 Bob Sweet playing at Buzz''s before he found out about the cancerous tumor in his neck |
Bob Sweet is a pedal maker out of southern Florida whose line, Sweet Sound Electronics, is often noted for its simple designs, high quality construction and truly sweet sounds. In December, Bob found out that he had a cancerous tumor in his neck (squamous cell carcinoma).
Needless to say, the cancer is trying to take him down. Since the start of chemotherapy he has encountered problems with his back. Several of his vertebrae have cracked as a result of calcium depletion. This has required more surgery and brought additional debilitating pain, beyond what was caused by the tumor alone. The back surgeries forced Bob to put off some of the chemo treatments and have limited his ability to make pedals that people continue to order -- pedals that he desperately wants to make.
In an interview with Premier Guitar, Bob described the pain, saying that at times he cannot even write an e-mail without pain shooting up his back and forcing him back to his bed -- a reclining chair that keeps his back at an appropriate angle.
Besides being an emotionally and physically draining experience, the actual cost of fighting the cancer is staggering -- chemotherapy costs up to $3500 a week. As we all know, being a professional musician and independent builder usually means having no health insurance and Bob''s situation is no different. However, Bob is not fighting this alone, thanks to a charity started by Musictoyz.com owner/Administrator, Ted Rasch, and user Paul DiBenedetto.
Since the public announcement of Bob''s situation on forums like forums.musictoyz.com and The Gear Page, both noteworthy and under-the-radar gear makers and musicians, most of whom compete with or have never met Sweet, are pooling resources in an effort to raise money for the electronics maker. Fundraising methods have included community-based fundraisers, direct donations to Sweet''s PayPal account, b0bsweet@bellsouth.net (with a zero), forum-based auctions and eBay auctions.
The wealth of items contributed to eBay auctions for the self-described "old musician making pedals" could restore anyone''s faith in humanity; it surely has for Bob, who, along with others, had previously grown impatient with negative comments in the forums. With the help of manufacturers like Dunlop, Wah-Wah and Lovepedal, and musicians like Slash, Steve Vai and Steve Stevens, the call to action started resonating quickly. Gear already auctioned includes an Ibanez Jemini Distortion Proto-Type #2, signed by Steve Vai; a Lovepedal 200lbs of Tone - Eric Johnson pedal; a Teese Picture Wah, autographed by J Mascis of Dinosaur Jr.; a Teese Wizard Wah, autographed by Moby; a Dunlop Slash Wah, signed by Slash; a Pro Analog MKIII fuzz, signed by Billy Gibbons of ZZ Top; and an assortment of custom-built pieces designed specifically for the Bob Sweet Charity.
More items are expected to be posted in the upcoming months, each listed without shipping fees, which -- along with eBay''s posting fees -- are being taken care of by Rasch.
In addition to the enormous help generated through eBay auctions, the South Florida Blues Society hosted a Bob Sweet Fundraiser. The Happy Hour Open Mic Jam at Red''s Club in Fort Lauderdale, immediately following the SFBS monthly meeting on Friday April 25, featured 2006 International Blues Competition winner Joey Gilmore and Premio Estrella Music Latin Rock Award winner Galo Rivera. Sweet is a member of the Blues Society, so the event consisted largely of fellow players, friends and family from the region. Bobby Weinberg, president of the South Florida Blues Society, put the event together after a suggestion was made by Bob''s friend Jack Carchio. The following morning, Carchio, on behalf of the Blues Society, handed Bob an envelope containing cash and checks totaling $1000.
 Bob playing his guitar with his teeth |
Bob''s response to the help and positive comments is pretty typical for someone in his position -- he has no words. In a voice cracking under the pressure of tears (Ted Rasch says he''s a big softy these days), Sweet told Premier Guitar, “I cannot find the words that will relay the extent of my feelings of what the online community is doing for me. From manufacturers, dealers, rock stars, wannabe rocks stars, musicians to non-musicians and just plain old good folks from Norway to Singapore, Japan to Germany and everywhere in between, and of course across the United States; I don''t know what to do to thank people. It can really change you. I really look at things differently.”
As for Bob''s condition, the tumor is responding well to the chemo treatments he is able to make. He is in his third round of chemotherapy (once a week for about eight hours) and radiation (39-40 treatments five days a week) started in February.
 The Ultra Vibe pedal is part of Bob''s Sweet Sound Electronics line |
Want to know how you can help? According to Rasch and DiBenedetto, the best way is to contribute any amount to Bob''s PayPal account (b0bsweet@bellsouth.net -- with a zero). Otherwise, go to Sweet Sound Electronics to see what Bob makes, keep a lookout on eBay for Bob Sweet-related items or visit the forums at Musictoyz, The Gear Page and Plexi Palace.
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
