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 brand that established the “standard” for popular music—reigned supreme, Gibson 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’ll explore the lineage of the EB Series—which has raced through 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—made its debut. 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, at that time, it was none other than Fender that was pioneering the solid-body electric guitar.
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 a simple assembly process—Fender became the driving force behind popularizing the “electric guitar” worldwide.
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.”The Precision Bass—which differed significantly from
the double bass (wood bass)—featured a solid body, a bolt-on neck, and frets that made 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 to this day.
Meanwhile, Gibson, lagging behind Fender by about two years, introduced 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 craftsmanship—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. These included a solid
mahogany body, a 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 of the time (who were primarily double bass players) were hesitant to adopt a new playing style because the Precision Bass required them to hold it like a guitar, and so it was not immediately accepted. Gibson turned
this situation to its advantage.The EB-1 was designed to be played upright, with a stand pole mounted at the body end, and was intended to be played in a vertical position, much like a double bass.
(It is said that Gibson had been conceptualizing electric basses as early as the 1930s.) While the EB-1 featured a guitar-like structure with
frets, 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, leveraged 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—was the earlier model.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 introduction of the EB-1, Gibson went on to produce a series of models—including the EB-0 and EB-2—that each followed their own unique path of development.
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 end pin 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 reissue also totaled 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 “telescoping 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 applied to 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.
・Although shipping records for the 1969 (reissue)
model date from 1970, the year of manufacture is listed as 1969.
Body & Neck: The solid mahogany body remains unchanged, but the painted F-holes have been removed, resulting in a simpler appearance.
Pickups: Equipped with “Sidewinder (Madbacker)” humbucking pickups—the same model as the 1970s EB-0 and EB-3—encased in large chrome-plated metal covers. Tuning
Pegs: Changed to standard side-knob type.
Bridge: Features a Tune-O-Matic-style bridge that allows for individual saddle height adjustment for each string. This dramatically improved octave accuracy and ease of string height 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 early American hard rock.
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 unveiled the “ES-335,” a landmark in guitar history. It featured a groundbreaking semi-acoustic design that combined the resonant quality of an acoustic instrument 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 borrowing the
guitar’s design, the sound was clearly inspired by the double bass, suggesting that Gibson’s approach to the music scene remained consistent with that of the EB-1.
・1958
30.5-inch short-scale semi-acoustic design Body & Neck
: Layered maple body, set mahogany neck.
Pickup: Features a single 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
. Hardware: Banjo tuners, bar bridge
. ・1959
Controls: A push-type Vari-tone switch was added. This switch passively cuts specific frequencies (the low-frequency range 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.
・In 1966, the EB-2D, equipped with two
pickups, was released. It featured a mini humbucker as the rear pickup, delivering a more defined sound.
・In
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.
Originally active as a jazz acoustic bassist in the groups of Gary Burton and Jimmy Giuffre, Swallow 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 switch entirely 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.
This model differed significantly from the EB-1’s concept, which targeted double bass players; instead, it aimed to become a standardized “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 associate the SG shape with the EB-3, 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 era)
:
Total production of the 30.5-inch short-scale solid-body model 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: One “Sidewinder” humbucker pickup mounted near 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 during the same period. Shipments in 1961 exceeded 500 units, indicating its popularity.
Body & Neck: A set-neck construction featuring a mahogany body and a one-piece mahogany neck. In addition to the SG-style body shape and Cherry Red, custom colors such as Perham Blue were also available.
Pickup: Black plastic cover
. Parts: Changed 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.
・The EB-0F was released in 1962
. This model featured the Fuzz Tone incorporated 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 integrating the FZ-1 circuit into the EB-0.
Combining the Fuzz Tone with the EB-0—which originally featured a boomy sound inspired by the range of an upright bass—resulted in 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 the time.
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-mounted 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. This configuration is still relatively common on the market today.
Pickups: The pickups were mounted on escutcheons, allowing for height adjustment.
Parts: The pickguard no longer featured a finger rest. The jack was moved from the top to the side.
・The EB-0L was released in 1970
.
Although the EB-0 had reached its peak in shipments in 1969, sales were gradually beginning to decline. This was an era when rock was starting to enter the mainstream. As guitar tones became increasingly distorted, the previously popular boomy Bass sound was beginning to lose its place.
This led to the creation of the EB-0L, a long-scale version of the EB-0.
The switch from short scale to long scale resulted in higher string tension, leading to 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—such as the relocation of the pickups—were implemented, significantly affecting the sound.The removal of the
bridge mute suggests that demand for a upright bass-like sound had diminished, and these specification changes were intended to help the instrument assert its presence within increasingly complex ensembles.
Body & Neck: Mahogany body with a 3-piece maple neck.
Pickups: Previously positioned right up against the neck end, the pickups were repositioned 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 peg buttons, which are apparently referred to as “Elephant ear buttons” in English-speaking countries.
・1979: Although
final shipments continued through 1979, production numbers remained in the double digits after 1975, and production was eventually discontinued.
Artists Who Used 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 a replacement.He loved the playability of the short scale and customized it himself with modern pickups. With his attack-heavy 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 and nicknamed “Frog,” features flashy customizations. A major distinguishing feature is the Fender Precision Bass split pickup mounted on the bridge.
“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, the year 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. While it’s unclear whether the EB-3 was developed in response to the Jazz Bass’s release, their sound approaches are certainly similar.
Although the EB-0 actually has the highest total shipment volume among the EB series, the EB-3 is the best-known model in the series and is considered its flagship.
This is largely due to the fact that it was used by numerous renowned artists starting in the late 1960s.
It was favored by 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.
・Like the 1961 EB-0, it features an SG-shaped mahogany body and a set-neck construction with a mahogany neck.
It is a solid-body guitar with a 30.5-inch short scale. The
major differences lie in the pickups and controls.
Pickups: The front pickup, like the EB-0, is a humbucker positioned near the neck joint 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 simply being a pickup selector, it routes the signal through an internal circuit, allowing for versatile tone selection: ① Front (Low-Cut) ② Bridge ③ Mix 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 a transitional model equipped with a bar bridge. 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. The addition of a
rear pickup combined with the long scale shifted the sound 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)
・In 1972
, just like the EB-0, the design 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 decreased, a relatively large number of these instruments still exist today. The position of the
front pickup was also changed 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 pickups themselves were 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.
(The photo shows a model with a replaced bridge.)
・While the EB-3 followed nearly the same specification evolution
as the 1976 EB-0, a few additional color variations were introduced 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 finishes—this color has become extremely rare.
・In 1979
, production had surpassed that of the EB-0 in 1973, with approximately 2,500 units (including the EB-3L) produced; however, production numbers dropped significantly starting in 1974, and production ceased in 1979.
Artists Who Used It
Jack Bruce
The bassist for Cream and one of the greatest figures in rock history, he made the EB-3 famous worldwide. His thick, undulating distortion
sound and unique, singing bass solos were created through the combination of a Marshall amplifier and the EB-3. He is credited with elevating the bass guitar from a “backing 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 distinctive “upright style,” holding the bass nearly vertical. His deliberate, tenacious playing style meshed perfectly with the EB-3’s characteristic 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 made 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 as an Aesthetic—
A Unique Presence Born of Trial and Error
Despite the model change to the Precision Bass, Gibson produced only a single model (the Jazz Bass debuted 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 journey may have begun with 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 instrument capturing the very essence of the musical atmosphere of each era.
Gibson basses never became the “absolute mainstream” in the world of electric bass.Historically speaking, they may have been playing catch-up with Fender.
Yet it is precisely for this reason that the Gibson sound has acquired a unique character that no one else can replicate.
Its limited versatility—the fact that it is “not a jack-of-all-trades.” The intense presence gained in exchange for its challenging playability. These very qualities have become its greatest appeal, and 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 to a musician’s perspective. His main bass is a Fender CS Jazz Bass.
Qualifications & Achievements: 3 years as a musical instrument appraiser; has appeared in numerous videos
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