achieved by removing the tone choke in the EB-3. Not a huge amount, but a bit more than the dark-cloud-mud that it has stock. I like the sounds I can get from it currently, I was just thinking about possible future changes.I'll have to see if my crappy old Frontman 15 is still hiding somewhere in a closet, test it out through that too.

we have a strict policy of 'separation of bass and state' here.

I could reshoot it with my Union Jack, for surely there can be nothing that comes between Queen and bass.

So I've read this forum for a long time now, figure I should actually post, seeing as I actually have something to post about.

I've been a massive Jack Bruce fan since I first heard Cream, and he's always been a huge influence on my playing. I've looked for an EB-3 for years, but without much luck. I knew it probably wasn't going to be a primary player over my precision, but I wanted it for the few tricks it does do and because they always looked so cool with Bruce and Fraser and Cornick. Part of the limiting factor of tracking one down was that I knew I wanted an early period one, wide spaced knobs, original style neck joint, etc. Minor things, but I knew I probably wasn't going to be as content with a later style version. As such, looking for a '61-'64, the prices can be a little on the high side for my wallet, and I'd occasionally browse various sites seeing if there was ever one in okay condition for an okay price. In fact, not quite mint was really a better option, since I figured I'd eventually rewire the circuit to a 3-point selector switch and remove the choke. Back in...October I think it was I saw one on the GC used site that was a '62, with the original bakelite cover, and in fact the rather rare addition of a stinger (with the original serial and no break, indicating a factory stinger). It was a bit much without the need to sell things, but it was the best deal I'd seen on one (upper $2000s). It eventually sold and I instead got a Ric 4001v63 (that's another story). Fast forward to January, browsing Reverb, and I see another 1962 EB-3. This one is in the low $1000s, way more in my price range, so I look it over. Good news: original finish, original frets in good condition, mostly original hardware and electronics. Bad news: some weird attempt at what I think was a belt-attachment, a small repair on the edge of the control cavity, some replaced screws, and one ugly headstock repair. So I contacted the seller, and they didn't seem to know too much about it, but described it as best they could, said the headstock repair while not pretty, was structurally sound, the serial was still visible (sent a photo), the back of the headstock had not be refinished (more on that in a minute), and that it was in overall decent condition. I negotiated with the price, waited a bit, since they had to to ask the owner if she was willing to accept my offer, and counter offered. After a bit more negotiation I got it for about $1000. Others may think it's a bit much, but overall I'm very satisfied with it, even more so when it showed up and was actually in better condition than the seller's photos indicated. So, without further rambling, here are some photos of it:






As you can see on the back of the headstock, it too features what I am fairly certain is a factory stinger. These were a feature of the 40s and 50s archtops, and show up on occasion on the solid body guitars of the late 50s/early 60s, and evidently the best explanation is that is a way to hide what the company considered cosmetic flaws in the wood. What leads me to believe that it is factory original is that the serial is still clearly visible, the glue for the repair is on top of the black, and I can't tell any transition between a resprayed clear coat and the original neck finish.

Anyways, absolutely love this thing. It's the first vintage bass I've ever owned, and I'm very impressed. Sure, it not exactly versatile, but run through my Sunns it does exactly what I want it to do. Felix Pappalardi? Yeah. Buzzy driven Jack Bruce? Nailed it. I switched the flats that were on it to D'addario Nickel rounds, which I know some people might object to putting rounds on it, but I just haven't yet been able to bring myself to get along with flats. Love the neck. I'm used to the Fender '62 AVRI neck on my precision, which is wide but fairly thin depth wise, where as the EB-3 is a much meatier neck. Fits my hand very well. Also my first short scale bass (outside the Bass VI), and I really love how quickly I can move around and the lower string tension. I do a lot of string bends, and can easily bends these strings (coming from a Precision with Swing 66s) up to 2 steps in many positions. Mostly I've been using a combination of the Bridge and Neck, with the Bridge volume rolled off to 8.5 and the tones wide open. Good balance of honky bridge clarity and low end rumble from the neck. i do need to work on the electronics a bit, it seems that the rotary crackles and occasionally position 3 will pop and sound like position 1. Not yet decided if I will drop in a whole new harness to eliminate the choke yet, we'll see. What am surprised about are two things: 1) it seems that the neck by itself (position 4) is far quieter that the bridge pickup. If I remember correctly these pickups were somewhere in the range of 30k ohms? I know it still has the effects of the choke working on it in position 4, so might that be all there is to it, because position 1 certainly has some high output. And 2) I get feedback on the bridge pickup. I know these are humbuckers, but with the amp volume turned well up, does anyone else with one of these experience any feedback? Is it possible just going microphonic?

Anyways, long post, TL;DR: finally attained a Grail bass, love it, comments, suggestions, questions welcomed.