James Russell got his start building guitars in 1979 out of necessity. As a huge fan of John McLaughlin’s acoustic band Shakti, he wanted a guitar similar to McLaughlin’s Abe Wechter acoustic with a scalloped fretboard that would enable microtonal string bends. But after asking several Southern California luthiers to build the guitar he had in mind, Russell was turned down by all of them. That’s when he decided to build it himself and quickly found himself hooked on lutherie. And that first instrument is still going strong today.
Russell truly lives and breathes all things guitar. Not only is he a full-time builder out of his one-man shop, he still finds time to regularly teach guitar and perform. Oh, and he’s also one of Eric Schoenberg’s builders, producing handcrafted guitars inspired by prewar Martin flattops under the highly respected Schoenberg brand.
Checking out Russell’s website reveals that he doesn’t limit himself to one particular genre of guitar. Whether it’s an archtop, semi-hollow, upright electric bass, flattop acoustic, or something else, “the wide range of my guitar models is due to my love of so many styles of music and my love of great instruments,” says Russell. “I’ve been an active performing guitarist for over 40 years and I love and play both acoustic and electric music. Most of my models came about from real-world experiences of desiring changes and improvements in classic instruments.”
With that, Russell says his biggest challenge is just having enough hours in the day to build all the designs he wants to build. “I still have around 20 designs on paper that haven't become instruments yet, and I have several models that are in process and on the back burner.”
Asked what nuggets of advice he’d offer to someone wanting to take the plunge into lutherie, Russell says, “Understanding how to make a guitar is relatively easy, but understanding the interaction of all the materials that make up a guitar requires years and years of working with those materials. It’s easy to make a guitar-shaped object, but it is very difficult to make good guitars that sing.”
Russell also contends it really helps to be a player in order to be able to hear and feel what makes a guitar great. “Another aspect I feel is critical is having the patience and ability to do intricate, long-term projects. A guitar maker has to be driven or the challenges will be insurmountable.”
“I put my heart and soul into every instrument I make,” says the luthier. “My slogan is ‘Voice, Feel, Beauty.’ All three aspects are essential for a guitar to be great and I strive for excellence in all three. This is what is distinctive about all Russell Guitars.”
Pricing and Availability
James Russell’s guitars are available through direct order with the luthier, though he will occasionally have guitars available through Tradarama Guitars and Mighty Fine Guitars. Russell-made Schoenbergs are available through Schoenberg Guitars in Tiburon, California. The luthier produces about 10 Russell-branded guitars a year and the wait time for custom orders is typically 12 to 18 months. For each of his models, clients can request custom appointments such as wood options, neck carve, scale length, electronics, and so on. The price range for Russell Guitars varies anywhere from $3,500 to $10,000, depending on the model, woods, features, and options.
For more info, visit Russell Guitars.
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.
Billy Gibbons is an undisputable guitar force whose feel, tone, and all-around vibe make him the highest level of hero. But that’s not to say he hasn’t made some odd choices in his career, like when ZZ Top re-recorded parts of their classic albums for CD release. And fans will argue which era of the band’s career is best. Some of us love drum machines and synths and others don’t, but we all love Billy.
This episode is sponsored by Magnatone
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
