and has a nice, fat nut width of just under 1 11/16 inches and a scale length of 30 1/2 inches.
Solid mahogany body, one-piece mahogany neck, and unbound Brazilian rosewood fretboard with 20 original jumbo frets and inlaid pearl dot position markers.
Fender’s first two-pickup bass, the Jazz, was introduced in 1960, and to what extent the two-pickup Gibson EB-3 (introduced in ’61) was actually a “response” to the Jazz is debatable.
The similarities in approach were obvious; the Jazz was perceived as an upgraded/two-pickup version of the Precision.
Accordingly, guitar aficionados typically examine an instrument from the period more closely.
True, Gibson introduced some unique instruments in the first half of the ’70s, and while some of its innovations may have had a bit of merit back then, they haven’t translated to collectibility.
The headstock had a crown inlay, and the rosewood fingerboard joined the body at the 17th fret.
For those that have been following along on this blog for a while, you probably know that I’m not overly big on Gibson basses.
When it came to electric basses, Michigan-based Gibson spent the ’50s playing follow the leader to California’s Fender.
So it’s a touch ironic that while Fender made only one model in that decade (the Precision), Gibson introduced three – the violin-shaped solidbody Electric Bass in 1953, the semi-hollow EB-2 in ’58, and the solidbody EB-0, which replaced the Electric Bass in ’59.
The EB-3’s hardware also included a handrest and string mute. In addition to a Volume and Tone knob for each pickup, an unusual four-way rotary switch offered operation of the neck pickup only (position 1), both pickups (2), bridge pickup only (3), and neck pickup with “choke” (4) that produced a brighter, baritone-like sound; its circuit was similar to the pushbutton “baritone” switch on the EB-2.
Early versions had a large, black-plastic-covered humbucking pickup near the neck and a small metal-covered humbucker near the bridge. Fans of classic rock guitar know that Jack Bruce, bassist with Cream, was the most visible EB-3 player in the ’60s.