Tucked in the tranquility of Hanson, MA, resides the SPG Guitars custom shop. They’ve quickly earned a reputation for developing balanced instruments combining vintage-based design with modern electronic upgrades. This month, we had the chance to test out SPG’s Vintage TL chambered model.The Courtship
First impressions tend to be lasting impressions, so I usually trust my initial instincts. A first glance at the SPG Vintage TL reveals a heavy custom shop vibe. This guitar features a Tele-styled body sporting an impressive, highly figured Maine Birdseye top and Birdseye slab neck with a violin style finish. The neck has a 9” radius, and comes complete with walnut markers. The string-thru body features a 3/8” bookmatched top over an aged Maine poplar chambered body stained to a see-thru butterscotch nitrocellulose lacquer finish. A Birdseye top is not something you see every day, as this hard maple tends to be used more in necks; however this top is rich in figuring and creates somewhat of a unique one-off vibe. The pearloid pickguard is a real aesthetic plus, working well with the guitar’s top.
Electronically, the TL is packed with features, including a Glendale vintage compensated bridge, Amalfitano custom wound vintage Tele TM pickups, an RS Guitarworks super volume pot, a ToneStyler tone control and a standard 3-way switch (more about all of this later). Wilkinson Vintage Klusonstyle tuners are a nice touch, and add to the vibe of the guitar. The neck features vintage nickel-style fret wire and is topped off with a real bone nut. The TL is an aesthetically pleasing instrument that screams custom shop, all while exuding a vintage spirit.
First Date
After all the looking, it was time to get in the game. For testing purposes I used a ‘80s Marshall JCM 800 2205 50-watt half-stack, as well as a POD direct into a Mackie 1604 mixer. I plugged into the JCM 800 first, because I have always felt that Tele’s higher gain tones are sorely underrated. Using the JCM 800’s overdrive channel, I set the Gain to six, Mids and Treble on five, Bass on eight and Volume on about three – what would classify as a solid crunch setting. With the TL set in the bridge position, the tone is an aural bomb; incredibly tight and focused. The low-end was very precise with ample woof factor. The mids and highs seemed warmer than typical for Tele-styled guitars. As I added gain, the TL really started to roar. Low-end and mids cut through without sacrificing the high-end sparkle that Teles are known for. I did fight some feedback at higher gain settings, however most Teles get a little sassy under the same conditions.
In the neck position the tone was bluesy, ballsy, and noticably tighter than I was expecting. Switching to the clean channel of the JCM 800 to explore more traditional Tele tones, I found the TL just as capable of providing clean Tele sparkle as it was delivering the dirt. The traditional “twang thang” was there, but with a little less bite and a little more growl. Overall, both the clean and higher gain tones seemed unrestricted, open and airy.
First Kiss
The TL’s playability was excellent. The figured Birdseye maple neck was fast and spanky, just as expected. The string height was extremely comfortable and the action was set just how I like it: not too high, and not too low. I tend to have a heavy touch so extremely low action can be problematic – even so, the TL feels very comfortable. Along with the great setup out of the box, this guitar’s intonation was spot on.
The TL’s electronic upgrades are definitely worth exploring in more detail. First off, the TL is loaded with Amalfitano handwound pickups – the “TP” set is specifically designed for Teles and offers hotter output, as well as more warmth in the bridge position. These pickups tend to reduce, if not eliminate, much of the ear-piercing treble inherent with most Tele bridge pickups.
The TL also features an RS Guitarworks Super Volume Pot, as well as a ToneStyler tone control by Stellartone. Both components are designed to further expand the frequency response found in traditional electronics. The RS Super Pot is built to CTS tolerance ratios and ups the standard 250K target resistance to 280K, imparting not only extended frequency response but also providing a boost in gain. Additionally, the Super Pot provides an extremely consistent audio volume taper from 10 to 1, which I find to be a very welcome improvement from traditional volume pots.
The Stellartone ToneStyler provides much of the same flexibility for the tone control. The 14-position rotary tone control allows not one but 14 selectable roll-off points, making it possible to adjust the frequency of the roll-off point. You determine how much midrange and treble frequencies to retain and where to back it off. This control is a powerful tool for retaining tonal clarity by reducing pickup loading while boosting output.
Marriage? The Final Mojo
At the end of the day tone is really as personal as individual playing styles. I personally found the SPG TL a highly enjoyable date, possibly even marriage material. By combining superior Birdseye maple and exotic woods with cutting edge electronics, this guitar is a great crossover, retaining a traditional look and vintage feel with electronics that provide more contemporary tones. I found the playability of the TL above average, with solid intonation, smooth action, and nicely dressed frets. With a retail price of $1895 – complete with a vintage tweed case – this is a reasonably priced instrument, especially when considering the custom shop quality it exudes. Overall, the TL is a keeper; you might even consider walking down the aisle with this catch!
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SPG Guitars
MSRP $1895
spgguitars.com
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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
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.