When discussing the history of the electric bass, Fender has always been the star in the spotlight. While Fender—versatile, easy to play, and the creator of the “standard” for popular music—reigned supreme, Gibson’s basses were clumsy challengers that could hardly be called versatile.
Why didn’t Gibson basses become the standard for electric basses? And why do they still captivate us to this day?We explore the lineage of the EB series—which has run parallel to music history since its birth in the 1950s—and delve into its appeal.
1-1. The Birth of the Gibson Bass
1-2. The Identity of the Gibson Bass
2-0. Gibson: Always Keeping Pace with the Sounds of the Times
2-1. EB-1 (1953–1958 / 1970–1972)
2-2. EB-2 (1958–1961 / 1964–1972)
2-3. EB-0 (1959–1979)
2-4. EB-3 (1961–1979)
3. Limited Versatility Is the Aesthetic—A Unique Presence Born of Trial and Error—
The History of Gibson Basses: The EB Series
1-1. The Birth of the Gibson Bass
Gibson is the undisputed king of the guitar world.
Founded in the late 19th century as a workshop for mandolins and archtop guitars, Gibson was a high-end stringed instrument manufacturer renowned for its refined woodworking techniques and beautiful arched tops.
In 1952, the “Les Paul”—developed in collaboration with guitarist Les Paul—was born. Featuring a beautiful maple top, a gold finish, and a sweet, rich, and resonant sustain, it came to reign as the ultimate embodiment of the electric guitar.
However, it was none other than Fender that pioneered the solid-body electric guitar at the time.
In the 1950s, starting with the success of the Telecaster, Fender released numerous models. With an industrial design suited for mass production—featuring a bolt-on neck, a flat body, and simple assembly—Fender became the driving force behind the global spread of the “electric guitar.”
It was Fender that launched the history of the electric bass in 1951 with the introduction of the world’s first solid-body electric bass, the “Precision Bass.”
Unlike the double bass (wood bass), the Precision Bass featured a solid body, a bolt-on neck, and frets, making it easy to play with precise intonation. It took on its current form in 1957 and continues to reign as the standard for electric basses today.
Meanwhile, Gibson, about two years after Fender, announced its first electric bass, the “EB-1,” in 1953.
While Fender’s approach could be described as “innovation as an industrial product”—the exact opposite of traditional stringed instrument making—Gibson chose not to imitate Fender, but rather to incorporate its own traditional craftsmanship, a source of pride for the company, into the bass.
1-2. The Identity of Gibson Basses
Gibson directly incorporated the manufacturing techniques it had honed with its archtop guitars and Les Pauls into its basses.
A solid mahogany body, set-neck construction, and humbucker pickups inherited from guitar design.
With its violin-shaped body, it gives a very strong impression of having “evolved from the double bass.”
This approach made perfect sense; however, bassists (i.e., double bass players) at the time were hesitant to adopt a new playing style because the Precision Bass required them to hold it like a guitar, so it wasn’t immediately accepted.
Gibson turned this around. The EB-1 was designed to be played upright, with a stand pole attached to the body end, allowing it to be played standing up just like a double bass.
(It is said that Gibson had been conceptualizing the electric bass since the 1930s.)
The EB-1 retained a guitar-like structure with frets, but its shape was designed to resemble a double bass as closely as possible in order to lower the psychological barrier for double bass players.
Incidentally, when it comes to “violin basses,” the Hofner 500/1 is well-known. This model, released in 1956, utilized the company’s expertise as a classical instrument maker to directly adapt the violin’s design to an electric bass.
It is unclear exactly when the term “violin bass” became established, but in terms of violin-shaped construction, Gibson’s EB-1, which debuted in 1953, actually preceded it. However, the EB-1 was designed with the concept of “miniaturizing the upright bass” rather than replicating a violin, and there is a significant difference in the design approach between the two.
As such, it is clear that Gibson’s basses follow a lineage of “evolution from the double bass” and were created based on a different concept than Fender’s basses.
Following the debut of the EB-1, Gibson went on to produce a series of models that followed their own unique path of development, including the EB-0 and EB-2.
2-0. Gibson: Always Keeping Pace with the Sounds of the Times
After dissolving his partnership with Kofman, Leo Fender renamed the company “Fender Electric Instrument Company” in 1947. In 1948, he developed the world’s first mass-produced solid-body electric guitar, which he unveiled as the Esquire in 1949.
As you all know, this was followed by the creation of instruments that are still in use today, such as the Telecaster, Precision Bass, Stratocaster, Jazzmaster, Jazz Bass, and Jaguar.
2-1. EB-1 (1953–1958 / 1970–1972)
In the popular music of the time (jazz and country), the double bass was the undisputed star. Aimed at bassists who felt psychologically resistant to Fender’s Precision Bass—which was held horizontally like a guitar—Gibson took a different approach, featuring a “familiar violin-shaped body” and a “retractable endpin that allowed for upright playing.”
However, at that time, the electric bass itself had not yet fully penetrated the market, and total shipments of the original model (1953–1958) amounted to a mere 546 units.
Although it was reissued between 1970 and 1972, total shipments for that run were only 473 units, indicating that sales were not particularly strong.
It featured a 30.5-inch short scale and a set-neck construction. A metal “retractable endpin,” which could be stored and attached to the bottom of the body, was included as standard equipment.
・1953–1958 (Original)
Body & Neck: Solid mahogany body. The shape was modeled after a violin, with binding on the top and back of the body, and a black F-hole design painted on the top.
Pickup: An early-model large single-coil pickup positioned closest to the neck. It was covered by a brown plastic cover.
Tuners: The use of banjo-style tuners is another design element that brings the instrument closer to a double bass.
Bridge: A bar bridge with the bridge and tailpiece molded as a single unit. It features a simple design that simply rests on studs.
・1969 (Reissue)
Although shipping records date from 1970, the year of manufacture is listed as 1969.
Body & Neck: The solid mahogany body remains unchanged, but the paint on the F-holes has been removed, resulting in a simpler look.
Pickups: Equipped with “Sidewinder (Madbacker)” humbucking pickups—the same model as the 1970s EB-0 and EB-3—covered by large chrome-plated metal covers.
Tuning Pegs: Changed to standard side-knob style.
Bridge: Features a Tune-O-Matic-style bridge that allows for individual saddle height adjustment on each string. This dramatically improved octave accuracy and ease of action adjustment.
Artists Who Use It
Felix Pappalardi
Felix Pappalardi
In the 1960s, he served as an arranger and music producer, participating in album productions for various bands and musicians, including Cream.From the late 1960s through the mid-1970s, he was the bassist and vocalist for Mountain, one of the leading bands of the early American hard rock era.
His heavy, low-end sound, produced by heavily distorting an EB-1, had a major influence on future generations of bassists.
2-2. EB-2 (1958–1961 / 1964–1972)
In 1958, Gibson introduced the “ES-335,” a landmark in guitar history. It featured a groundbreaking semi-acoustic design that combined the resonant sound of an acoustic guitar with the feedback resistance of a solid-body guitar.
Gibson immediately adapted this revolutionary design for the Bass, releasing the EB-2 that same year, 1958.
As production of the EB-1 was winding down, Gibson presented a new solution: a “luxurious semi-acoustic body.”
While the design was adapted from the guitar, the sound was clearly inspired by the double bass, suggesting that the approach to the music scene was a continuation of that established with the EB-1.
・1958
30.5-inch short-scale semi-acoustic construction
Body & Neck: Layered maple body, mahogany set neck.
Pickup: Features one single-coil pickup near the neck, covered by a black plastic cover (brown for a very brief period at the very beginning).
Controls: 1 volume / 1 tone
Parts: Banjo tuners, bar bridge
・1959
Controls: A push-type Vari-tone switch was added. This switch passively cuts specific frequencies (the low end on the EB-2) through a combination of a built-in capacitor and a coil; it was also featured on models such as the ES-335.
・1960
Parts: Banjo tuners were discontinued and replaced with Kluson tuners. A mute mechanism that could be retrofitted to the bridge was developed.
・1961
Production was temporarily discontinued, and the EB-2 was replaced by the EB-3 in that year’s price list.
・1964
The EB-2 was reintroduced. The specifications remained largely unchanged from previous models.
・1966
The EB-2D, equipped with two pickups, was released. It featured a mini humbucker as the bridge pickup, delivering a more defined sound.
・1972
Production of both the EB-2 and EB-2D was discontinued.
Artists Who Use It
Steve Swallow
A pioneer in the jazz world who made a complete transition from acoustic bass to electric bass.
Swallow, who originally performed as a jazz acoustic bassist in the groups of Gary Burton and Jimmy Giuffre, is said to have fallen in love at first sight with a cherry-red Gibson EB-2 he happened to try out at a music trade show in the late 1960s, leading him to make a complete switch to the electric bass.
2-3. EB-0 (1959–1979)
After production of the EB-1 ended in 1958, Gibson adapted the double-cutaway shape of the “Les Paul Junior”—which was a huge hit among guitarists at the time—for the bass, and released the “EB-0” in 1959.
Unlike the EB-1, which was designed specifically for double bass players, this model aimed to become the standard “electric bass that guitarists could switch to more easily.”
In 1961, it adopted the SG shape and went on to become a long-running model, with long-scale variations released later.
While many people think of the EB-3 when they hear “SG shape,” the EB-0 was actually a long-selling model that enjoyed popularity for about 20 years.
It was also a bestseller, accounting for nearly one-third of Gibson’s total solid-body bass sales during the 20 years it was in production.
Not only did it gain popularity during the rock movement of the late 1960s, but its rich, deep bass tones were also favored in genres such as jazz, R&B, and reggae.
・1959–1961 (Les Paul Jr. shape period)
30.5-inch short-scale solid-body
Total production was approximately 500 units, so few made it onto the market.
Body & Neck: Mahogany body, same body shape as the Les Paul Jr. DC. Color: Cherry Red.
Pickup: Features one “Sidewinder” humbucking pickup mounted toward the neck.
Parts: Banjo tuners, bar bridge
・1961
The familiar SG shape was introduced. This transition was timed to align with the model change of the Les Paul around the same period. Shipments in 1961 exceeded 500 units, reflecting its popularity.
Body & Neck: A set-neck construction featuring a mahogany body and a one-piece mahogany neck. The body had an SG-style shape and was available in Cherry Red as well as custom colors such as Perham Blue.
Pickups: Black plastic covers
Parts: Switch to Kluson tuners. The bridge remained a one-piece bar type. A pickup cover was added to the center of the body; in practice, it functioned more as a finger rest than a cover.
・1962
The EB-0F was released. This model featured a Fuzz Tone built into the SG-style EB-0.
In 1962, Maestro—a subsidiary of Gibson—released the world’s first fuzz pedal, the FZ-1 Fuzz Tone. Gibson brought this innovative idea to life by incorporating the FZ-1 circuit into the EB-0.
By combining the Fuzz Tone with the EB-0—which originally featured a boomy sound designed for the frequency range of an upright bass—the result was a growling tone reminiscent of an organ bass.
From upright bass to organ bass. It can be said that the EB-0 evolved to cater to the bass sounds in demand in the music scene of that era.
However, sales were not strong. Only 265 units were shipped between 1962 and 1965.
・1964
Pickups: Changed to chrome covers
・1968
Parts: Transitioned to a two-point-supported Tune-O-Matic-style bridge
・1970
Transitioned to a slotted headstock design.
Similar to a classical guitar, a vertical slot was cut into the headstock, and the tuning peg shafts were mounted so they crossed through the slot; the pegs were mounted facing backward.
Although this specification was produced for only a short period from late 1969 to late 1971, the EB-0 was at the peak of its popularity at the time, with 2,896 units shipped in 1970. It is a specification that is still relatively common on the market today.
Pickups: The pickups were mounted on escutcheons, allowing for height adjustment.
Parts: Pickguard without a finger rest. The jack was changed from a top jack to a side jack.
・1970: The EB-0L (
) was released.
Although the EB-0 had reached its peak in shipment volume in 1969, sales were gradually beginning to decline. This was a time when rock was starting to enter the mainstream. As guitar tones became increasingly distorted, the traditional boomy bass sound was beginning to lose its place.
That’s when the EB-0L, a long-scale version of the EB-0, was born.
The switch from a short scale to a long scale increased string tension, resulting in a tighter, more responsive sound.
Although production of the EB-0L was significantly reduced starting in the mid-1970s, it remained in the lineup alongside the EB-0 until production ended in 1979.
・1972
Although the EB-0 had been constantly evolving, this year marked a major turning point.
The slotted headstock was discontinued, and the design reverted to a solid headstock. A maple neck was newly adopted. Additionally, specification changes that significantly affected the sound—such as the relocation of the pickups—were implemented.
The removal of the bridge mute suggests that demand for an upright bass-like sound had declined, and these specification changes were intended to help the instrument stand out within increasingly complex ensembles.
Body & Neck: Mahogany body with a 3-piece maple neck.
Pickups: Previously positioned right up against the neck end, they were now placed further back (near the center of the body), resulting in a design that emphasized the mid-to-high frequencies.
Parts: The mute under the bridge was eliminated. The output jack was returned to its pre-1970 position on the top of the body. The shape of the pickguard was changed. The Schaller tuners feature large tuning buttons, which are apparently called “Elephant ear buttons” in English-speaking countries.
・1979
Although shipments continued until 1979, production numbers remained in the double digits after 1975, and production was eventually discontinued.
Artists Who Use It
Mike Watt (
)
Known as the bassist for Minutemen, Firehose, and The Stooges.
He originally favored the EB-3, but lost it to theft while on tour and acquired the EB-0 as its successor.He loved the playability of the short scale and customized it himself with modern pickups. With his attack-filled pick-playing and free-flowing Bass lines, he overturned the EB-0’s image as a “boomy bass” and established new possibilities for punk.
Dennis Dunaway
Bassist for Alice Cooper.
His EB-0, painted metallic green, is commonly known as the “Frog” and features flashy customizations. A major distinguishing feature is the split pickup from a Fender Precision Bass mounted on the bridge.
The “Frog” is currently on display at the Rock and Roll Hall of Fame.
2-4. EB-3 (1961–1979)
The EB-3 is a model very similar to the EB-0. In 1961, when the EB-0 adopted the SG shape, the EB-3—which also featured the SG shape—was released.
Simply put, it’s an EB-0 with an added rear pickup, and it can be considered the prototype for the “SG Standard Bass” currently on the market.
This came shortly after Fender released the two-pickup Jazz Bass in 1960.It’s not clear whether the EB-3 was developed in response to the release of the Jazz Bass, but in terms of its sound, the two are considered similar.
In terms of total units shipped across the EB series, the EB-0 actually outsold the EB-3; however, the EB-3 is the most well-known model in the series and is considered its flagship.
This is largely due to the fact that numerous renowned artists have used it since the late 1960s.
It was a favorite among rock and blues masters of the 1960s and 1970s, including Jack Bruce of Cream, Bill Wyman of the Rolling Stones, and Trevor Bolder, who backed David Bowie.
・1961
Like the EB-0, it features an SG-shaped mahogany body and a set-neck construction with a mahogany neck.
It is a 30.5-inch short-scale solid-body guitar.
The main differences lie in the pickups and controls.
Pickups: The front pickup, like the EB-0, is a humbucker positioned near the neck end with a black plastic cover.The bridge pickup features a mini-humbucker, which was later adopted on the EB-2D as well. The bridge pickup was escutcheon-mounted from the start, allowing for height adjustment.
Controls: A 4-position rotary switch. Rather than being a simple pickup selector, it routes the signal through an internal circuit to allow for a variety of tones: ① Front (low-cut), ② Bridge, ③ Mix, and ④ Front.
Parts: Nickel bar bridge, top jack
・1963
Pickups: The front pickup was also changed to a metal cover
・1965
Controls: The knob spacing was narrowed for a more compact design. The cavity size and shape became identical to those of the SG guitar.
・1967
Parts: Changed to a two-point-supported Tune-O-Matic bridge. The mute attached under the bridge remained the same as before.
(The photo shows a 1967 model, but it is from the transitional period when the bar bridge was still in use. The mute part remains unchanged from before.)
・1968
The Walnut color was introduced
・1969
Body & Neck: Changed to a 3-piece mahogany neck
・1970
At the same time as the EB-0, it adopted a slotted headstock design.
Production of the EB-3 also peaked between 1969 and 1970, with approximately 2,000 EB-3s shipped annually.
Furthermore, the long-scale version, the EB-3L, was released at the same time as the EB-0L.
By adding a rear pickup and switching to a long scale, the sound evolved from a boomy tone to a more defined one.
The EB-3L shares the same body as the short-scale model, but the bridge is positioned further back.
Body & Neck: 3-piece mahogany neck, 19 frets
(The second photo shows the long-scale EB-3L)
・1972
Also, like the EB-0, it reverted to a solid headstock and was updated to a 3-piece maple neck.
While the body remained mahogany, it became thicker and featured a neck volute, significantly increasing durability. Perhaps due to this high durability, it is said that although production numbers declined, a relatively large number of these models still exist today.
The front pickup was repositioned at the same time.
Although the pickups themselves remained unchanged, the design was tuned to suppress low frequencies, making the guitar more versatile for a wider range of band sounds.
Body & Neck: 3-piece maple neck
Pickups: The front pickup was moved rearward. While the pickup itself remained the same, this specification change resulted in a significant shift in tone.
Parts: The mute under the bridge was phased out starting in 1971, and the return to the top jack followed the same evolution as the EB-0.
(Photo shows a model with a replaced bridge)
・1976
While the EB-3 followed nearly the same specification evolution as the EB-0, it introduced several new color variations in the 1970s, albeit in limited production.
Previously, the color options—Cherry, Walnut, Natural, and Ebony—were the same as those for the EB-0, but in 1976, White was introduced exclusively for the EB-3.
With only 69 units produced over the four years leading up to its discontinuation—though more than the Natural and Ebony models—this color has become extremely rare.
・1979
In 1973, production surpassed that of the EB-0, with approximately 2,500 units (including the EB-3L) produced; however, production numbers dropped significantly starting in 1974, and production ended in 1979.
Artists Who Used It
Jack Bruce
As the bassist for Cream, he is one of the greatest figures in rock history, having made the EB-3 famous worldwide.
His thick, undulating distortion sound and unique, singing-like bass solos were created through the combination of a Marshall amplifier and the EB-3. He is credited with elevating the bass from a mere “accompaniment” instrument to the “star of the ensemble.”
Bill Wyman
The bassist who helped propel The Rolling Stones to their peak.
He favored a cherry-red EB-3, playing it in his signature “vertical style,” holding the bass nearly upright. His deliberate, tenacious playing style meshed perfectly with the EB-3’s distinctive attack, laying the foundation for the Stones’ gritty, groovy rock ’n’ roll.
Andy Fraser
A legendary bassist and songwriter who formed Free in 1968 at the age of 15.
With beautiful phrases that make full use of the space within the ensemble and a tight, commanding tone achieved by masterfully utilizing the EB-3’s rotary switch, he created a one-of-a-kind groove that stands as a proud legacy in rock history.
3. Limited Versatility Is the Aesthetic—A One-of-a-Kind Presence Born of Trial and Error—
Despite the model change to the Precision Bass, Gibson produced only a single model (the Jazz Bass was introduced in 1960).
While Fender had quickly established the “standard for bass sound” in popular music, Gibson stubbornly continued its own unique evolution and trial-and-error process without conforming to that versatile sound until the 1970s.
This may have begun as a conservative approach aimed at bassists hesitant to make the transition from the double bass and at Gibson’s existing guitar customer base. However, its history of repeatedly adapting to the sounds of the times—such as the increasing volume of amplifiers and the growing complexity of ensembles—unintentionally resulted in the instruments capturing the very essence of the musical atmosphere of those eras.
Gibson basses never quite became the “absolute mainstream” in the electric bass world. Historically speaking, they may have been playing catch-up with Fender.
However, it is precisely for this reason that the Gibson sound has acquired a unique character that no one else can imitate.
Its limited versatility—the fact that it is “not an all-purpose instrument”—and the intense presence gained in exchange for its difficulty to play—these are its greatest charms. As an icon that attracts musicians with their own quirks, it remains an object of desire that continues to captivate the hearts of many bassists to this day.
Author: Oda (TCGAKKI, Bass Specialist)
In charge of the electric bass section at TCGAKKI. Having played in major-label bands, he draws on his extensive experience to offer insights and promotions tailored specifically from a musician’s perspective. His main bass is a Fender CS Jazz Bass.
Qualifications and Experience: 3 years as a musical instrument appraiser; has appeared in numerous videos
▶︎Read his articles here
The History of Musicman
Learn the History of the Gibson Les Paul with Oda
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