The picture and
sound samples
[in the June
2011 Epiphone
Nighthawk Custom
review] refer to
the coil-tap on the
bridge pickup—but
there’s no mention in the text of that,
or the coil-tap on the neck pickup (as
described in the full-page Epiphone ad
elsewhere in the June issue). Did it get
left out or was it missed?—David Eastwood
via premierguitar.com
Thanks for bringing this up, David. Indeed, we did fall short in adequately describing the functionality and tones that are attainable with the Nighthawk Custom (the total possible pickup permutations comes to nine—pretty impressive!). It’s rare for us to miss such significant features in a review, and for that we sincerely apologize to all our readers and viewers.
You Go, Gilbert!
I want to take the time to thank Premier Guitar for allowing Paul Gilbert to write this column [“How to Practice Pole- Vaulting,” Shred Your Enthusiasm, June 2011]. Then I’d like to thank Paul for writing an endlessly entertaining and useful lesson column that makes sense to me. Most of the time, these lessons are over my head. Pablo brings them down to a level even I can understand and makes it fun instead of feeling like I’m doing drills. More? Yes, please! And keep him for as long as you can.
—Coopster
via premierguitar.com
We couldn’t agree more, Coopster. Paul is a pleasure to work with on these lessons each month—he’s punctual, thorough, enlightening, and reliably hilarious both in person and in writing. Viva Pablo!
Hailing Haynes
The article on Warren Haynes [“Working- Class Hero,” June 2011] was amazing! Your articles are head and shoulders above other guitar magazines, which just circulate the same guitar-hero stories year in, year out. Maybe we’ll get an article soon on Gary Louris, now that the Jayhawks are touring and recording again?
—Mikko Niemelä
via Facebook
Thank you, Mikko. The kudos belong to associate editor Jason Shadrick for the multifaceted piece—as well as for the stellar collection of lessons we have here in the magazine every month. And for more upcoming coolness on Haynes, be sure to stay tuned to Facebook to find out when we post Jason’s backstage video shoot with Haynes before a recent gig in Chicago.
Not a Fan of the 9-String
I’ve owned a pair of [Alvarez] 5058 models [“Alvarez 9-String Guitar,” Trash or Treasure, April 2011]. Let me dissuade folks who think it might sound good; it doesn’t. I’ve not played the Yairi DY58, but those are pricier and I’d hope nobody would drop that cash on such an instrument sight unseen, unplayed, or unheard. A guitarist’s dollar is more efficiently spent on a good-sounding 12-string. Then, if you want to explore the 9-string mystique, pull three off.
—TraJo
via premierguitar.com
6-String Therapy
Thanks so much for my two subscriptions and the chance to win a very cool guitar! Along with the regular online info, features, contests, etc., I have the best time looking through my online Premier. I’m a disabled Desert Storm vet. My wife has cancer and is going through chemotherapy. I play for my own therapy, and my wife enjoys listening to me play—especially on her bad days. You are by far the best guitar resource—online or off. Thanks for a great learning tool, as well as an enjoyable resource for everything guitar!
—Bob Malin
East Hanover, New Jersey
We’re so happy you enjoy our work and get such practical use out of it, Bob. It’s an honor to bring it to you, and we wish you and your wife the best in your struggles. Stay positive—and keep cranking out those tunes!
All-Around Accolades
I want to thank
you for the excellent
tech articles
that your magazine
puts out each
month. I was at my
local guitar store
checking out the
Ibanez AFS80T—
great guitar, and
your review [April
2011] is spot on! As I was putting this 6-string
through its paces, Jol Dantzig’s article about
the tone knob [“Controlling Your Tone:
Underrated Tools of the Trade,” Esoterica
Electrica, April 2011] went through my head.
I started to roll back on those knobs that are
always stuck on 11, and—wow!—the tone
cleaned up so well. Doing this simple move
really made the guitar (not just those hot
pickups) come through. It was interesting how
some other guitars I tested didn’t respond to
this change. I guess you do get what you pay
for, as far as hardware goes.
Thank you, from a future life subscriber!
Keep up the great work.—Carl Robl
West Allis, Wisconsin
P.S. The picture of Kim Simmonds on his [Gibson Flying] V was awesome. I visit with him every time he is at Shank Hall in Milwaukee, WI. We always trade picks!
Sounds like the April 2011 PG was a keeper for you, Carl! Thanks for your kind words! Take care—oh, and say hi to Kim for us next time you see him!
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
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.