EBS Magazine 2014

EBS MAGAZINE – 2014 1

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WELCOME TO THE EBS MAGAZINE 2014

HERE YOU WILL FIND ALL YOU NEED TO KNOW ABOUT EBS PROFESSIONAL BASS EQUIPMENT AS WELL AS INTERVIEWS WITH SOME OF THE GREATEST BASS PLAYERS OF TODAY. AS YOU WILL NOTICE, THEY ALL MENTION THE IMPORTANCE OF BEING YOURSELF AND DEVELOP YOUR OWN UNIQUE TONE.

WE ALWAYS KEEP THAT IN MIND WHEN DESIGNING AND DEVELOPING GEAR. OUR GOAL IS TO MAKE GEAR THAT IS TRANSPARENT TO THE UNIQUE TONE OF EVERY TRUE MUSICIAN. GEAR THAT REFLECTS THE SOUND OF YOUR SOUL.

WE NOW LEAVE THE 25TH YEAR IN EBS HISTORY, AN ANNIVERSARY THAT WAS CELEBRATED IN MANY WAYS THROUGH OUT 2013. THE OFFICIAL PARTY–HELD IN STOCKHOLM, SEPTEMBER 2013–FEATURED ETIENNE MBAPPÉ & HIS SON SWAELI DOING AN AMAZING PERFORMANCE WITH ETIENNE’S BAND SU LA TAKÉ. ELECTRICITY WAS IN THE AIR, GOOSE BUMPS ON YOUR SKIN, AND THE BAND WAS ’KILLER’. ONE THING IS FOR SURE; THE MBAPPÉ FAMILY NAME WILL BE AROUND FOR A LONG TIME TO COME WITHIN THE BASS COMMUNITY! CAPTURED ON PHOTO BY LASSE EKLÖF.

PS... DON’T FORGET TO VISIT OUR NEW WEBSITE AT WWW.EBSSWEDEN.COM


EDITORIAL

Editor in ChiefBo Engberg

Graphic Design & LayoutRalf Bjurbo

CONTRIBUTORS

PhotographersDaniel FalkLasse EklöfPeter Orevi

WritersMikael JanssonRalf Bjurbo

COVER PHOTOS

Photo of Henrik Linder by Lasse Eklöf.

Photo of Stanley Clarke by Jennifer McCormick.

CONTACT

EBS Sweden ABGrindstuvägen 44-46167 33 Bromma

ONLINE

www.ebssweden.com

This publication is an advertising product for EBS Sweden AB.Reproduction in whole or part without permission is prohibited. All rights reserved. All content is subject to change.

EBS Sweden AB © 2013-2014

NEW GEAR FROM EBS!

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4 EBS MAGAZINE – 2014

STANLEY CLA R KEBASS WISDOM

FROM ONE OF THE GREATEST


STANLEY CLARKE WAS THE FIRST ARTIST HONORED WITH A SIGNATURE MODEL FROM EBS, THE STANLEY CLARKE SIGNATURE WAH/TONE FILTER. IN THIS INTERVIEW, HE SHARES SOME BASS WISDOM ON HOW TO DEVELOP YOUR TONE, AND REVEALS THE UNTOLD SECRETS ABOUT HIS PEDAL, TO CELEBRATE ITS FIFTH YEAR ON THE MARKET! INTERVIEW BY RALF BJURBOSTANLEY CLA R KE

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Mr. Stanley Clarke, you are one of the true Titans of

the electric and upright bass in modern time, and a

pioneer using the electric bass as a solo instrument.

It would take a whole biography to sum up your

extraordinary and successful career, but if you

would pick just a few highlights that you personally

consider being the most life-changing or important

in a special way — musically and/or emotionally,

what would those be?

“First, it probably would have been playing with legendary sax player Joe Henderson. It was through Joe that I met Lenny White, who became a constant in my career over the past 40 or so years, whether as a performer with Return To Forever, a collaborator, a producer on some of my CDs and, of course, a friend.”

“Second, it was meeting and joining with Chick Corea in forming Return To Forever. It was great being able to spearhead a movement. That movement was jazz-rock, jazz-fusion or just fusion…whatever one wants to call it.”

“Third, it was my start in film composing and its evolution into movies like Boyz’n’the Hood. That particular film not only ushered in a new genre in movie themes. As a film composer, it was one of the first to incorporate a score mixing both orchestral and hip hop music. Overall, I’ve scored more than 65 films and television shows, including The Transporter, Romeo Must Die, and What’s Love Got To Do With It. I just finished the score for Malcolm Lee’s Best Man’s Holiday which will be released in mid-November 2013.”

History leads us to present time, and with your

latest solo album being recognized with a Grammy

Award, you are no doubt still performing music at

the very top level, not resting on laurels past. What

does your most recent work include, and what is

there to look forward to in the near future from

Stanley Clarke?

“I’m working on a new CD and I’m pretty enthused about it. It’s going to encompass all the different things that encompass my career as a bassist and musician, including an emphasis on composing. It will be a step-up in growth in playing as well.”

CONTINUE >> >>


Being a musician with a more than 40 year long and

continuously successful career — where do you get

the inspiration and drive to continue developing and

creating great music? By listening to other musicians

or maybe from something complete different?

“I feel the inspiration and drive come from how you grow up—your family, the values they teach, their work ethic, their musical exposure—all these things influence you as an adult and carry on throughout one’s life.”

“As a kid I was blessed with all these things. I was shown a love for many types of music, lessons in discipline and commitment to practicing, being on time, always striving for the best. I chose music early on and that drive and inspiration and those values have never waned.”

What do you think of the current music scene and

are there any new artists that you find especially

interesting today?

“Of course things have changed substantially in the music scene and it seems like it is mostly directed by the ‘business’ of music. The talent is certainly there, but it’s more difficult to be original than it used to be.”

“Especially, it’s more for that original to be picked up by the mainstream. I’m not sure there would be a Jimi Hendrix or Janis Joplin today, because

few in the industry are willing to take risks like in the Sixties, Seventies and Eighties.”

“All these things go in phases, though. Something unique in their time like The Beatles, Elvis or Dylan in the Sixties will come along, the audience will be there and a new phase will begin.”

Like all legendary bass players, you have always

had a signature tone, something that is hard to put

the finger on but instantly reveals who is playing.

Is it possible to describe in words how you have

developed your tone, or does it just comes naturally?

“Tone develops over time and is unique to who you are. It develops from practicing and playing and the uniqueness comes from the fact that no one else is doing it or can do it. I don’t think anyone can calculate a tone they want to accomplish, it comes from playing… a LOT!”

“I always tell young players: Go ahead and emulate another person’s style or tone—then forget about it. I’ve always felt that personal style is better when kept simple.”

Although most comes from the heart, soul and

fingers, has musical equipment any importance?

And are there any pieces of gear that you find extra

important for creating your tone — or maybe better

described — represent the tone you create and want

to achieve but in an amplified way?

The New Barbarians in the tour bus (1979). From left to right: Stanley Clarke, Ron Wood, Ian McLagan, Keith Richards, Zigaboo Modeliste and at the front, Bobby Keys.

Stanley Clarke with his long time friend and collaborator; George Duke, that sadly passed away in 2013. Picture is from the early 80’s.

INTERVIEW: STANLEY CLARKE


“The equipment I tend to use gets simpler and simpler as time passes. My amps and EBS pedal are pretty much it.”

When EBS and Stanley Clarke joined forces and

released a Signature Wah pedal in 2009, a common

reaction seemed to be: “Stanley Clarke? Wah

pedal?” The bass player’s community did not really

connect the wah-wah type of effect as significant

for the Stanley Clarke sound. But, as I understand

it, although physically being a wah pedal (and

possible to use as one); your idea was to use it

simply as a tone filter? Can you elaborate on that?

“My primary use of it is as a tonal control. It does looks like a wah pedal, though. I felt that a foot on a pedal would be an easier way to select frequencies than with the hand. You can use it without any hesitation in play. It works!”

What are the advantages of using the Stanley Clarke

Signature Wah as a tone filter for a bass player who

is inspired by your tone, but maybe not being able

to afford an Alembic bass?

“The advantage of the Alembic bass is that it has multiple tones/frequencies built in. For those guitars that don’t have that advantage, the Wah Pedal is an even greater asset. Players can pull tones from the pedal that are not built into the guitar.”

Your history with EBS did not start with a wah

pedal. Do you currently use any other equipment

from the company?

“In addition to the Wah Pedal, I use an EBS Micro Bass II preamp for my acoustic bass. For the last few years I’ve been going back to my roots on the acoustic. Much of my performance these days is on acoustic.”

Finally, any good advice to the young aspiring

musicians out there on how to develop their own

signature tone?

“I would suggest that when selecting an instrument, they find a bass that has the most possible fluctuation of frequencies to play with. This allows the most flexibility in the road to developing one’s own tone.”

Return To Forever (approx around 1975-76). From left to right: Chick Corea, Al DiMeola, Lenny White & Stanley Clarke.

Stanley Clarke and Al DiMeola on stage. Same era as previous picture.

The EBS Stanley Clarke Signature Wah was released at the NAMM Show in Anaheim, January 2009.

It was evolved through collaborative effort with Thomas Lieber of the Spellbinder Corp. USA and Stanley Clarke.

All historical pictures comes from Stanleys personal archive and are used with permission.

INTERVIEW: STANLEY CLARKE


NEW TALENT: DIRTY LOOPS


DIRTY LOOPS? IS THAT A POP BAND OR A FUSION BAND? DOES IT EVEN MATTER? SOME BELIEVE THEY WILL START A NEW PHASE IN MUSIC, THE KIND THAT STANLEY CLARKE MENTIONS ELSEWHERE IN THIS MAGAZINE. OTHERS ARE SKEPTIC AND

THINK THEY STILL HAVE A LOT TO PROVE. ANYWAY, THE YEAR 2014 WILL PROVIDE THE ANSWER WITH THE RELEASE OF DIRTY LOOPS DEBUT ALBUM–AND THE BAND IS PREPARED TO GO OUT ON THE ROAD!

INTERVIEW BY RALF BJURBO. PHOTOS BY LASSE EKLÖF

“It’s definitely just inspirational. It’s been a great honor to hear those kind words from all those players we grew up listening to.”

The new album is completed and the release is

around the corner. The first song of the album,

Hit Me, just hit the YouTube and iTunes. What are

your own expectations on the album?

“I’m very happy with the way the album turned out and the reception of Hit Me. I hope people will like it and appreciate that we stayed true to who we are and that we didn’t sell out.”

The last time we spoke, you mentioned there

where no plans to incorporate more instruments

in the mix, however, there are songs on the album

that involves other musicians. Could you tell us

about that?

“Yes, that was the original plan, but things changed along the way. We had a twenty-five person string ensemble on two songs, which was a blast to hear that, there was percussion on some songs and harmonica on one song. We also had (LA session trumpet veteran) Jerry Hey arrange horns for two songs. For me personally, that was huge, a childhood dream come true to work with him. The arrangements and the LA session horn men playing them was mind blowing, and I’m so happy that they wanted to be a part of this.”

INTERVIEW: HENRIK LINDER/DIRTY LOOPS

We never thought about what genre we re in. We have both pop and fusion influences, but a lot of other

influences as well. The band is very much about pushing limits and to never play safe. What we are I guess is up to others to decide, it doesn’t really matter to us”, Henrik Linder, Dirty Loops´ bass player, says.

It seems that the big buzz really came after you

re-arranged the Justin Bieber song, Baby, around

Christmas 2011. Then you went to LA yourself

shortly after?

“We went to LA to do showcases to secure a record deal. During that trip is when we first realized we had something going on that was real. The word of where we rehearsed apparently had spread and one of my biggest bass heroes, Nathan East dropped in while we rehearsed. We met a lot of our musical heroes during that trip and it was an almost imaginary feeling that they knew who we were and liked our music. The showcases went well and as a result, months later, David Foster – Verve/Universal – signed us.”

I’ve met musicians that put their hopes in Dirty

Loops bringing back great musicianship to the

tops of the charts again, the way it used to

be. Does that add pressure or is it more of an

inspirational boost to help you work even harder?

CONTINUE >> >>

HENRIK LINDERWILL THIS BE THE YEAR OF DIRTY LOOPS?

“


EBS TECH TALK WITH MATS KRISTOFFERSSON

Mats Kristoffersson at the desk in his secret chamber in the Stockholm suburbs where all the magic is made. Photo by Lasse Eklöf

Do you feel ready to take it out on the road?

“Yeah, absolutely! We’ve all been eagerly waiting for this moment for almost two years.”

How will you translate the recorded material into

the live show performance? Will it incorporate

a lot of pre-recorded backtracks in order to re-

create the produced material, or is it basically

just a way of working with the arrangements to

suit the live show?

“We will bring an extra keyboard player for the live gigs to cut down on the tracks, but I think we will probably also rearrange some stuff for the live situation.”

Another thing that I’ve noticed, is you’ve gone

from a standard bass rig to a stereo setup?

What’s your new live rig look like, and what are

the reasons to go stereo? Does it have to do with

your being a three piece band or, maybe an idea

inspired by somebody else that plays a similar

kind of rig?

“I’ve started to incorporate MIDI in the rig, so actually it’s two stereo rigs. One goes DI and the other is miked. Most synth bass sounds will go directly into the PA and all bass sounds will go through the TD 660s and the four 4x10 Proline cabinets. The stereo rig is to make delays and modulation effect sound fatter, and to be able to split signals when I trig synth bass sounds blended with the clean tone.”

Your bass has undergone some changes, like

these weird looking frets. What’s that, and what

basses do you use now?

“I still play Swedish Mattissonbass six- and seven-string instruments exclusively. The True Temperament frets have way better intonation than regular frets. I just don’t see any reason not to use them.”

How do you approach the bass in terms of

creating your own unique style, which you

certainly have?

“I never really thought about creating my own style. I never transcribed other people except for figuring out what they do harmonically. That’s a way I’ve gone although I know many people that sound very unique that transcribed as well. I think I’ve tried to sound like guitar, piano or saxophone players and then applied that to the bass. If people feel that is unique I’m glad to hear that. Also, Aron and Jonah always want to add to the bass part that’s not in my


EBS TECH TALK WITH MATS KRISTOFFERSSON

nature to play, which constantly develops me. If something is hard for me, it’s hard to come whine about it to someone who plays keyboard and sings over the top at the same time. I never want to get stuck and I want to develop my playing for as long as I live.”

Finally, do you have any exercises to share to

develop speed, timing and stamina? And what do

you do to warm up for a show?

“With all of those things, the more time you spend on them the better you get. I try to combine technique and harmony practice over songs, and try to learn as many different approaches for it as possible. If I have the time, one of the things I do is to repeat short patterns for a long time in tempos that feel uncomfortable. I usually don’t warm up before shows; maybe I should start doing so, haha.”

DIRTY LOOPS - A MODERN FAIRYTALE

The three guys of Dirty Loops met at fairly young age when they went to the same music school in their hometown Stockholm, Sweden.

They formed the band after a jam, and started to mess around with ideas that eventually led to them publishing a cover song—in Dirty Loops style— on Youtube, back in 2010.

The amazing response for that and the following videos resulted in millions of views and soon they caught the eye of Swedish top song writer Andreas Carlsson, who became their manager.

Andreas took the band to Los Angeles, where they got signed for a World-Wide record deal with Verve/Universal by legendary composer and label manager David Foster.

The band will release their debut album with original songs in 2014. The first single ’Hit Me’ debuted on iTunes in November 2013.

More info at: www.dirty-loops.com

HENRIK’S EBS GEAR

Henrik’s live setup include 2x EBS TD660 bass amps with 4x EBS ProLine 410 cabinets, run in stereo.

INTERVIEW: HENRIK LINDER/DIRTY LOOPS


JOSHUA WILBUR, GRAMMY WINNING AND TWO TIMES NOMINATED RECORDING ENGINEER & PRODUCER, KNOWS HIS STUFF AFTER YEARS OF WORKING WITH SUCH DIVERSE ARTISTS AS FUEL, STEVE EARLE, LAMB OF GOD AND PINK, TO MENTION JUST A FEW. WE GOT THE OPPORTUNITY TO TALK A LITTLE ABOUT HOW HE HANDLES THE BASS IN THE RECORDING STUDIO. INTERVIEW BY RALF BJURBO

How do you look at the role of the bass guitar in

music, from a producer’s perspective? Would you

say it lays the foundation of a song, or do you

sometimes think of it in a different way?

“I think it depends on the band or song even. Some bands would like the bass to be as prominent as the guitars. Others just want a low end foundation to round out the sonics of the recording. In your average rock band setting, I tend to think the bass is a big part of what dictates what people perceive as the overall guitar sound on the record. The relationship between the two is so important. They really help each other out.”

Looking at your resume, there are lots of different type

of artists that you have collaborated with, from hip hop

artists like Lady Sovereign, to folk rock with Steve Earle

to pop with Pink to the hottest metal bands like Lamb Of

God and Gojira. Are there big differences in how you set

up the bass when recording and mixing various styles, or

is there a common ground that always works?

“It is drastically different depending on the band. Sometimes a “musician for hire” pop session is just a simple DI, fi guring “we’ll sort the tone out later”. On a session with an established band, the bassist may come in with a much defi ned idea of what his or her sound may be. If that s the case we´ll work together to fi nd the exact tone the person hears in the head. But I guess it’s safe to say, no matter what the session is, I try to record three signals. First, a clean DI directly from the bass, second, an FX DI and lately, I get that from the EBS Fafner II post EQ out, then third the mic/amp tone, which is generally all I’m monitoring.”

RECORDING

BASSGRAMMY AWARD WINNING RECORDING ENGINEER & PRODUCER JOSH WILBUR ON


What does your latest work include, and are

there any current projects you work on, that you

can (and are allowed to) mention about that we

should keep our eyes open for?

“I guess the cat’s out of the bag on the Killer Be Killed record. It’s a bit of a heavy metal super group including Troy Sanders (Mastodon), Greg Puciato (the Dillinger Escape Plan), Max Cavalera (Soulfl y) and Dave Elitch (the Mars Volta).

I used the EBS MultiComp pedal on everything, as usual. But this record is unique in that some of the songs have drastically different sounding bass parts. Troy is really into pedals and FX. It’s sounding really cool.”

Speaking of effects, I remember when John

Campbell, EBS pedal artist and the bass player

with Lamb Of God, let me know that he was on

his way to the studio to use some EBS effects on

the recordings for their latest album Resolution.

Was that the fi rst time you encountered EBS gear

in the studio?

“Yes, and I fell in love with the MultiComp pedal. It’s become my standard ”go to” in my bass chain. I’m constantly introducing it to artists ever since.”

…and it ended up you were using that pedal

all over the album. What was it that the EBS

MultiComp brought to the mix?

“Truth was I didn’t realize how great it was at fi rst. It was just active in John s pedal board all through pre-production. It wasn’t until we got into the studio recording that I realized how much it was helping the over all tone of his bass out. It didn’t take a lot of thinking to realize it needed to stay in the chain.”

And now you have been using the EBS Fafner

II in the studio for a while too. What is your

experience with that amp as a recording tool?

And what are the ‘secrets’ you have discovered

from using it?

“As I mentioned before I like to record three signals. And this amp makes it very easy. I’m able to take the FX DI right off of the head. I’m able to blend a little distortion in with the clean signal – which is always tricky to not overdo and this amp makes it easy – and the sound coming off of the amp is incredible. I usually set up the amp, get a sound I like for recording. Then when I’m mixing I may decide I want a hair more or less bottom end so I’ll just reamp back through the Fafner II with my desired changes. I’m a fan for sure.”

1.

A.

B.C.

D.D.

2.

3.

JOSH WILBUR BASS RECORDING SIGNAL PATH

JOSH SELECTED WORK

As producer:

Killer Be Killed/TBAButcher Babies/GoliathHatebreed/The Divinity of PurposeGojira /L’ Enfant SauvageLamb of God/ResolutionLamb of God/Wrath*

Mixing/Engineering:

Escape the Fate/UngratefulTenacious D/Rize of the FenixP!nk/Greatest Hits... So Far!!!Avenged Sevenfold/NightmareStacie Orrico/Best of Stacie OrricoLeona Lewis/SpiritAvril Lavigne/The Best Damn ThingSteve Earle/Washington Square Serenade**Lady Sovereign/Love Me or Hate MeProject 86/And the Rest Will FollowAshanti/Collectables by AshantiFuel/The Best of FuelAtreyu/The CursePuddle of Mudd/Life on DisplayFuel/Natural Selection*Faith Hill/Cry

* Grammy Nominated** Grammy Awarded

1. Bass into an Instrument Distribution Box (A) sending a clean signal straight to the mix.2. Bass into an Instrument Distribution Box (A), via EBS MultiComp (B) through EBS Fafner II (C) into a Palmer ADIG-LB Speaker Simulator (D) then to mix.3. Bass into an Instrument Distribution Box (A), via EBS MultiComp (B) into EBS Fafner II (C) and via the amps Balanced XLR-out (post EQ) to mix.

INTERVIEW: JOSH WILBUR

JOSH WILBUR’S STANDARD RECORDING SETUP FOR BASS


THEY ARE HEARD ON RADIO EVERYWHERE. YOU SEE THEM ON JUST ABOUT EVERY MAJOR TV MUSIC AWARD SHOW. IN 2014 THEY WILL EVEN DO THE MOTHER OF ALL TV APPEARANCES – THE MIGHTY SUPER BOWL!

Bruno Mars defi nitely has the ability to write hits – but if it wasn’t for the amazing live show, that is completely out

of this world, things may have been different.

The bass player of The Hooligans – as the band calls itself – is EBS pedal artist Jamareo Artis. At age 24, he has already earned his well-deserved reputation as a monster bass player.

We got to meet Jamareo in Stockholm, Sweden, on Bruno Mars´ Moonshine Jungle Tour, right after a sold out show in front of 15,000 people. Jamareo revealed that Bruno always had a clear idea that it’s now more important than ever to deliver an amazing live performance in order to build a career that lasts for more than an album or two. And it’s not just about playing; it’s about the performance as a whole. On stage, all members of the band play a major part in the choreography of the show, making it simply explode – which in turn sells out arenas, making the audience get on its feet to join the party all over the World.

JAMAREO ARTIS IS A MASTER of laying down nice bass grooves, really playing with taste and for the music. Jamareo says, nor surprisingly, his major heroes are James Jamerson, Jaco Pastorius and Pino Palladino, and although he loves Marcus Miller and his slap style playing, Jamareo prefers to call himself a fi nger style bass player.

“When I slap, it’s the old school type of slap playing that developed during the Seventies – simple, effective grooves – but most of the time, I stick to fi nger style.”

Despite having heroes, Jamareo point out how important it is to develop your own signifi cant style. Something that is unique, and your own, and not just copying others. Jamareo is one of those players that have a style of his own, which is why he is recognized as one of the most talented younger bass players today!

Bruno Mars and the Hooligans are still a hungry band, and Jamareo promises that the coming Super Bowl performance in February 2014 will show the world that they have come to stay for a long time. That show will be something extra special to remember!

HOOLIGANS FROM MARSJAMAREO ARTIS WITH BRUNO MARS

Jamareo’s pedal board. Photo from the preparations for the Moonshine Jungle Tour in Los Angeles, January 2013.

FEATURE: JAMAREO ARTIS


EBS ARTIST NEWSFEATURE: EBS ARTIST NEWS

EBS would like to welcome Killswitch Engage’s bass player Mike D’Antonio as new EBS Artist. Mike uses EBS Fafner II & Reidmar amps, ClassicLine cabinets and EBS effects. The band has been touring intensily through 2013 with the EBS gear. Photo: Daniel Falk.

In Flames with EBS Artist Peter Iwers entered the legendary Hansa Ton Studio in Berlin in the fall 2013 to record a new album, due for release in the spring of 2014. Photo: Daniel Falk.

ETIENNE MBAPPÉ WITH THE RINGERSEBS Artist Etienne Mbappé will hit the road with supergroup The Ringers in January 2014. The band feature among others guitarists Jimmy Herring and Michael Landau. Also, check out Etienne’s new album Pater Noster, released in October 2013. See etiennembappe.com for info.

DIRTY LOOPS DEBUT CD OUT IN 2014EBS Artist Henrik Linder with Dirty Loops will release their debut album in the spring of 2014. The first single Hit Me was released on iTunes and YouTube in November 2013. The band is due to tour heavily in support of the album through out the year. See dirty-loops.com for more info.

BILLY SHEEHAN & THE WINERY DOGSEBS Pedal Artist Billy Sheehan released a highly successful album with the Winery Dogs in 2013. The band also include Richie Kotzen (gtr/vocals) and Mike Portnoy (dr). The equally successful EBS Billy Sheehan Signature Drive received several awards in 2013! See more at page 43.

EBS Artist Tal Wilkenfeld received the ‘Young Gun Award’ at Bass Player Live in November 2013 by Bass Player Magazine.

Other new EBS Artists 2013 include: Jason Klein/Butcher Babies, Johan Andreassen/Amaranthe, Jonas Rydberg/Bombus, Chris Towning/DevilDriver (pedals), Bjarne Elvsgard/Corroded, Ivan Moccia/Dreamshade, César Gonin/Breakdown of Insanity, Alex García/Melendi, Oliver Buxton/Session, Paulo Mendonca/Guitarist (pedals), Brett Simons/Melissa Etheridge (pedals), Johnny Copland/The Crystal Fighters

NEW EBS ARTIST

KILLSWITCH ENGAGE

IN FLAMES IN THE STUDIO

BASS PLAYER AWARDS 2013

TAL WILKENFELD


FROM TOP LEFT...

Henrik Linder at NAMM 2013

Tal and Tony visited EBS at NAMM

EBS released the Billy Sheehan Signature Drive at NAMM.

The new pedal on display at Musikmesse, Frankfurt.

2013 marked EBS 25 years!

EBS Pedal Artist Marco Mendoza with EBS service tech, Harald Malave.

2013 in the mirror...


SWEDEN ROCK FESTIVAL 2013

Jonas Björler, At The Gates at Sweden Rock Festival, 2013.

EBS supported three of five stages at Sweden’s biggest hard rock festival with bass amps which resulted in more than 40 bands out of 83 played EBS Amps & Cabinets at the festival.Photo: Daniel Falk

GETAWAY FESTIVAL 2013

Many EBS Artists played at the Getaway Festival in Gävle, Sweden.

Among these; EBS Pedal Artists John Campbell, Lamb Of God and Roger Glover of Deep Purple (right) Photos: Daniel Falk



FROM TOP LEFT PAGE...

Etienne Mbappé and his son Swaeli playing with Su La Take at the EBS 25th Anniversary Party in Stockholm, September 2013. Photo: Lasse Eklöf

Also playing at the event, Paulo Mendonca Power Funk Trio with EBS Pedal Artist Paulo Mendonca and EBS Artist Jay-Tee Teterissa. Photo: Lasse Eklöf

The new EBS Classic 500 bass amp with the new ClassicLine 210 was previewed at the Musicians Planet Exhibition Show in Stockholm in October. At the show, the EBS FuzzMo pedal was officially launched.

FROM TOP, RIGHT PAGE...

EBS participated in the Bass Player Live event in Los Angeles in November where Swedish rocker’s EBS Pedal Artist Marten Andersson (Lizzy Borden) and EBS Artist Bjorn Englen (Dio Disciples/Soul Sign) came by.

Legendary rock bassist Rudy Sarzo got introduced to the Billy Sheehan Signature Drive at Bass Player Live.

EBS Artist Tal Wilkenfeld received the Young Gun Award by Bass Player Magazine, presented to her by Roger Sadowsky and Don Was. Tal then performed with her band, including drummer legend Steve Ferrone and proved not only to be an incredible skilled bass player but a great vocalist as well!


EBS PRODUCTS THE TOOLS FOR PROFESSIONALS

COMBINING AN UNRIVALLED TONAL QUALITY WITH ROBUSTNESS MAKES EBS PRODUCTS PERFECT FOR PROFESSIONAL TOURING AND STUDIO SESSIONS. EASY TO ADAPT TO CHANGING CONDITIONS

AND DESIGNED TO SUIT ANY VENUE, THE EBS PRODUCTS WILL LET MUSICIANS BRING THEIR DISTINCT SOUND TO THEIR AUDIENCE IN ITS PUREST POSSIBLE FORM.

GEAR: EBS PRODUCT GUIDE



THE EBS FAFNER II DUAL CHANNEL BASS AMP IS A REAL MONSTER. LEARN HOW TO MASTER IT AND YOU WILL NEVER WANT TO BE WITHOUT IT! RAW, PURE TONE AND POWERFUL TO THE EXTREME!

EBS FAFNER IITHE EBS FLAGSHIP

THE EBS FAFNER II uses a two channel preamp. The bottom channel is for a Clean sound and the top channel is for Drive, both with tone controls to shape the frequencies exactly as you want them.

The channels can run in parallel mode. That means that the signal splits in two after the input Gain and Character fi lters – one goes through the Drive channel and the other goes through the Clean channel. At the end of the line, there’s a level control for the Drive channel (LEVEL) to control how much distortion you want, and a level control for Clean channel (CLEAN LVL) to set the balance between the distorted and clean channel. From there the signal goes to the main Volume control. In this setting, you will leave the bottom clean and defi ned, while you add as much distortion as you like on top. If you turn the CLEAN LVL all the way down in parallel mode, with Drive active, you can switch between the Clean and Drive Channels using the RM-4 footswitch remote.

BASS AMPS

&PREMIUM GEAREBS AMPS CABINETS MADE IN SWEDEN


EBS FAFNER II


You can also run the channels in a serial mode. Then you can apply all tone controls to shape a clean sound, or you get the Drive to affect the whole tonal spectrum. In this mode, the signal goes through the Clean channel fi lters and then into the Drive channel.

IF YOU ADD A FOOTSWITCH, such as the EBS RM-4, you can kick in the Drive when you need it, offering extended fl exibility on stage. The same footswitch can be used to kick in the Character Hi and/or Lo pre-shape fi lters, and bypass the EQ as well as mute the amp.

THE ADVANCED DRIVE has some optional Boost and Tube modes too. Boost mode simply boosts the whole frequency range as you turn up the Drive level control.

The Tube mode sends the signal through a 12AX7 (ECC83) tube adding tube character and compression to the clean channel.

THE FAFNER II OFFERS a Hi and a Lo boost character fi lter. Both engaged at the same time create a mid scooped, pre-shaped sound character. They can also be used one at a time to boost just the lows or highs.

The famous built-in compressor adds a smooth and seamless level of compression to your sound, just as much (or little) as you like. On the Fafner II it compresses the clean channel only, leaving the drive channel as wild as you want it unless you are using the amp in a serial mode.

A unique feature is the TWO balanced XLR-outputs on the front. These can send out a pre- and a post-EQ line signal – at the same time! This is great in the studio or on stage and gives the sound engineer two different signals to blend together.

INDIVIDUAL EFFECT LOOPS for each channel and a common loop with a mix level control provide maximum fl exibility when hooking up your effects.

SERIAL MODE (with Serial Mode switch on)

SIGNAL CHAIN

PARALLEL MODE(with Serial Mode switch off)

Input

Gain

Gain

Comp

Comp

Drive Channel Filters Level

Level

Clean Lvl

Clean Lvl

VOLUME

VOLUME

Drive Channel Filters

Clean Channel Filters

Clean Channel FiltersInput

EBS FAFNER II

TypeSolid State/Tube Hybridwith 2-channel preamp

Unique FeaturesTwo Channel Preamp with separate Drive Channel, possible to run in parallell or serial mode.Individual Fx-Loop for each channel. Common Fx-loop with mix level control (0-100%).Tube Mode.Built-in Compressor.Hi and Lo-boost character filters.Filter Remote Inputs.Double Balanced XLR-Out (post & pre).Line Out, Amp Input, Lo-Z Input and Tuner

Output Power750 W RMS @ 2 ohms

MADE IN SWEDENEBS PREMIUM GEAR

MADE IN SWEDEN

EBS PREMIUM


WATCH THE VIDEO DEMO FOR EBS FAFNER II NOW!

WWW.EBSSWEDEN.COM


EBS HD360 & TD660 THE PROS’ WORKHORSES

THEY HAVE SERVED big productions such as world tours with Bon Jovi, Kid Rock and Tina Turner, intimate tours with demanding bass players like Marcus Miller and Tal Wilkenfeld as well as loud and rough tours with hard working bands like The Haunted (with well over a 1, 000 gigs on EBS TD heads) or Danko Jones.

Just being reliable is not enough. These heads also offer incredible tone; natural and true to the character of the instrument and personality of the musician using it.

THE EBS TD660 is the powerhouse. With 660 W RMS pure output power it will always rock the house. It is a Tube/Solid State hybrid bass amp. The tube in the Drive section warms up the sound and adds a nice natural compression and character of a tube amp. The tube can be easily bypassed with the Tube Mode-button, which means if the tube breaks suddenly, you can use the amp safely by just disconnecting it. That gives you the option to run the head completely Solid State whenever you want too. The TD heads are very well suited for major tours and are the most common EBS amps with backline rental companies.

EBS TD (TUBE DEFINITION) AND HD (HIGH DEFINITION) BASS HEADS HAVE EARNED THEIR REPUTATION AS TRUSTED “WORKING HORSES” BY YEARS OF TOURING.

THE HD360 is completely based on Solid State technique. The HD heads have become favorites among studio session players, offering an exceptionally good and thought-out EQ that has been tuned-in carefully to cover all the frequency ranges that you need to optimize your tone. With a 360 W RMS output it offers enough power for most of us, and is slightly smaller and lighter in size than the TD head.

COMMON FEATURES. The HD and TD heads have a lot in common that will make you feel at home with one if you know the other.

The basic layout of the control panel is almost identical. First there is a Character fi lter, for a quick fi x to a decent sound by offering a mid-scooped overall tone. Then the input Gain control that should be set so it fl ickers when you play your instrument hard (which is important with all EBS heads). The Filter Active button to activate the EQ fi lters, then the shelving Bass fi lter, the advanced Middle fi lter where you pick the frequency range you’d like to adjust with the right control and cut or boost in that range with the left control. Don’t forget the clever “Notch” function. When the Cut/Boost control is set to “Notch” you can identify and scoop out

BASS AMPS




frequencies causing unwanted feedback with the Frequency control. It is very useful in rumbling venues that may pick up certain frequencies, or when you get feedback from an instrument, such as an upright bass. Next control is the shelving Treble fi lter and then the unique Bright fi lter, which is almost like a volume control for the cabinet’s tweeter. When turned up it opens up the sound and makes the tone huge and alive.

THE DRIVE is the only difference on the front panel, where the TD offers the extended options Tube Mode (to connect the tube), and Boost Mode. Boost Mode boosts the whole frequency range when turning up the Drive, adding distortion to the whole spectra.

FINALLY THERE’S the balanced XLR output, that lets you send a perfectly balanced line signal to front of house or in the studio without the need of an external line box. You can choose between post/pre EQ, with our without Speaker Simulation and Ground lift.

THE INPUT JACK has a special feature since, if used with a stereo cable, it offers 9V DC Phantom Power output, that can be used to power a single 9V DC EBS pedal or an active bass.

SEXY BACK. If you take a look at the back panel, you’ll fi nd all the extras you cannot be without! There’s the Effects Loop, featuring a Mix level control that lets you blend in all effects hooked up through the loop with your sound, from zero to a hundred percent. Effect Return also offers the same Phantom Power function that you fi nd on the Input jack at the front. There is a Tuner output, for connecting a tuner rack unit easily. You have a Line out, in case you need the power from another amp to drive a second pair of cabinets, and fi nally the Filter Remote Inputs to connect the RM-4 footswitch that lets you switch on and off Character, Filter Bypass, Drive and Mute from front of stage.

The EBS RM-4 footswitch works with the TD660, HD360 and Fafner II heads, and NeoGorm combos.

EBS TD660

TypeSolid State/Tube Hybridwith 4-band EQ

Unique FeaturesAdvanced Drive with optional Boost and/or Tube Mode.Effects Loop with Mix Level Control (0-100%).Built-in Compressor.Character Filter.Filter Remote Inputs.Notch Filter to prevent feedback.Bright Filter.Phantom Power Out.XLR-Out with Speaker Simulation.


EBS HD360

TypeSolid State with 4-band EQ

Unique FeaturesEffects Loop with Mix Level Control (0-100%).Built-in Compressor.Character Filter.Drive.Filter Remote Inputs.Notch Filter to prevent feedback.Bright Filter.Phantom Power Out.XLR-Out with Speaker Simulation.



MADE IN SWEDEN

EBS PREMIUM


WATCH VIDEO DEMOS ON THE HD360 & TD660 AT WWW.EBSSWEDEN.COM


EBS FAFNER II

1 Post loop situated after Volume control. Use Line Out to connect to another amp via Pwramp Input, in order to use two Fafner II amps together.

2 Clean Channel Loop. Only active for the clean channel.3 Drive Channel Loop. Only active for the drive channel.4 Effects Loop. Common loop for both channels.

Situated after the individual loops.5 Lo-Z Input. A low impedance input for connecting wireless

device. When connecting to the input on the front panel, this input is disabled.

6 Tuner Out. Low impedance output suitable for tuners. The signal from this output is identical to the instruments output.

7 Filter Remote. Remote jacks for the EBS RM-4 footswitch to control Character Filters (on/off), Filter Active (on/off), Drive Channel (on/off) and Mute.

8 FX Mix Level Control. Blend the effects connected through the common effects loop (4) with the amp sound. 0% (off), 50% (parallel), 100% (serial).

9 Post AND Pre EQ Balanced XLR-Out. Equal to a high end line box to connect to PA mixing consoles or studio broadcast units, with high noise immunity. With Gnd Lift and Pad switches. Pad sets the option of either studio standard level or microphone level. Post and Pre XLR-out can both be used at the same time.

EBS TD660 & HD360

1 Phantom Power control. Switch on or off Phantom Power from the instrument input on the front panel and/or the Effect Return on the Effects Loop on the rear panel. Phantom Power offer 9 V DC power to drive an active instrument or a single EBS Black Label Pedal using a stereo instrument cable. More info about this feature in the manual.

2 Filter Remote. Remote jacks for the EBS RM-4 footswitch to control Character Filter (on/off), Filter Active (on/off), Drive (on/off) and Mute.

3 Tuner Out. Low impedance output suitable for tuners. The signal from this output is identical to the instruments output.

4 Use Line Out to connect to an extra power amp to extend the rig, driving more cabinets. Or use the Line Out to connect to your computer sound interface for home recording. Line Out is located post EQ, post Volume.

5 Effects Loop. Gives you the option to connect your effects through the loop instead of between instrument and amp.

6 FX Mix Level Control. Blend the effects connected through the effects loop (5) with the amp sound. 0% (off), 50% (parallel), 100% (serial).

7 Balanced XLR-Out. Equal to a high end line box to connect to PA mixing consoles or studio broadcast units, with high noise immunity. With Gnd Lift, Speaker Simulator and Post EQ switches.

41

2

2

3

3

5

5

6

6

4

4

6

2 3 5 7 8

1

1

9

7

7

Front panel

Front panel

Front panel

AMP SPECIFICATIONS




TECHNICAL INFO - EBS FAFNER II

Input Impedance: 2 MohmsFrequency Response: 20 - 20.000 HzGain Range: -oo - +30 dBCompression Ratio (max): 3:1Clean Channel EQ: Bass +/-18 dB @80 HzMiddle +/- 15dB @100 - 4.500 Hz, Q=0.7/1.8Treble +/- 15 dB @10 kHzDrive Channel: Gain Range: 0 - 40 dBDrive Type: Tube (ECC83)Post Drive EQ: Middle +/- 15 dB @50 - 2.000 HzEdge +/- 12 dB @ 6 kHzSpeaker Impedance: 2 - 8 ohmsContinuous Output Power: >600 W RMS @ 4 ohms, 750 W RMS @ 2 ohmsDimensions, W x D x H: 48 x 36 x 13 cm / 19” x 14” x 3U Weight: 16 kg / 36 lbs.

TECHNICAL INFO - EBS TD660

Input Impedance: 1 MohmsFrequency Response: 35 – 20.000 HzCompression Ratio: 3:1Tone Controls:Bass +/- 15 dB @ 100 HzMid +/- 12 dB @ 50 –3.000 Hz, Q=0.5Treble +/- 15 dB @ 6 kHzBright -0 / +12 dB @ 10 kHzDrive Section: Gain: 0 – 34 dBDrive type: Solid State or Tube (Groove Tubes®)Speaker Impedance: 2 -8 ohms Output Power: Continuous 540 W RMS, Dynamic Output Power 660 W RMSDimensions, W x D x H: 48 x 36 x 13cm / 19” x 14” x 3UWeight: 12 kg / 27 lbs.

TECHNICAL INFO - EBS HD360

Input Impedance: 2 MohmsFrequency Response: 20 - 20.000 HzCompression Ratio: 3:1Tone Controls:Bass +/- 15 dB @ 100 HzMid +/- 12 dB @ 50 –3.000 Hz, Q=0.5Treble +/- 15 dB @ 4 kHzBright -0 / +20 dB @ 10 kHzDrive Section: Gain: 0 – 30 dBDrive type: Solid State Speaker Impedance: 2 -8 ohms Output Power: Continuous 300 W RMS, Dynamic Output Power 360 W RMSDimensions, W x D x H: 48 x 33 x 9cm / 19” x 13” x 2UWeight: 9 kg / 20 lbs.

Specifications are subject to change without notice.


MADE IN SWEDEN

EBS PREMIUM


Even more details about the products can be found in respectively Product Manual. Go to www.ebssweden.com and download the manuals. Link can be found under each specific product page.


EBS PROLINE FEATURES

Cabinet Specifics13-ply Birch & LightweightSpruce plywood covered with resistant felt. Protective woven steel grill wich chromed look.Deep Dish Handles.Heavy-duty back wheels with top and side handles on 810 & 610 models.

Speakers & Connectors2x Neutrik® SPEAKON connectors for input and link through.Conventional speakers selected & optimized for each model.Adjustable 2” tweeter.

OptionalMatching rack cases available in 3 & 4U height.

WarrantyFive year limited warranty.

NATURAL SOUND DEVELOPED THROUGH EVOLUTION.

BUILT WITH THE FINEST QUALITY 13-PLY BIRCH AND LIGHTWEIGHT SPRUCE PLYWOOD, THESE SPEAKER CABINETS RADIATE THE NATURAL TONES CREATED BY THE TECHNOLOGY THAT PRECEDES THEM.

TRANSPARENCY, BALANCE and natural warmth characterize the EBS ProLine speaker sound. Five different cabinet models allow optimal combinations, making it easy to create your own ‘signature’ sound.

Sturdy construction with roadworthy protection features such as the woven steel grill, resistant felt and heavy-duty wheels on the 610 and 810 models.

EBS ProLine 210Configuration: 2x10” + 2”Power handling: 400W RMSImpedance: 4 ohmsFreq response: 70 -18.000 HzSensitivity: 99 dBDimensions 23” x 17” x 15”(W x D x H): 58 x 44 x 39 cmWeight: 22.3 kg/49.2 lbs

EBS ProLine 610Configuration: 6x10” + 2”Power handling: 900W RMSImpedance: 3 ohmsFreq response: 70 -18.000 HzSensitivity: 103 dBDimensions 23” x 17” x 37”(W x D x H): 58 x 44 x 95 cmWeight: 52 kg/114.6 lbs

EBS ProLine 810Configuration: 8x10” + 2”Power handling: 1200W RMSImpedance: 4 ohms Freq response: 70 -18.000 HzSensitivity: 105 dBDimensions 23” x 17” x 49”(W x D x H): 58 x 44 x 124 cmWeight: 60 kg/132.3 lbs

EBS ProLine 410Configuration: 4x10” + 2”Power handling: 800W RMSImpedance: 4 ohmsFreq response: 70 -18.000 HzSensitivity: 102 dBDimensions 23” x 17” x 27”(W x D x H): 58 x 44 x 69 cmWeight: 36.1kg/77.4 lbs

EBS ProLine 115Configuration: 1x15” + 2”Power handling: 300W RMSImpedance: 4 ohmsFreq response: 35 - 3.000 HzSensitivity: 100 dBDimensions 23” x 17” x 27”(W x D x H): 58 x 44 x 69 cmWeight: 27.1 kg/59.7 lbs

EBS PROLINE

RIG GUIDE




EBS NEOLINE FEATURES

Cabinet Specifics13-ply Lightweight Spruce plywood covered with resistant felt. Birch in baffle.Protective woven steel grill in black.Deep Dish Handles (except on mini size cabinet)Heavy-duty back wheels with top and side handles on 810.Flip Handles on Mini Size cabinet on both sides and bottom for tilt-back option.

Speakers & Connectors2x Neutrik® SPEAKON connectors for input and link through.Third generation Neodymium light weight speakers selected & optimized for each model.Adjustable 2” tweeter.



LIGHT-WEIGHT AND POWERFUL.

EBS NEOLINE

THE NEOLINE CABINETS ARE CAPABLE OF HANDLING THE MOST DEMANDING LEVELS OF SOUND. THEY ARE FOR BASS PLAYERS LOOKING FOR EXTRAORDINARY SONIC QUALITIES AND POWER.

EVERY EBS NEOLINE speaker cabinet is made from truly tonal, lightweight spruce plywood, with a baffl e made of birch. Equipped with 3rd generation Neodymium speakers, these cabinets have superior, dynamic range and an unbeatable power handling throughout the entire frequency spectrum, to satisfy even the most demanding bass player.

The amazingly compact NEO-112 cabinet is the lightest in the entire range of EBS enclosures. Offering super versatility, this cabinet has a spring lever fi tted to enable the ’tilt’ function, making it perfect for both stage and studio work. Stack them in pairs for a nice and loud little rig!

EBS NeoLine 210Configuration: 2x10” + 2”Power handling: 500W RMSImpedance: 4 ohmsFreq response: 50 -18.000 HzSensitivity: 102 dBDimensions 23” x 17” x 15”(W x D x H): 58 x 44 x 39 cmWeight: 19 kg/42 lbs

EBS NeoLine 410Configuration: 4x10” + 2”Power handling: 1000W RMSImpedance: 4 ohmsFreq response: 50 -18.000 HzSensitivity: 105 dBDimensions 23” x 17” x 27”(W x D x H): 58 x 44 x 69 cmWeight: 25.2 kg/55.5 lbs

EBS NeoLine 212Configuration: 2x12” + 2”Power handling: 600W RMSImpedance: 4 ohmsFreq response: 40-18.000 HzSensitivity: 103 dBDimensions 23” x 17” x 24”(W x D x H): 58 x 44 x 61 cmWeight: 21.3 kg/46.9 lbs

EBS NeoLine 115Configuration: 1x15” + 2”Power handling: 300W RMSImpedance: 4 ohmsFreq response: 35-18.000 HzSensitivity: 100 dBDimensions 23” x 17” x 24”(W x D x H): 58 x 44 x 61 cmWeight: 20 kg/44 lbs

EBS NeoLine 112Configuration: 1x12” + 2”Power handling: 300W RMSImpedance: 8 ohmsFreq response: 50 -18.000 HzSensitivity: 100 dBDimensions 19” x 13” x 15”(W x D x H): 49 x 34 x 37 cmWeight: 12 kg/27 lbs

EBS NeoLine 810Configuration: 8x10” + 2”Power handling: 2000W RMSImpedance: 4 ohmsFreq response: 70 -18.000 HzSensitivity: 108 dBDimensions 23” x 17” x 49”(W x D x H): 58 x 44 x 124 cmWeight: 47.6 kg / 105 lbs

MINI SIZE


MADE IN SWEDEN

EBS PREMIUM



PERFECT BALANCE

EBS HD360 with NeoLine 210 and 212 cabinets

creates maybe the most well balanced rig of all EBS setups. An amazing

combination of portability, sound and flexibility (three

rigs in one, since both cabinets can be used

stand-alone too!). Simply a wonderful sounding rig!

Budget alternative:

Swap the cabinets for a couple NeoLine 112 mini cabs for an even more portable rig, but with a

little less power.

PETER IWERS EBS

MONSTER

EBS Fafner II with NeoLine 810 cabinets is what drives

the bass on stage with In Flames. This is simply THE monster bass rig!

The versatility with a separate Drive channel and the power

and punch offered by the Fafner II and this cabinet is

unbeatable!

Budget alternative:

Fafner II with a ClassicLine 810 or a NeoLine 410

THERE’S A SAYING IT TAKES 10’000 HOURS OF PRACTISE TO GET REALLY GOOD AT SOMETHING. WHEN YOU HAVE INVESTED THAT MUCH TIME AND EFFORT IN DEVELOPING YOUR SKILLS AS A BASS PLAYER, YOU SHOULDN’T NEGLECT FINDING NON-COMPROMISING GEAR THAT MATCHES YOUR QUALITIES AS A MUSICIAN.

EBS HAS ALWAYS reached towards the professional bass player, providing gear that rewards great musicianship. Gear that will make all practice hours and work it takes to become a competent musician worthwhile.

To help finding the proper setup to match your style and personality, we’ve put together a few

rigs that work exceptionally well together as a unit, and offer qualities that may appeal to different playing styles and tastes to offer you some guidance along the path to your perfect bass rig.

EBS RIG GUIDE

RIG GUIDE



MILLER/WILKENFELD

TOWER

EBS TD660 (or HD360) with two ProLine 410 cabinets

offers the sound of slap master Marcus Miller and

the thump of bass godess Tal Wilkenfeld.

A great all-round rig, withnice balance between lows and highs and a full and rich midrange. To many, this setup best represents ”the Natural EBS Sound”.

Budget alternative:

HD360 with one ProLine 410

TRADITIONAL

TOWER

EBS TD660 (or HD360) with ProLine 410 and a ProLine 115 cabinet is a traditional setup that

appeals to the conservative bass player. It will make most

bass players feel at home.

Budget alternative:

Swap the cabinets for a ClassicLine 410 and 212.


MADE IN SWEDEN

EBS PREMIUM

EBS MAGAZINE – 2014 31?


BASS COMBOS


THE EBS NEOGORM BASS COMBO INCORPORATES THE COLLECTIVE KNOW-HOW OF EBS AMPLIFIER AND SPEAKER ENGINEERING IN ONE UNIT. DEVELOPED TO MEET THE HIGHEST DEMANDS FOR THE PUNCH AND POWER OF A BIG RIG, IN A PORTABLE CABINET. THEY WON´T LET YOU DOWN.

HIGH PERFORMANCE COMBO. An amp similar to the EBS HD360 bass head, coupled with the super effi cient 3rd generation Neodymium speakers, creates a high performance combo unit that is hard to beat. The NeoGorm is equipped with an advanced XLR output, EBS´ famous built-in compressor and a tube-like Drive. Add to that the effi cient Neodymium speakers, an effect loop mix level

control, a Neutrik® Speakon connector to connect an external 4 ohms cabinet and remote connections to control the drive, mute, character fi lter and EQ section. This is a bass combo deluxe!

EBS NEOGORM BASS COMBO DELUXE

FEATURES

Neodymium speakers

Neutrik® SPEAKON connector to attach an external 4 ohms cabinet Compressor/limiter

Drive section

Powerful EQ with BRIGHT filter

Remote connections for drive, mute and filters

Effects loop with mix level control

Balanced output with speaker simulation, ground lift and post EQ filter

350 W RMS output power

Side and top handles and detachable,lockable casters

Covers available as an option.




MADE IN SWEDEN

EBS PREMIUM

E B S P R O F E S S I O N A L B A S S E Q U IP ME N T - D O N ’ T P L AY W I T H O U T I T !

w w w . e b s s w e d e n . c o m

EBS TITANIUM NICKEL STRINGSThe EBS Titanium Nickel Strings have a soft surface due to the tight wiring that provide extra playing comfort and durability, in combination with a high quality steel core made of American steel.

EBS STAINLESS STEEL STRINGSThe EBS Stainless Steel Strings offer a classic steel string sound with excellent sound quality and tuning abilities. The Stainless Steel strings are based on a hexagon core made of finest Swedish steel.

All EBS strings are “Long Scale” to fit a wide range of bass guitars and to improve tuning abilities.

MODELS 4-STRINGS 5TH 6TH

Medium Light 40/60/80/100 +125 +25 Medium 45/65/80/100 +125 - Classic Medium 45/65/85/105 +128 +30 Heavy Bass 50/70/90/110 +135 -

CHECK WITH YOUR DISTRIBUTOR FOR AVAILABILITY!

210212115

NEOGORM 210Configuration: 2 x 10” + 2”Output: 350W RMSFreq response: 50 -18.000 HzCabinet Volume: 59 LDimensions 23”x 15” x 21”(W x D x H): 58 x 37 x 52 cmWeight: 29,5 kg / 65 lbs

NEOGORM 212Configuration: 2 x 12” + 2”Output: 350W RMSFreq response: 40 -18.000 HzCabinet Volume: 86 LDimensions 23”x 15” x 28”(W x D x H): 58 x 37 x 70 cmWeight: 33 kg / 72.7 lbs

NEOGORM 115Configuration: 1 x 15” +2”Output: 350W RMSFreq response: 35 -18.000 HzCabinet Volume: 73 LDimensions 23”x 15” x 24”(W x D x H): 58 x 37 x 61 cmWeight: 26 kg / 57.3 lbs

EBS NEOGORM COMBOS TECHNICAL SPECIFICATIONS

34 EBS MAGAZINE – 201434 EBS MAGAZINE – 2014EBS MAGAZINE – 2014

EBS REIDMARLIGHT-WEIGHT AMP, HEAVY-WEIGHT SOUND!THE REIDMAR IS THE FIRST LIGHT-WEIGHT BASS HEAD FROM EBS PROFESSIONAL BASS EQUIPMENT. A LIGHT-WEIGHT BASS AMP THAT CHALLENGES ANY HEAVY-WEIGHT BOUTIQUE AMP IN TONAL QUALITIES. THE REIDMAR TAKE FULL ADVANTAGE OF EBS FAMED ANALOG PREAMP TECHNIQUE COMBINED WITH A CLASS-D POWER AMP.

NATURAL SOUND. The EBS philosophy is to amplify the character of the instrument and the personality of the musician, to offer a natural sound. The physical aspects of a class-D power amp makes that mission a real challenge. However, the EBS Reidmar shows that anything is possible with clever engineering!

Due to advanced soft-clip technology, the Reidmar does not suffer any loss of defi nition in the low register when the volume is turned up. It does not use a present automatic limiter that kicks in at a certain point and levels out the lows like many other class-D amps do. No, the Reidmar takes maximum advantage of the power offered. That makes it a powerful, great sounding bass amp that is fully comparable with other heads with larger and more expensive power amps - dynamite!

THE NATURE OF THE BEAST. While offering a powerful and defi ned sound at most levels, when pushed to the limit it provides a natural and useful amp distortion, like the Drive on a solid state amp, This further extends the possibilities to use the EBS Reidmar in different musical contexts.

&LIGHT-WEIGHT GEAREBS AMPS CABINETS DESIGNED AND DEVELOPED IN SWEDEN


EBS REIDMAR

EBS MAGAZINE – 2014 3535 EBS MAGAZINE – 2014 EBS MAGAZINE – 2014 EBS MAGAZINE – 2014 EBS MAGAZINE – 2014 EBS MAGAZINE – 2014

EBS REIDMAR

TypeAnalog preamp, Class-D Power Ampwith 4-band EQ

FeaturesEffects Loop.Built-in Compressor.Character Filter.Filter Bypass.Phones Output.Notch Filter to prevent feedback.Bright Filter.XLR-Out with Speaker Simulation.120 V/230V switchable Output Power250 W RMS / 470 W Dynamic @ 4 ohms

LOOK AND FEEL. EBS has never had the intention to make the world s lightest and smallest amp, but to make a light bass head that looks, feels and sounds like a bass amp while not falling off the cabinet at higher volumes. With the Reidmar that mission is completed!

TECHNICALLY SPEAKING. Anyone familiar with EBS bass amps will feel at home with the Reidmar. The renowned built-in compressor and the 4-band EQ-section are really intuitive and feature the (for EBS) characteristic Bright and Notch fi lters and remind you a lot of the layouts of HD360 and TD660. The preamp is analog, and similar to the preamp on HD and TD heads. The amp also features an Effects loop (send and return), Balanced XLR-out for live and studio use (with pre/post EQ switch and Ground Lift), Line out, Headphones out and Speakon speaker output. The amp processes

the sound through an analog preamp with a D-class power amp providing 250 W RMS/470 W Dynamic Output @ 4 ohms load. Weight is 3.2 kg (7.1 lbs).

PERFECT COMPANIONS. The EBS Reidmar matches perfectly well with a couple EBS ClassicLine mini-size 112 cabinets, or the NeoLine mini-size cabinets for more clarity and punch. Or any single full size EBS cabinet of choice rated at 4 Ohms for maximum power and tone quality. With two amps together, connected through the Effects loop (Send from one to Return on the other), you can drive two 4 ohm cabinets, getting a separate volume control for each cabinet while using the EQ from the one you plug in to.

Above: Back Panel of the Reidmar with Phones Out, Line Out, Speaker Out, Effects loop and Balanced XLR-Output (Post/Pre EQ).

Left: Switch between 230 V / 120 V on the back of the Reidmar, for use abroad.

Right: The light weight NeoLine 212 (stand alone) or one or two NeoLine 112 cabinets and the new ClassicLine 210 cabinet are great optional cabinets for the EBS Reidmar.

EVERYONE DESERVES A GREAT BASS SOUND



A CLASSY BASS AMP WITH A CLASSIC SOUND.

THE EBS CLASSIC 500

&CLASSIC GEAREBS AMPS CABINETS DESIGNED AND DEVELOPED IN SWEDEN

EBS CLASSIC 500

TypeSolid State

Unique Features4-band EQ with Dual Mid-Range filtersCharacter Filter.Very musical Drive.XLR-Out post/pre EQ

Output Power500 W RMS @ 2 ohms440 W RMS @ 4 ohms

Weight14 kg / 31 lbs

EBS Classic 500 - Technical SpecificationsInput Impedance 1 MohmsGain range -oo / +28 dBCharacter filter Shelving High/Low Pass +6 db @ 75 Hz -2.5 dB @ 800 Hz +3 dB @ 9 kHzTone ControlsBass Shelving +/- 15 dB @ 100 HzLow Mid Sweepable 150-900 Hz +/-15dB, Q=0.9High Mid Sweepable 1.2-7 kHz +/-15dB, Q=1.1Treble Shelving +/- 15 dB @ 10 kHz

Drive Section Gain 0-30 dB, Low end compensation <250 HzOther Features Balanced Output, Line OutMinimum speaker impedance 2 ohmsOutput Power 500 W RMS @ 2 ohms load 440 W RMS @ 4 ohms loadDimensions (W x D x H) 19.3” x 11.8” x 8.5” (49cm x 30cm x 21,5cm)Weight 14 kg / 31 lbs

VINTAGE TONE. The new EBS Classic 500 retro-styled bass amp is as close you will get to a classic tube amp sound with a solid state bass head. The musical boosted Drive control and the exceptional extra control offered by the dual midrange eq section makes it easy to dial in any type of vintage (or modern) bass sound. The plenty of power offered from the new power amp makes the Classic 500 an amazingly versatile bass amp with a beautiful tone. Transparent to the character of your bass – in true EBS tradition!

The thoughtfully designed EQ puts you fi rmly in the driving seat adding everything from subtle, vintage overdrive to a mean driving distortion, whilst maintaining a beautiful low rounded bottom end.

THE PERFECT MATCH. With the new design, the Classic 500 is the perfect match for ALL EBS ClassicLine cabinets, including the narrower mini size 112 cabinets, due to the new compact outfi t. The new EBS Classic 500 amp comes with a padded cover.


www.ebs.bass.sewww.ebs.bass.se

E B S P R O D U C T C A T A L O G 2 0 0 6 / 2 0 0 7

EBSkatalog_ljus2.indd 1 2006-08-28 10:15:35


Cabinet SpecificsMade of multi-laminated plywood covered with vinyl. Cloth front. Deep Dish Handles.Heavy-duty back wheels with top and side handles on the 810 model. 210, 410, 212 and 810 comes with a padded cover.

Speakers & Connectors2x Neutrik® SPEAKON connectors for input and link through.Conventional speakers selected & optimized for each model.Adjustable 2” tweeter on 410, 212 and 810. 2” tweeter with on/off switch on the 112 mini size model.



BASED ON THE LEGACY OF THE EBS ‘BOUTIQUE’ CABINETS.THE CLASSICLINE cabinets make the EBS great bass sound available to every bass player. Reminiscent of the EBS ProLine cabinets, with a little warmer and rounder character that adds a vintage touch. These are powerful cabinets that will make demanding bass players satisfi ed.

COMMON FETURES. The Classic Line cabinets are made of multi-laminated plywood, and covered with vinyl and use a matching cloth front, classic style. They all come with heavy-duty deep dish handles. All cabinets are equipped with a 2” tweeter with a fader included in the cabinet for maximum sound control. The mini size cabinets use an on/off switch to control the tweeter. All cabinets, except for the 112, comes with a padded cover included.

NEW ADDITION. A new cabinet in the Classic Line is the versatile 210, 8 ohm cabinet. This cabinet can combine with any of the larger cabinets, or with a Minisize 112, or be used as stand-alone, and offers more choices for the Reidmar users. The 210 is the fi rst in the line with the bass port on the back.

EBS ClassicLine 410Configuration: 4x10” + 2”Power handling: 500W RMSImpedance: 4 ohmsFreq response: 55 -18.000 HzSensitivity: 99 dBDimensions 25” x 16” x 27”(W x D x H): 64 x 41 x 68 cmWeight: 34kg/76 lbs


EBS ClassicLine 112Configuration: 1x12” + 2”Power handling: 250W RMSImpedance: 8 ohmsFreq response: 35 -18.000 HzSensitivity: 94 dBDimensions 19” x 13” x 15”(W x D x H): 49 x 34 x 38 cmWeight: 17,5kg/39 lbs

EBS ClassicLine 210Configuration: 2x10” + 2”Power handling: 250W RMSImpedance: 8 ohmsFreq response: 35 -18.000 HzSensitivity: 96 dBDimensions 25” x 13” x 19”(W x D x H): 64 x 34 x 49 cmWeight: 22,5kg/49.5 lbs


EBS CLASSIC LINE

“Totally versatile and precise, with so much power, topped by a great sleek look” John Calabrese, Danko Jones


BASS COMBO AMPS

&CLASSIC GEAREBS AMPS CABINETS DESIGNED AND DEVELOPED IN SWEDEN


tools to shape the tone, and a quality XLR output to make use of the great sound for recording or to front of house in a live situation. What makes the combos available in a price range within reach for everyone is that they are stripped off of all the other features not really necessary to get a great tone, and they are made of less expensive materials.

All in all, these combos offer great sound at a good price – a bit of the best of both worlds.

THE SESSION COMBOS are all based on the EBS Classic bass heads, scaled down to serve each context the best.

The philosophy behind the concept is to create combo amps with all the essential features to any bass player – a great sound, professional

EBS SESSIONGREAT SOUND, FOR EVERYONE!

“A well-built, affordable and versatile bass combo. Highly recommended”

- 5 of 5, Bass Guitar Magazine, UK



3060

120


EBS SESSION 30Configuration: 1 x 8”Output: 30W RMSFreq response: 70 -5.000 HzCabinet Volume: 13 LDimensions 12.2 x 13.0 x 9.5”(W x D x H): 31 x 33 x 24 cmWeight: 8,6 kg/18.9 lbs

EBS SESSION 60Configuration: 1x10” + tweeterOutput: 60W RMSFreq response: 60 -18.000 HzCabinet Volume: 20 LDimensions 14.8 x 15.6 x 13.5”(W x D x H): 38 x 39.5 x 34 cmWeight: 16 kg / 36 lbs

EBS SESSION 120Configuration: 1x12” + tweeterOutput: 120W RMSFreq response: 45 -18.000 HzCabinet Volume: 35 LDimensions 17.1 x 17.9 x 15.8”(W x D x H): 43.5 x 45.5 x 40 cmWeight: 21 kg / 47 lbs

EBS SESSION COMBOS TECHNICAL SPECIFICATIONS

THE EBS SESSION 30 bass combo features an 8” speaker and an effective EQ with controls for Gain, Bass, Treble and Volume. It has a mini-tele Aux input for an external sound source and a headphone output for quiet late night rehearsals at home, and it features a professionally equipped XLR output making home or studio recording as well as front of house connection easy!

The little combo–small enough to fi t in your bookshelf–offers great tone and can run on full volume and gain without damaging the speaker, still with a nice and defi ned tone. Although, full gain will add some heavy distortion to the tone!

THE CLASSIC SESSION 60 tilt-back combo features a 10” speaker and a tweeter. It sounds great straight from the box and offers controls for Gain, Bass, Treble and Volume to further dial in the tone. The Enhance fi lter turn the Treble control into a mid-sweep fi lter that allows further adjustments, and the Character fi lter adds a smile on the EQ making it easy to fi nd a good sound in no time.

The balanced XLR output makes it possible to use it live on a larger stage as well as in the studio.

With the monitor RCA input jacks with mix-in fi lter and stereo headphones out you can practice whenever you want.

The EBS Session 120 tilt-back combo is the ultimate “weekend warrior” bass combo with excellent tone and all the necessary features to cover any gig. The amp itself is powerful enough to provide great monitor sound on stage and in the rehearsal room, and portable enough to fi t in any type of car. It is sporting an easy to dial in, powerful EQ, and a balanced XLR output for professional live and studio use that extends the possibility to use it on larger stages as well.

The EBS Classic Session 120 is a step up compared to the Session 60, although still based on the same concept. This means a tone character similar to the EBS Classic bass heads that offer a full bodied, warm bass sound with great punch and bottom.

Add to that an extended EQ with Mid control, twice the power, and a 12” speaker fi tted in a larger cabinet for better bass response and bigger tone.



EBS OctaBass Analog Octaver Effect

EBS Bass IQ Analog Envelope Filter

EBS MultiComp Analog Compressor

EBS UniChorus Analog Chorus

The EBS UniChorus provide studio quality Chorus, Flange and Pitch Modulation effects. This pedal is built with the best analog

processing circuitry available. Stereo output. True Bypass. Extended fine-tuning options inside.

The EBS BassIQ is an analog envelope filter pedal that is triggered by the notes you play. The results are the funkiest and

most responsive sounds found in a stomp box. The BassIQ features controls for threshold and attack, and runs in three

different modes, Hi-Q, Up and Down. True Bypass. Extended fine-tuning options inside.

The EBS OctaBass analog octave divider adds a new dimension to your sound. It creates a single note one octave below the

pitch of the played note. Control the level of the original tone and mix in the octave effect. Choose between High, Mid or

Low range. True Bypass.

The EBS MultiComp is a high performance, analog compressor pedal, with a choice between solid state, tube simulation and multi-band compression, featuring an active/passive switch.

True Bypass. Extended fine-tuning options inside.

COMMON FEATURES

Suitable both for studio and live use

Compact, robust and easy-to-use

Built for bass, great for guitar, keys etc., supremely adaptable

Fine-Tuning options on several Black Label Pedals

Preserve the low range

True bypass

9V DC

ADD A NEW DIMENSION TO YOUR SOUND.

The EBS Black Label Pedals will add new dimensions to your sound. Designed for bass players but favoured by many guitarists, these pedals work silently while preserving the low range. Studio quality effects in a pedal concept!

EBS BLACK LABEL PEDALS

&EBS EFFECTS EBS EFFECTS DESIGNED DEVELOPED IN SWEDEN

BLACK LABEL PEDALS



Did you know that several of the EBS Black Label Pedals have the possibility of being fi ne-tuned?

EBS DPhaser Several adjustment options including centre frequency for the sweep controlled by the width knob and a Gain control, as well as settings for bypass, and types of effects.

EBS MultiComp Threshold fine tuning.

EBS UniChorus Effect mix level – decides how much or little of the effect to be blended in with the original tone.

EBS BassIQ High-pass filter mix-in, Gain trimmer, Dynamic High-pass filter mix-in.

EBS TremoLo Gain level fine tuning.

EBS DynaVerb Change to parallel mode (when used as a studio rack effect).

EBS DPhaser Digital Phaser

The EBS DPhaser offers three very distinct and different phaser effects. Select everything from classical 70 s sounds up to hyper

modern swirling phasing effects. The pedal is built with the highest quality components and uses 24-bit digital processing circuitry for outstanding performance on stage and in the recording studio.

Extended fine-tuning options inside.

EBS TremoLo Analog Stereo Tremolo

The EBS TremoLo gives you the choice of the vintage tremolo sound or sweeping filter effects. The sweep character can be

selected from a choice of three different waveforms; sine, square and saw-tooth waveforms. The EBS TremoLo pedal uses true bypass techniques and operates in mono or true stereo with

auto panning of the tremolo effect.

EBS DynaVerb Digital Stereo Reverb

The EBS DynaVerb provides eight different stereo digital reverb effects, from Rooms, to Plates, to Halls. This pedal uses a

complete new 24-bit digital processing circuitry for outstanding performance. True Bypass. Extended fine-tuning options inside.

EBS MetalDrive Analog Distortion

The EBS MetalDrive delivers high-gain distortion for use in modern metal music, and other music styles that call for a mean distorted sound. It works perfectly well with guitar as

well as bass. True Bypass.

EBS MultiDrive Analog Overdrive

The EBS MultiDrive is an overdrive pedal. This is the pedal to spice up your sustain! Capable of producing sustain, overdrive and many other useful ”tube amp” distortion sounds. True Bypass.


SCAN FOR SOUND SAMPLES OF BLACK

LABEL PEDALS!

LISTEN!


&EBS EFFECTS EBS EFFECTS DESIGNED DEVELOPED IN SWEDEN

SELECTED & SIGNATURE PEDALS

EBS WahOne Analog Bass Wah Wah

EBS ValveDrive DI Tube Preamp/Overdrive/DI-box

EBS MicroBass II Analog 2-channel Preamp

The EBS WahOne is a versatile wah-wah pedal designed specifically to enhance your bass groove. Everything from the original classics to the modern wah-wah sounds can be created with warmth and depth through the EBS WahOne. With an easy dial-in design the choice is yours – use it as a wah-wah, envelope filter or volume pedal.

The EBS ValveDrive DI, class A tube pedal, can be used as an overdrive/distortion effect, as a preamp for warming up a solid state amp sound and at the same time as a DI-box with the new feature of a balanced XLR-out! This little tube preamp/overdrive can make your bass either glow or growl, whether you want your instrument to sing or scream. The EBS ValveDrive delivers everything, from classic tube warmth to hard and pure tube distortion.

The new edition runs on 9 V DC power. Power supply included.

The design in steel, chrome and Bakelite is based on a classic concept with an easy dial-in design.

The MicroBass II preamp is the bass players ’swiss army knife’. A DI box, pre-amp, A/B switching with pre-selected EQ and level controls. This highly sophisticated toolbox is a guarantee that no matter what playing situation may occur or what other equipment you have to use, your bass sound will not be compromised. The MicroBass II has all your ‘bassic’ needs in a little box. A professional 2-Channel Preamp/DI-box that will secure a great sound on every gig.

EBS MAGAZINE – 2014

specifically to enhance your bass groove. Everything from the

FEATURES

Wah-wah and Volume pedal in one

Select wah-wah or envelope filter character

Equipped with awarded ”tubesim” circuitry

Extremely wide frequency range

Possible reversed pedal action

True bypass

FEATURES

Use as preamp, overdrive and/or DI-box.

Balanced XLR-Out NEW!

Vintage or modern tube sound

All musical high grade tube design

Classic style passive filters

Class A tube overdrive pedal

Designed for best bass response

9 V DC Power Supply included NEW!

True bypass

FEATURES

Two channel preamp

Five different filters

Tube simulator

Balanced XLR-output with speaker simulator

Effects loop with mix control

Flexible drive control

Headphone output

Battery low indicator

Four different powering modes

The extended range of EBS effects and preamps include exclusive sound processing tools for stage and studio use as well as artist co-laborations with some of the greatest bass players around! Expect more effects to arrive under these ’labels’ in the near future!

SPECIAL EFFECTS



FEATURES

Drive, Tone, Level and Clean controls.Three Compressor Modes - High, Mid, OffClean Loop and Drive Loop (connect an insert cable for send and return).

Advanced OptionsBy removing the bottom plate you get access to fine tuning trimmers to adjust Threshold level of compressor (THR.) and the level of Compression when mode switch is set to MID (COMP).

OptionalEBS AD-9+ Power Supply(not included)

FEATURES

Gain, Shape, Volume and Blend controls.Three Character modes - Flat, Mid-scoop and Maximu Mid-scoop.

Switching TechniqueTrue Bypass Footswitch.

OptionalEBS AD-9+ Power Supply (not included)

FEATURES

Flexible footswitch for Wah-wah/Bypass or Wah-Wah/Volume control

Low-Pass, High-Pass, Band-Pass and Boosted Band-Pass modes

Extended frequency range

Variable band width

True bypass

The EBS Stanley Clarke Signature Wah/Tone Filter evolved through collaborative effort with Thomas Lieber of the Spellbinder Corp. USA and Stanley Clarke.

EBS Billy Sheehan Signature Drive

EBS FuzzMo fuzz effect for bass & guitar

EBS Stanley Clarke Signature Wah/Tone Filter

The Billy Sheehan Signature Drive pedal is developed by EBS in close co-operation with Billy himself. It is based on the concept of mixing together a clean signal with a distorted to be able to preserve low frequencies and find balance between distortion and definition. A built-in compressor make possible to keep the note differentiation clearly audible even at heavily distorted sounds. This pedal also offers unlimited pre-post mix tone shaping, made possible by including a clean loop and a drive loop. The user can add any other effect they wish within each loop, using an insert cable, to ’pimp’ the effect into your own signature effect!

With the new extended size box from EBS, there are controls for Drive (gain for the overdrive engine), Tone (sets the frequency scoop for the drive), Level (sets level for drive channel post Drive Loop and pre final compressor) and Clean (sets level for the clean channel, post Clean Loop and pre final compressor).

The pedal also offers three different compression modes. High, Mid and Off. The Mid setting can be determined by the user through an internal trim pot.

EBS Billy Sheehan Signature Drive received several awards in 2013 including a ’Best Of Show’ Award at the NAMM Show.

The EBS FuzzMo pedal is developed by EBS to fill the gap between EBS excellent distortion pedals and a vintage type of fuzz effect for bass. The pedal produce a wide range of vintage and modern effects with several features to dial-in Your favorite fuzz tone.

Blending possibilities. Similar to the Billy Sheehan Signature Drive, you can blend the effect with a clean signal. Fire up the distortion engine’s gain as much as you like with the Gain control, set the Volume for the fuzz effect and then blend in the clean unaffected tone by turning up the Blend control. Instead of a tone control, the EBS FuzzMo features a Shape control that changes the shape of the gain engine, from triangle to square wave through the passive tone stack.

Character filter. If the controls does not offer enough flexibility, this pedal also feature a Character filter. This goes in three steps from flat, to subtle mid-scoop, to maximum mid-scoop (or cut).

True Bypass. The EBS FuzzMo uses a True Bypass footswitch. The pedal runs on 9V DC battery or Power Supply.

The EBS Stanley Clarke Signature Wah is a highly flexible pedal made for bass, that can be used as a wah or simply as a tone filter. It does not affect the entire frequency range, like many other wah pedals do, which preserve the bottom of your sound, even when the effect is engaged. It features four different preshape pass modes, with additional controls for the Frequency Range and Band Width that you’d like the pedal to operate in. It also has the option to switch between wah-effect and volume pedal functionality!

Stanley Clarke, one of the worlds’ most iconic and innovative bass players think twice before he put his name on a product. His original idea with this pedal, was to use it as a tone filter with a passive bass to make possible for bass players on a tighter budget to acheive a ’Stanley Clarke signature sound’ usually requiering a very expensive boutique instrument. Being one of the most demanding players, with a distinctive tone and a clear idea of his sound, it was a real challenge to create a pedal that meet these standards. Enjoy the most delicious wah wah effects for bass imaginable or use this piece to grab the ’Stanley Clarke tone’!

.



EBS STRINGS & ACCESSORIESEBS QUALITY STRINGS & ACCESSORIES

The new EBS CarryOnTM Pedal Case System lets you travel safe with your pedals. The reinforced soft-case protects the equipment just as good as a fl ight case, but with the benefi t of being lighter and easier to carry around due to the extra padded handle and wide, padded shoulder strap. The system include a fl exible pedalboard with handles that can be placed in various positions; angled pads to make possible to attach pedals in different levels or to put an angle to the whole pedal board. Velcro tape as well as 3MTM Dual Lock are included to offer fl exibility when attaching your pedals to the board.

EBS CARRYONTM


FEATURES

’Cabin approved’ size

Lockable Soft padded case

Padded dual reinforced handles

Comfort padded shoulder strap

Clean outer surface for easy stacking

Net bucket on the inside for accessories

2-sided pedal board – Velcro or 3MTM dual lock

Velcro pads and 3MTM dual lock included

Removable pedal board handles – for interchangeable position

Possibility to set complete pedalboard/or selected pedals in different angles using the included angled attachable rubber pads.

Detachable rubber feets included. Attached by screws or with adhesive tape.

BRING YOUR PEDALS ONBOARD AS CABIN LUGGAGE.

Pedal board with handles that can be placed in three different positions.

Included angled pads can be attached to place pedals in different levels or to create an angle of the complete pedalbard.

A three-digit code lock is included to keep your pedals safe in the case.

Use the EBS CarryOn bag as your cabine luggage. Enough space to include all necessities in addition to your equipment.

Travel safe and comfortable with the wide and padded shoulder strap and extra padded handle.

Soft padded fl ight case with pedal board. Pedals, strings & cables not included



EBS BASS STRINGS QUALITY STEEL & TITANIUM NICKEL STRINGS FOR YOUR BASS!

EBS Stainless Steel and Titanium Nickel Strings are quality bass strings for professionals, available in a wide range of gauges ranging from Medium Light to Heavy Bass. Titanium Nickel strings are based on a steel core of US quality steel while Stainless Steel use Swedish quality steel. All strings are Long Scale to fi t most basses.

The EBS Stainless Steel Strings offer a classic steel string sound with excellent sound quality and tuning abilities. The Stainless Steel strings are based on a hexagon core made of fi nest Swedish steel.

The EBS Titanium Nickel Strings have a soft surface due to the tight wiring that provide extra playing comfort and durability, in combination with a high quality steel core made of American steel.

All EBS strings are “Long Scale” to fi t a wide range of bass guitars and to improve tuning abilities.

AVAILABLE MODELS (BOTH TYPES):

MODELS 4-STRINGS 5TH 6TH

Medium Light 40/60/80/100 +125 +25

Medium 45/65/80/100 +125 -

Classic Medium 45/65/85/105 +128 +30

Heavy Bass 50/70/90/110 +135 -

Check with your distributor for availability!


EBS Triple ‘S’ Speakon Cable. Speaker cable with Neutrik® Speakon contacts for professional use.

The EBS RM-4 footswitch add value to the Fafner II, TD660 & HD360 heads, as well as the NeoGorm combos!

GEAR: ACCESSORIES

BASS AMP EXTRASCONNECT, CONTROL AND PROTECT YOUR EBS AMPLIFIER.

EBS Rack Cases. Matching rack cases for ProLine/NeoLine and ClassicLine in 3-4 U height.

EBS STRINGS & ACCESSORIESEBS QUALITY STRINGS & ACCESSORIES


GEAR: ACCESSORIES

PEDAL EXTRASTHE SMALL THINGS THAT MAKE EVERYTHING A LITTLE EASIER.

EBS AD-9+ Excellent hum free 9 V DC power supply. Uses 2.1 mm, center negative connectors. Available for EU, USA and Japan and power up to 20 pedals!

EBS DC Split Cables. Split cables for DC power. Available in 2, 4 and 6 split contacts configurations. Choose between straight or angled contacts.

EBS PL Connectors. Connect your pedals in the tightest possible way using EBS PL-10 (straight) or PL-20 (koncentric) connectors and save up space on your pedalboard!

EBS Patch Cables. Connect your pedals in the tightest possible way yet flexible with these flat, low-resistance patch cables, available in four lenghts: 10, 18, 28 & 58 cm.

DC-6

DC-6/90

PL-10

PL-20


EBS ONLINE M A IN W EBSI T E :

WWW.EBSSWEDEN.COMThe main source for product info and news about EBS and our artists.

EBS ON T W I T T ER:

WWW.TWITTER.COM/EBSSWEDENThe Micro blog where we post short news, and push for updates on the website and blogs. Subscribe and you will get notifi ed by email when we write something ion Twitter or at the Blog.

EBS ON YOU T UBE:

WWW.YOUTUBE.COM/EBSSWEDENOur Channel where we post our own videos. Lots of EBS videos posted by others can be found by searching the Youtube.

EBS ON FACEBOOK :

WWW.FACEBOOK.COM/EBSSWEDENOur Facebook page. Like it if you have a Facebook account!

In Flames at Getaway festival 2013. Photo by Ralf Bjurbo/EBS



EBS ARTISTS, JANUARY 2013

EBS PEDAL ARTISTS, BASS PLAYERSA big thank You to all our Artists around the world representing EBS in the best possible way! Visit EBS website for most accurate info on EBS Artists: www.ebssweden.com

ABMarten Andersson (SWE/US) - Lizzy Borden Patrick Andy (US) - Independent Jamareo Artis (US) - Bruno Mars Al Barrow (UK) - Magnum Adam Blackstone (US) - Kanye West, etcMalcolm Bruce (US) - Independent Sekou Bunch (US) - IndependentOliver Buxton (UK) - Session bassist

CDBranden Campbell (US) - Neon Trees John Campbell (US) - Lamb Of God Oscar Cartaya (US) - Independent Al Carty (US) - T-PainPhil Chen (US) - The Doors Stanley Clarke (US) - Bass Legend Barend Courbois (NL) - IndependentWill Davies (UK) - Attack! Attack! UK Michael Devin (US) - Whitesnake

EFGRobin Everhart (US) - Rival Sons Francesco Gallo (IT) - Cry Excess Roger Glover (UK) - Deep Purple Pete Griffin (US) - Gryphon Labs, exZappa Plays Zappa

HIJMr.Hardgroove (US) - Public Enemy Gustaf Hielm (SWE) - Session Bassist Georg ’Goggi’ Holm (ICE) - Sigur Rós Anders Iwers (SWE) - Tiamat Jimmy Jay (SWE) - H.E.A.T.

KL Tom Kent (UK) - IndependentTim King (US) - SOiL Jonas Kjellgren (SWE) - Raubtier Fredrik Larsson (SWE) - Hammerfall Bill Laswell (US) - Bass Icon/Futurist ProducerDementerious ’Bear’ Lawrence (US) - Angie Stone Jon Lawhon (US) - Black Stone Cherry Tony Levin (UK/US) - Bass Legend James LoMenzo (US) - HAIL!, ex.Megadeth Dick Lövgren (SWE) - Meshuggah

MN Justin Meldal-Johnsen (US) - NIN, Beck Martin Mendez (SWE) - Opeth Marco Mendoza (US) - Thin Lizzy Danny Miranda (US) - Meatloaf Anders Modd (SWE) - Wolf John Moyer (US) - Disturbed, Adrenaline Mob Jonathan Noyce (UK) - ex. Jethro Tull, ex. Gary Moore

OPJerker Odelholm (SWE) - Independent Ingmar Petersen (GE) - Beehoover Rufus Philpot (US) - Planet X George Porter, Jr. (US) - The Meters

QRVivi Rama (ARG/US) - Orianthi, Will.I.Am. Magnus Rosén (SWE) - ex. Hammerfall

STURudy Sarzo (US) - Bass Rock LegendFred Schneider (FR) - Independent Billy Sheehan (US) - Bass LegendBrett Simons (US) - Melissa EtheridgeChris Towning (US) - Devil Driver

VXYZÅÄÖKevin Walker (US) - Justin Timberlake Nik West (US) - Solo & Session Bassist Joel Whitley (US) - Session bass- & guitaristChico Willcox (BR) - Independent Robin Zielhorst (NL) - Exivious Bob Zilla(US) - Hellyeah

EBS PEDAL ARTISTS, GUITARISTS

Jón þor ’Jónsi’ Birgisson (ICE)- Sigur Rós Kevin Eubanks (US) - IndependentLasse Johansson (SWE) - CandlemassJean-Christophe Maillard (FR/US) - Session GuitaristRob Math (US) - Soul Sign, Session GuitaristMitch Mills (US) - Sugarwall Jamie Mooses (UK) - rythm guit. with Queen Matti Norlin (SWE) - BadgeJeff Pevar (US) - Session Guitarist Frank Romano (US) - Session Guitar player Mick Thomson (US) - SlipknotReno Schnell (GE) - Final Virus Mike Scott (US) - Prince, Justin Timberlake John Wesley (US) - gtr, Porcupine Tree/Solo ArtistRoy Z (US) - Halford, Bruce Dickinson

EBS PEDAL ARTISTS, KEYBOARDISTS

Tomas Bodin (SWE) - Flower Kings (pedals & amps) Richard Barbieri (UK) - Porcupine Tree

AAlex Acanda (ES/CUBA) - Jerry Gonzalez Jan Adefelt (SWE) - Independent Alex Al (US) - The Arsenio Hall Show Miguel Amado (PR) - Fausto Jennie Andersson (SWE) - Spitchic Johan Andreassen (SWE) - Amaranthe Nic Angileri (IT/SUI) - IndependentJim Anton (US) - Johnny LangMarc ”Archie” Arciero (UK) - IndependentChristofer Aronsson (SWE) - IntohimoKarin Axelsson (SWE) - Sonic Syndicate

B Jon Bakker (NO) - KAMPFAR Lorenzo Barriendos (ES) - Independent Sandy Beales (UK) - One DirectionAlex Bedmar (ES) - Hora Zulu Stephane Beguier (FR) - AKPHAEZYA Carles Benavent (ES) - Solo Artist Johan Bengtsson (SWE) - The Sounds Lewi Bergrud (NO) - Session Bassist Ralf Bienioschek (GE) - Bass Player/Musical Director Jonas Björler (SWE) - The Haunted/At The Gates Andreas Blomqvist (SWE) - Seventh Wonder Stefan Bratt (SWE) - Atlas Losing Grip Aleks Brdarski (SWE) - Neighbourhood Victor Broden (SWE/US) - Independent Tommy Brown (US) - Independent Bronxen (SWE) - Junkstars Arnaud Buffon (FR) - Body Fluids

CJohn Calabrese (CAN) - Danko Jones Juan Carlos Díaz (ES) - Fundácion Tony Manero Linus Carlsson (SWE) - Kamchatka Michael Choi (UK) - Frankmusik, ex. MIKA Jackie Clark (US) - Independent Johnny Copland (UK) - The Crystal FightersLaurence Cottle (UK) - Session GreatJoe Csibi (IRE) - Tonight with Craig Doyle

DYuri Daniel (PR) - Jan Garbarek Group Mike D’Antonio (US) - Killswitch EngageMike Davis (US) - HalfordChristoph Deckert (GE) - Jennifer RostockVtali Demidenco (RU) - Tracktor Bowling Keith Duffy (IRE) - The Corrs, Ronan Keating

EHenrik Edenhed (SWE) - Straight FrankColin Edwin (UK) - Porcupine Tree Edvin Edvinsson (SWE) - Fibes Oh Fibes Bjarne Elvsgard (SWE) - CorrodedBjorn Englen (SWE/US) - Dio Disciples, Soul Sign Mats Mackan Englund (SWE) - Independent

FOla Flink (SWE) - Soilwork Frasse Franzen (SWE) - Festingarna Fabio Fraschini (IT) - Il Volo, etc Full (JP) - Nicotine Julia Falthin (SWE) - Independent

GJesús Gabaldón (ES) - Seguridad Social Alex García (ES) - MelendiRonnie Garrett (US) - Tyler PerryRinus Gerritsen (NL) - Golden EarringIñigo Goldaracena (ES) - Manolo García, Revolver Lael Goldberg (UK) - HurtsCésar Gonin (SUI) - Breakdown of InsanityMikael Redbeard Gustavsson (SWE) - Igneous Human

HRob Hakemo (SWE) - M.A.N. Peo Hallgren (SWE) - United We Stand Chris Fatty Hargreaves (UK) - Dubstep Bass MasterJonathan Harvey (UK) - Independent Mikael Hedlund (SWE) - HypocrisyNiko Del Hierro (ES) - Saratoga Hidekazu Hinata (JP) - STRAIGHTNENR Nisse Holm (SWE) - The Ryot Bertil BasBerra Holmgren (SWE) - Independent

IOmar Ibrahim (GE) - Joe Cocker Mikel Irazoki (ES) - Miguel Bosé Peter Iwers (SWE) - In Flames

JAnders Janfalk(SWE) - All EndsAndreas Johansson (SWE) - Raised Fist Bengan Jonasson (SWE) - Dan ReedPal Johnson (SWE) - Independent Anders Jonsson (SWE) - Independent Julian (GE) - aVid* Aaron Julison (US) - Kid Rock

KJoakim Karlsson (SWE) - Her Bright Skies Nathaniel Kearney Jr. (US) - Taio Cruz

Alison Keslow (US) - IndependentOscar Kempe (SWE) - Neverstore Eddy Khaimovich (US/ISR) - Session BassistJason Klein (US) - Butcher Babies

LChris Lemon (SWE) - BadmouthBJ "Berra" Laneby (SWE) - Million Niklas Lennartsson (SWE) - Ape Rape Escape Henrik "Mini" Linder (SWE) - Dirty Loops Jesper Liveröd (SWE) - Nasum, Burst Kristoffer Ljung (SWE) - Kid DownPeter London (SWE) - Crashdiet Salva Lopez (ES) - Complices Freddi Lubitz (AUT) - Session Bassist

MFernando Mainer (ES) - Tako John Marcus (US) - Tim McGraw Dave Marks (UK/IRE) - Session Great Mariano Martos (ES) - ChicueloEtienne Mbappé (FR/CAM) - John McLaughlinSwaeli Mbappé (FR) - Independent Warren J McRae (US) - Tina Turner Mikael Medin (SWE) - Marrionette Nicolas Mirande (FR) - Thomas Ottogalli Trio Ivan Moccia (SUI) - DreamshadeAnders Mossberg (SWE) - Independent Roberto Mårdstam (SWE) - Scotts Jesajah Mårskog (SWE) - Veronica Maggio

NAndi Nero (SWE) - The Bones Johan Niemann (SWE) - Evergrey Ni~Ya (JP) - Nightmare Tomas Näslund (SWE) - Blindside

OOrefo Orakwue (UK) - Anastacia, Sugababes

PCarsten Pedersen (DK) - Session Bassist Mason Pitts (SWE/US) - Apollo Drive Lee Pomeroy (UK) - Take That, It Bites etc.

RPaul Randolph (US) - Independent Antonio Maca Ramos (ES) - Ketama Bruno Ramos (FR) - Christina Goh Jonas Reingold (SWE) - Flower Kings Samir Remila (FR) - Arkan Marco Renteria (MEX) - Jaguares Lars Risberg (SWE) - Rhapsody In Rock Abbi Roth (US) - Bo Bice, Stealing Angels Simon Rowlands (UK) - MyPassion Ruben Rubio (ES) - Session BassistJonas Rydberg (SWE) - Bombus

SEric Sainte-Croix (FR) - Banane Métalik Peter Samuelsson (SWE) - Barbados Elin Sandberg (SWE) - Independent Henrik Sandelin (SWE) - Avatar Niklas Sandin (SWE) - Katatonia Ken Sandin (SWE) - K2/Alien Kenneth Seil (SWE) - Scar Symmetry Chyco Siméon (FR) - Independent Chuck Smith (US) - Session Great JJ Smith (US) - Mary J BligePeter Sonntag (GE) - Final Virus Pat Splat (SWE) - F.K.Ü. Jan Jysky Strandberg (FIN) - Independent Christer Stålbrandt (SWE) - November Rikard Swahn (SWE) - Skiller

TJay-Tee Teterissa (NL) - Independent Dywayne Thomas Jr. (US) - Independent Chris Tilley (US) - The Contortionist Robert Triches (SWE) - Independent Timo Tolonen (FI) - Leningrad Cowboys

UVWPeter Uvén (SWE) - April Divine Solomon Walker (US) - Morrissey UFO Walter (GE) - Independent Sola Van Motman (NL) - IndependentMike Van Tine (US) - Session Player Leon Watkins (UK - The Dirty YouthHazze Wazeen (SWE) - Independent Christian Wendt (AUT) - Taucher Wendt TrioJoey Vera (ES) - Session Great Marcus Wesslén (SWE) - Dead By April Joel Whitley (US) - Stevie Wonder, Everlast Viktor Vidlund (SWE) - Smash Into Pieces Mikael Wildén SWE/NO) - Benea Reach Tal Wilkenfeld (AUS/US) - Session Great

ZÅÄÖLennart Z Zethzon (SWE) - Clifftones Johannes Zetterberg (SWE) - Solo Artist Zornheym (SWE) - Dark Funeral Thomas Zurmühlen (GE) - James Last Jocke Ågren (SWE) - Hillsong Sthlm Capman Örtefors (SWE) - Freak Kitchen Erkan Özdemir (GE) - Memo Gonzales


Killswitch Engage’s Mike D’Antonio started using EBS Amps & Cabinets in addition to his previous EBS pedal endorsment. Photo: Daniel Falk


THE EBS CLASSIC 500 is a classy bass amp with a classic sound. It is a solid state bass head but with a beautiful tube-like tone. The musical boosted Drive control and the exceptional control offered by the dual midrange section makes it easy to dial-in any type of vintage (or modern) bass sound. The plenty of power offered from the new power amp makes the Classic 500 an amazingly versatile bass amp with plenty of headroom. Transparent to the character of your bass – in true EBS tradition!

With the new compact design, the Classic 500 is the perfect match for ALL EBS ClassicLine cabinets, including the narrower mini size 112 cabinets. The new design also works fine with the ProLine and NeoLine cabinets.

E B S P R O F E S S I O N A L B A S S E Q U I P M E N T - D O N ’ T P L A Y W I T H O U T I T !

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EBS Magazine 2014

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