 | Download Example 1 ModFreqShift + Reverb |
| Download Example 2 MultiShift + Heavy Overdrive |
| Download Example 3 Hold Filter + Reverb & Reverse Tap Delay |
Start Me Up
The Eclipse can be an intimidating beast at first glance—packed with enough features and controls to keep me wrapped up for days. But a little study reveals it to be a fairly guitarist-friendly unit. The construction quality was rock solid, with a classy, brushed aluminum faceplate that housed a super clear Vacuum Fluorescent Display (VFD) screen, a 15-button keypad with a satisfying feel, and the famous Eventide control wheel for scrolling between patches and altering program parameters. In addition, there was a highly useful dual level meter to let me know if my signal was clipping the inputs, and a memory card slot for saving presets to a compact flash memory card. The neon green, LED backlit Tap Tempo button was a nice touch too, making it a snap for me to punch in a tempo for modulation and time-based effects.
The rear panel of the Eclipse has more connections and routing options than I could shake a stick at. Eventide has always been really good about designing processors that anticipate any connection setup in live and studio rigs alike, and the Eclipse is no exception. In addition to the standard dual analog audio inputs—specially calibrated for either unbalanced ¼” or balanced XLR cables, the device has an XLR digital interface, along with separate digital interfaces for RCA and optical connections. Eventide’s engineers even included a serial port for transferring data between the Eclipse and a PC—evidence of the company’s well-known dedication to the pickiest studio rats.
There’s also a Remote Power In jack for powering an optional MIDI foot controller, effectively making the Eclipse an all-in-one MIDI effects solution without the need for an additional wall wart for foot control power. Granted, most guitarists would probably only rely on the analog ins and outs—and possibly the MIDI interface, but it was really nice to see Eventide go well beyond the average guitarist’s conventional needs and provide interface options for any stage or studio situation.
Setting up and using the Eclipse seemed daunting at first, but overall the interface is fairly intuitive and reduces the learning curve for what is a very feature-rich processor. You can effectively think of the Eclipse as not just one effects unit, but two working in tandem. The device contains two separate effects “blocks” that are essentially separate effects processors. I had the option of using either block separately, or both together. This was an immensely cool feature that opens up the unique tones that are possible from chaining multiple effect units, while eliminating noise, clutter, and messy cable patching problems.
Building Blocks of Tone
I set up the Eclipse via the effects loop of a Diezel Schmidt head and a matching 2x12 halfback cabinet with a Fender Stratocaster, and a set-neck 1978 Ibanez Iceman. The Eventide emitted a short boot screen as I powered it up, and in no time I was ready to go. There are five program categories to choose from in the program list—guitars, vocals, drums, keyboards, and special effects, which range from subtle delays and reverbs to radical pitch shifts. There are a number of presets that can provide a good starting point for the player, which is a great idea considering the Eclipse’s position as an entry-level effects processor in their product lineup.
From a sound quality standpoint, the Eclipse is a glorious piece of equipment. The overdrive patches may have been the most challenging effects to dial in (I usually had to work to eliminate some digital graininess) But apart from distortion flavors, it was hard for me to find an effect that I didn’t think sounded absolutely stellar. The clean, crisp delays and reverbs that helped put Eventide on the map were lush and touch sensitive and delayed signals rose and fell very naturally with my varied pick attack. The same touch sensitivity was also evident in effects like the phasers.
Obviously, Eventide is well known for its harmonizer effects, and the harmonizers on the Eclipse are distinguished by super-quick tracking and dual, fully adjustable pitch parameters. Parameters were extremely simple to access and alter. Just one tap of the Program button, a twirl of the control knob and pressing the Load command was all it took to bring up a patch. After it was loaded, the four rubber buttons lying across the bottom of the display were each assigned to the effect’s parameters, such as wet/dry mix, rate, depth, and feedback.
Still, for all of its bells and whistles, the Eclipse’s simple dual effect block design was its strongest aspect. Crafting the perfect delay tone with just the right bounce and rhythm, then joining it with one of Eventide’s famous, carefully tweaked reverbs was an experience that I will not soon forget. And the amount of depth that the unit added to my tone in these applications was staggering.
As great as the Eclipse is at producing mammoth-sized effects in crystal-clear detail, I never really forgot that it was there while I was playing. Quiet though it may be, the Eventide isn’t exactly transparent (if that’s a priority). The inherent clarity of some of these effects can often make them stand out and feel distinctly more processed, which might be a turn-off to players who prefer the fuzzier tones of analog distortions and delays. But if you’re willing to work with more clinical and precise tones, there’s no end to the textures you can create.
The Verdict
The Eventide Eclipse is designed to be an effects workhorse, and it’s a powerful tool for the guitarist that works across multiple styles and uses a broad array of textures to create moods and enhance songs and compositions. The time-based and modulation effects are flat out extraordinary, and the reverb capabilities are stellar. Such effects can possess a kind of sterility if you’re a stickler for analog sounds. But what you might lose in analog authenticity, you gain in detail, noiseless performance, and touch sensitivity. If you’re interested in a pro-level rack effects unit that covers a lot of territory and can spare the expense, look no further than the Eventide Eclipse V4.
Buy if...
classic Eventide quality and sonic range in a convenient multi-effects unit justify the price.
Skip if...
you only use a few effects or insist on analog sounds.
Rating...
Street $1995 - Eventide - eventide.com |
Gibson originally launched the EB-6 model with the intention of serving consumers looking for a “tic-tac” bass sound.
The Gibson EB-6 was announced in 1959 and came into the world in 1960, not with a dual-horn body but with that of an elegant ES-335. They looked stately, with a thin, semi-hollow body, f-holes, and a sunburst finish. Our pick for this Vintage Vault column is one such first-year model, in about as original condition as you’re able to find today. “Why?” you may be asking. Well, read on....
When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye. The real competition were the Danelectro 6-string basses that seemed to have popped up out of nowhere and were suddenly being used on lots of hit records by the likes of Elvis, Patsy Cline, and other household names. Danos like the UB-2 (introduced in ’56), the Longhorn 4623 (’58), and the Shorthorn 3612 (’58) were the earliest attempts any company made at a 6-string bass in this style: not quite a standard electric bass, not quite a guitar, nor, for that matter, quite like a baritone guitar.
The only change this vintage EB-6 features is a replacement set of Kluson tuners.
Photo by Ken Lapworth
Gibson, Fender, and others during this era would in fact call these basses “baritone guitars,” to add to our confusion today. But these vintage “baritones” were all tuned one octave below a standard guitar, with scale lengths around 30", while most modern baritones are tuned B-to-B or A-to-A and have scale lengths between 26" and 30".)
At the time, those Danelectros were instrumental to what was called the “tic-tac” bass sound of Nashville records produced by Chet Atkins, or the “click-bass” tones made out west by producer Lee Hazlewood. Gibson wanted something for this market, and the EB-6 was born.
“When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye.”
The 30.5" scale 1960 EB-6 has a single humbucking pickup, a volume knob, a tone knob, and a small, push-button “Tone Selector Switch” that engages a treble circuit for an instant tic-tac sound. (Without engaging that switch, you get a bass-heavy tone so deep that cowboy chords will sound like a muddy mess.)
The EB-6, for better or for worse, did not unseat the Danelectros, and a November 1959 price list from Gibson hints at why: The EB-6 retailed for $340, compared to Dano price tags that ranged from $85 to $150. Only a few dozen EB-6 basses were shipped in 1960, and only 67 total are known to have been built before Gibson changed the shape to the SG style in 1962.
Most players who come across an EB-6 today think it was a response to the Fender Bass VI, but the former actually beat the latter to the market by a full year.
Photo by Ken Lapworth
It’s sad that so few were built. Sure, it was a high-end model made to achieve the novelty tic-tac sound of cheaper instruments, but in its full-voiced glory, the EB-6 has a huge potential of tones. It would sound great in our contemporary guitar era where more players are exploring baritone ranges, and where so many people got back into the Bass VI after seeing the Beatles play one in the 2021 documentary, Get Back.
It’s sadder, still, how many original-era EB-6s have been parted out in the decades since. Remember earlier when I wrote that our Vintage Vaultpick was about as original as you could find? That’s because the model’s single humbucker is a PAF, its Kluson tuners are double-line, and its knobs are identical to those on Les Paul ’Bursts. So as people repaired broken ’Bursts, converted other LPs to ’Bursts, or otherwise sought to give other Gibsons a “Golden Era” sound and look ... they often stripped these forgotten EB-6 basses for parts.
This original EB-6 is up for sale now from Reverb seller Emerald City Guitars for a $16,950 asking price at the time of writing. The only thing that isn’t original about it is a replacement set of Kluson tuners, not because its originals were stolen but just to help preserve them. (They will be included in the case.)
With so few surviving 335-style EB-6 basses, Reverb doesn’t have a ton of sales data to compare prices to. Ten years ago, a lucky buyer found a nearly original 1960 EB-6 for about $7,000. But Emerald City’s $16,950 asking price is closer to more recent examples and asking prices.
Sources: Prices on Gibson Instruments, November 1, 1959, Tony Bacon’s “Danelectro’s UB-2 and the Early Days of 6-String Basses” Reverb News article, Gruhn’s Guide to Vintage Guitars, Tom Wheeler’s American Guitars: An Illustrated History, Reverb listings and Price Guide sales data.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
