1971 Gibson EB-3L

• Solid mahogany body • 34 1/2 inch scale • three-piece bound mahogany neck with rosewood fingerboard • two humbucking pickups • varitone tone control

The Gibson long-scale version of the EB3 bass, the EB3L, was first included in US price lists at $390, in March 1970, and shipped throughout 1970 and '71, before the model was redesigned, losing it's slotted headstock.

This example has been refinished, and has, unfortunately, lost it's serial number, however the lack of a string mute, suggests this is one of the later examples from 1971. You can read all about the restoration of this bass. Like all split-headstock EB basses it is fitted with Schaller M4 classic tuning keys. In addition to the extra pickup, the EB3 had a few high-end appointments over the EB0 - bound neck, and a three-ply (rather than one) pickguard. The long scale models had slightly longer necks, but they also had the bridge (in this case the two point bar bridge) situated a bit further back on the body of the bass. All EB3Ls came with a height adjustable EB humbucker with surround, EB mini humbucker and chrome bridge cover. Early models like the one shown above also came with a scripted truss rod cover, and some had pickup covers inscribed 'Gibson'.

The long scale EB basses have the same dimension bodies as the short scale versions, but longer necks. The bridge is also repositioned further back on the body. Compare this bass with a short scale version here - 1971 EB3. This EB3L has been refinished in black, which is not the original colour. The vast majority of Gibson bass guitars of this period were translucent Cherry or translucent Walnut.

This EB3 is fitted with typical early seventies Gibson bass hardware: two-point tune-o-matic bridge with cover, EB neck humbucker and bridge mini-humbucker. Note that both the pickup covers had the engraved Gibson logo; a feature that was ubiquitous in 1971, and evident to some extent in early 1972.

Long (34") scale EB3 basses do not simply have a longer neck than the better known short (30") scale versions. Whilst the neck is a little longer, the bridge is positioned right back at the far end of the body. The bridge pickup is also further back - compare this bass to a similar period short scale version here

Gibson bass guitars are characterised by their glued-in or set neck, as opposed to the bolt-on neck typically used by Fender. Access to the guitar's circuitry is through the back control cover.

This EB humbucker has the Gibson logo engraved into its cover - very much a 1971 feature. The slotted headstock EB3s had a similar pickup to 1960s models, but it had one advantage in that it was spring-mounted (note the plastic surround) and therefore height adjustable for the first time. It is the four corner screws on the pickup cover itself that make this adjustment.

Aswell as being height adjustable, the EB humbucker has four adjustable polepieces allowing relative volume adjustment for each string. The bound neck was only a feature of the slotted headstock EB3s produced between 1970 and 1971; older and newer basses did not have this feature.

This image shows the Gibson two-point tune-o-matic bass bridge (with cover), as fitted to all EB basses from 1967/8 up until 1973. Note the Gibson logo on the EB bridge mini-humbucker; a feature of 1971/early 72 basses only. All hardware was chrome-plated at this point.

1971 was also the year Gibson stopped fitting their string mute as standard.

The EB3 had a five-ply pickguard, (black-white-black-white-black) in contrast to the EBO, which had a three-ply pickguard, (black-white-black)

The EB3 has two sets of volume and two tone controls, one for each pickup, and all fitted with witch-hat knobs. The four-way varitone control (with chicken head switch) acts as a pickup selector as follows: (1) Neck pickup with tone choke (2) Bridge pickup (3) Both pickups (4) Neck pickup (unchoked). You can hear the differences in these settings here.

The input jack is mounted on a rectangular control plate on the side of the guitar body; this was a feature of slotted headstock EB0' and EB3s only; earlier and later (pre-1970 and post 1971) EB basses had input jacks mounted on the front of the body.

Slotted headstock, model-designated single-ply truss-rod cover, side-mounted (banjo-style) Schaller M4C machine heads.

The Gibson logo is cut from a sheet of mother of pearl, but is simply glued in place; ie it is not inlaid, as is the case with earlier EB versions - see the logo of a 1969 EB3 bass here; neither is it silk-screened like later versions - compare with a 1972 EB3 here.

The EB3L of 1971 had a narrow neck; just 1 1/2" at the nut.

Three-piece mahogany neck and slotted headstock. Backwards facing Schaller M4C machine heads. No volute. Width at nut 1 1/2"

The serial number and 'made in USA' are typically stamped into the top of the headstock, but as this bass has been refinished, these details have been lost. Have a look at another EB3 with these features intact here.

The logo of the slotted headstock EB basses, like earlier versions, was made of mother-of-pearl, but unlike the earlier versions was not inlaid, but glued in place. This logo is quite different from those that came before - note the blocky lettering, closed 'b' and 'o' and the lack of dot on the letter i.

Close-up of the Schaller M4C machine heads used on all EBO and EB3 basses produced in the first two years of the 1970s. Note the Gibson emblazoned gear covers.

The EB3L's was first catalogue inclusion was in the 1970 Gibson bass brochure, however published shipping figures did not differentiate between long and short scale examples until 1971; see EB3 shipping stats here. It was the same 34 1/2" scale of the Gibson Thunderbird, and Fender Precision and Jazz basses and was assumed to be in demand by the guitar-buying public. Sales figures (although not available for 1970) never demonstrated this fact, with short-scale (30 1/2") instruments outselling the long scale in every year they were available.

This extra scale length is partially achieved with a longer neck, but also the bridge itself is shifted backwards beyond the controls. The bridge pickup is also moved by a similar amount.

Gibson EB-3L sound clips

EB3L strung with D'Addario ECB84 Chromes, recorded directly into a Focusrite Scarlett - no amplifier.

Each clip is played finger style, often changing playing position half way though - listen out for tonal differences

Gibson EB3 bass for sale

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