ebs bass strings

Transcription

ebs bass strings

BACKYARD BABIES Johan Blomquist with
his new EBS ClassicLine rig. Johan is one
of the artists recently joining EBS.
Photo: Ralf Bjurbo
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EBS MAGAZINE – 2015
EDITORIAL
Editor in Chief
Bo Engberg
Graphic Design
& Layout
Ralf Bjurbo
CONTRIBUTORS
Photographers
Daniel Falk
Lasse Eklöf
Ralf Bjurbo
WELCOME TO
THE YEAR OF
NEW GEAR!
2014 magazine, we put Henrik Linder on the cover and asked him if that
was to be the year of Dirty Loops? With a little perspective, the prediction came true! Their
debut album hit the top of the charts in Japan, and almost made it to the top in several
more countries all over the World. The band did its first headlining coast-to-coast US tour,
as well as appearances on major festivals. They did everything from jazz festivals to guest
appearances with Swedish DJ superstar Avicii. And if that was not enough, Henrik got Bass
Player Magazine’s Young Gun Award at the end of the year, and got to play a set with his
heroes in Tribal Tech at Bass Player Live in Los Angeles where he received the prize.
in our
Writers
Mikael Jansson
Ralf Bjurbo
COVER PHOTOS
Photo of gear
Lasse Eklöf
2015 to be the year of new gear from EBS! Never in the history of the
company have we had this much new gear to offer the World! We are about to introduce
the brand new design/renewal of our classic Black Label Pedals series, the Studio Edition.
A complete new combo segment based on the Award winning Reidmar amp design called
Magni 500 (named after a son of the Norse god Thor). The long requested bigger, wilder and
stronger brother to the Reidmar (called Reidmar 750) is to be launched and available soon.
There will be new items in our growing and popular line of space saving pedal accessories
and not least, we make our first real entrance into the field of guitar equipment by launching
three pedals in our new Red Label Guitar Edition series – effects based on our bass pedal
models, but tweaked towards use with guitars. We’re really excited to see how these will be
received! Read all about it in this magazine!
we predict
Photo of Sean Hurley
Ralf Bjurbo
CONTACT
EBS Sweden AB
Grindstuvägen 44-46
167 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.
our roster of amazing artists keeps growing, too, and 2015 got a real kick start
with the signing of several new high profile artists! For example, EBS will be on stage with the
mighty Scorpions for their whole 50th Anniversary Tour with bass player Pawel Maciwoda!
We’re also excited to work with Johan Blomquist of Sweden’s legendary rock band Backyard
Babies which makes a major comeback after five years of absence while the members have had
successful solo careers going. Another great bass player that’s now with EBS is Steve DiGiorgio,
who recently rejoined with metal heavyweights Testament and handles the bass with Death
Dta as well. We’re also happy to present Pascal Mulot as a new EBS Artist! The French bass
master will join us for all the major up-coming trade shows, as well as helping us expand the
video library of demo videos on EBS equipment! If that’s not enough, you will see and hear a
lot from our present artists too – Tal Wilkenfeld featured on several major releases coming in
2015, including Toto’s new album XIII; Alex Al did the recent Stevie Wonder Grammy Tribute
Show as the house bassist, and he´s also working on his solo debut; Etienne Mbappé has put a
new band together called The Prophets and that’s just the top of the iceberg!
please follow us on an exciting journey into 2015! The best way to stay up to date is
to go to www.ebssweden.com and sign up for our newsletter! We hope you will enjoy reading
this magazine!
ALL THE BASS!
EBS Sweden AB
© 2015
/THE EBS TEAM
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NEW EBS GEAR
In 2015 EBS introduce their first pedals in the new Red Label Series for guitar beginning
with the return of the legendary Red Twister chorus/flanger and guitar versions of the
popular DynaVerb and MultiComp. See page 41
The brand new EBS Magni 500 bass
combos based on the award winning
Reidmar amp design. Available from
the summer 2015. See page 30
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The stronger & wilder Reidmar 750. Coming in the fall 2015. See page 32
The latest addition to EBS space saving
pedal accessories – the 2nd Row Pedal
Riser. See page 44-45
New distinct and improved design of the Black
Label Pedal series, called the Studio Edition
debut in 2015. See page 38
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NEW TALENT: DIRTY LOOPS
SEAN HURLEY
BASS PLAYER WITH JOHN MAYER
Born in 1973, Sean Hurley is in the middle of a successful career as a first-call session bass
player in Los Angeles, and as a member of John Mayer’s band since 2008. We had the chance
to meet Sean in Stockholm at a John Mayer gig earlier in 2014, a very inspirational meeting
(and great concert) that developed into this interview. Text and portrait photos: Ralf Bjurbo
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INTERVIEW: SEAN HURLEY
Almost immediately after meeting you, it came clear
that you are a bass player that enjoy playing bass to
support the song, rather than being in the spotlight.
Has it always been that way, or when (and how) did
you develop that approach?
I’ve always played the bass to support the song, but
I also spent my early years challenging myself to
understand all of the capabilities of my instrument.
I accompanied singers with my five string (with a
high C) bass throughout my high school years.
I didn’t know many great guitarists back then, so
I took matters into my own hands. I was also in
a heavy jazz phase during that time, so I’ve played
many solos over jazz changes as well.
At some point after I was 18, I shifted my focus
to playing vocal songs, and to the ensemble and
supportive function of the bass. This fits the music
that I am most passionate about and inspired by:
great songs with great vocalists at the center.
Is it the nature and role of the bass as an instrument
that calls for that approach, or is it just the musical
context that you’re involved in that calls for being a
laidback supporter of songs rather than an extrovert
solo musician up front?
I think it’s a combination of the two. For me, the
role of the bass is primarily to provide support,
and I love playing that role. Support can be in
the form of a groove or a melody, and sometimes
both at the same time. When there are vocals on a
song, bass players really have to listen and support
the singer–or you’ll get fired! I absolutely seek out
opportunities to be the laidback supporter, which
brings me the greatest joy as a bass player.
Have you ever been tempted to make a solo album
where you can step forward, writing songs where
the bass is more at the front?
In my younger days, I used to write songs that
featured bass as the lead voice. At the same time,
I also played in cover bands and even wrote songs
as a duo – bass and vocals. It wasn’t long before I
put more focus on my ensemble playing instead of
chasing solo opportunities.
While working as a sideman in Boston,
Massachusetts (prior to moving to LA), I did have
an instrumental trio and wrote material that
featured bass as the lead melodic instrument on
some songs. But it’s been about 15 years since I’ve
had any desire to do that!
This excitement to play for the song seems to go
hand-in-hand with the gear you use. You seem to
have done your homework to trace the roots’ of
vintage bass equipment and classic tone?
I’ve had many stops along the way on my quest for
the right gear. I didn’t quite find my true voice on
the instrument until 1999, when I recorded and
toured with Vertical Horizon. The classic vintage
tone I was after was only possible with certain
combinations of vintage or vintage-inspired gear.
It was frustrating to figure it out without the money
to buy actual vintage gear.
As my quest continued, I realized that the sound I
craved and wanted to emulate stemmed from this
classic equipment. I definitely did my homework
regarding what gear my idols used and I realized
that I needed to have that same gear in order to
get the tone I wanted. It’s funny how simple that
equation is: classic gear equals classic tone.
Hear Sean Hurley
on the latest John
Mayer album
Paradise Valley.
You have a signature Fender Custom Shop bass that
certainly has a great vintage vibe to it. Tell us about it?
My signature Fender Custom Shop Bass is a copy
of my main Mayer bass, my 1961 Fender P. Mike
Eldred, who headed up the Custom Shop at the
time, asked me to bring my bass to the shop in
December 2012. They measured everything and got
to work on recreating it. Mike suggested offering
the bass in different colors, and I thought that was
a fantastic idea. I love the idea of having different
color choices to make someone else’s signature
bass feel like your own. The feel and sound are
copied from my original ´61, but it doesn’t look like
a carbon copy. I really like that.
The coolest thing the Custom Shop did was address
the foam muting. On my original, I place an ugly
piece of foam under the strings by the bridge to
shorten the decay of the note. It also changes the
tone in a very cool way. I wasn’t sure how Paul
Waller (the builder of the bass) would handle it.
He came to me with two options: the first option
was to tape a clean piece of foam under the strings.
The second option was to use a Jaguar guitar mute
system, which happened to fit perfectly on the bass.
Needless to say, I absolutely love option two. I can
flip it on or off as needed.
Sean’s original
1961 P-Bass
Below: Sean’s
signature bass with
the Jaguar guitar
mute system.
At the show in Stockholm, you had some basses
set up with flatwound strings, and some with
roundwound strings. You also mentioned that you
give the flatwounds a special treat before you put
them on, could you explain what you do and why?
I love the sound of flatwounds once they are broken
in, but that can take way too long to do. It requires
hours of play. They have a brightness right out of
the package that I don’t like, so I experimented one
day by applying Vaseline to grease them up and
deaden them. It worked! I do that with every set
of flats I use, and they sound like they’ve been on
for years! And then of course I never change them.
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Are there particular songs in the setlist that call for
different strings, or is it just you’d like to have the
option to change sometimes? Which ones do you
prefer?
There are definitely songs that call for rounds versus
flats. I generally stay true to the recordings. If a
song was recorded with rounds, I use a bass with
rounds. If it was flats, I switch to flats. Most of
John’s material that we play live is on flats. It’s a lot
of fun to play a flatwound P Bass song after song in
front of a huge crowd. I definitely prefer flats. It’s
so fun to hear that sound booming through the PA.
You had a big bass rig on stage, but that’s not
providing the main sound that the audience hear,
right?
That’s true. For this tour, I brought a vintage B-15
in an iso cabinet to provide the front of the house
and in-ear amp sound. There was also a DI to
blend in. I had an SVT for my stage sound, but
it wasn’t miked. It was just to shake my booty up
there. The FOH engineer, Chad Franscoviak, told
me he couldn’t use a mike on the SVT because it
was set up so close to the drums that it would get
too much drum bleed. So having the B-15 was a
beautiful thing. It’s my studio sound, on the road.
You use an EBS ValveDrive with the B-15. What
settings does it have, and how is it connected with
the B-15? What does it bring to the mix?
The ValveDrive set
for Sean’s live rig.
I use the EBS ValveDrive to give my B-15 a little
more grit or character. I do the same thing in
the studio. I rarely ever use the B-15 without the
ValveDrive in front of it. It just opens it up and gives
it more harmonic interest. It’s pretty subtle, but I
would really miss it if I didn’t have it. I generally
set it like this: Vol 9 o’clock Treb 3 o’clock Mid all
the way up Bass 7 o’clock and Gain at 9 o’clock, on
the modern (red light) setting.
In the studio, I often use it to really dirty up the
amp. In which case I use this setting: (Vintage or
yellow light) Vol 9 o’clock Treb 4 o’clock Mid all the
way up Bass 7 o’clock and Gain at 10-11 o’clock.
Below: The BassIQ
with the super
subby settings.
We could spot some more EBS pedals on your pedal
board as well. The MultiComp and the BassIQ for
instance. Do you have a standard pedal setup that
follows you on all gigs, or how do you approach
using effects in various contexts?
I have separate pedal boards for live and studio
work. My pedal board for the Mayer tour is dialed
in specifically for his music, which doesn’t really
require any effects. It has the Multi-Comp, which
is a great compressor pedal. I use it to beef up the
tone just a bit. It also has the ValveDrive, which
only affects the B-15. I use the Bass IQ, as a sub
bass sound, which is sent to a second DI to be
blended in by Front of House and the in-ears.
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My studio pedal board has more going on and is
expandable to accommodate more extreme tonal
changes. I have the EBS ValveDrive and three
other drive or distortion effects to dial in the exact
amount of dirt I need (Xotic Effects BB Bass Pre,
Wren and Cuff PhatPhuk, Wren and Cuff Pickle Pie
and Z Vex Mastotron). This can vary from subtle
to extreme, depending on the session. I also bring
a Pelican case full of other effects to loop into the
studio pedal board if I need to get a little freaky.
My first choice is to grab the right bass, and then
I look to the right pedals to get the sound for the
song. That applies to both live and studio gigs.
Speaking of the BassIQ envelope filter, you use it in
a very unconventional way. Could you describe that?
I use the BassIQ set to my super subby setting
(Thres: off; Attack: all the way up: Toggle: Up), not
as a funky sounding envelope filter effect. I can’t
remember exactly when I tweaked the knobs of the
pedal and discovered this massive sub thing, but
it must have been around ten years ago. I had an
“Aha!” moment and decided to use it like that in the
studio when a pop producer wants a bass guitar to
replace a synth. I set it to never open the filter. It
just heaves the lowest thump and has no top end.
It’s so huge and subby. On the newer True Bypass
models, I open up the pedal and adjust the high
frequency all the way off to get the sound I’m after.
In the past I tried an octave pedal but that forces
me to play an octave above, which is limiting. This
way I use the BassIQ on a separate DI to blend in as
much sub as the song can handle. Producers love it.
So with John Mayer, could you finally give a short
summary of how the bass is connected to the front
of house? In other words, could you give us the
signal chain for your live bass sound?
My live signal chain starts at my pedal board with
a Radial Bassbone. I use this as an A/B mute to
access my Peterson Strobe Stomp. The A signal
goes into the EBS Multicomp and then to a Radial
JD7 to split the signal. One line goes into a DI
(Radial J48), another is sent to my SVT on stage,
a third is sent to the EBS ValveDrive and into the
B-15 behind my SVT, and a fourth is sent through
the EBS Bass IQ (located on my board) to provide
the sub signal via a Radial JDI.
Does your studio setup differ from the live rig?
My studio setup is completely different. I have a
studio pedal board that was built to split my signal
on the board. It has an input for my bass and two
outputs. One is a clean signal that goes into my
Evil Twin bass DI and the second passes through
the pedals, which are only looped in as needed,
depending on the song I’m tracking. It also has an
additional loop so I can add in pedals as needed.
I only put on my most used pedals so that I wouldn’t
have to lug around a board containing every pedal
I own. That said, I use just the EBS ValveDrive
about 90 percent of the time and nothing else! In
the studio, I switch basses more frequently than I
alter my sound with pedals. But it all depends on
the music I’m asked to play.
When you’re not on the road with John, you seem
to keep very busy doing sessions in Los Angeles.
You started your career on the East Coast studying
at Berklee Music College and then playing with the
highly successful Washington D.C.-based Vertical
Horizon for many years.What made you move to Los
Angeles, and how did you do to establish as a first
call session player in the new city?
I’ve lived in LA since 2000, so by now I do get
called all of the time to do sessions. That was a
desire I had dating back to my early days in my
hometown Pittsfield, Massachusetts, a very rural
area of New England. I’ve always set out to play
with as many people as possible. When I got my
start in LA in 2000, following a tour with Vertical
Horizon, I made it clear to everyone I met that I
was not only interested in playing in a band, but
that I wanted to work, work, work!
I moved from Boston to LA when I was still on
the road with Vertical Horizon. It hardly felt like
I moved at all. I didn’t have much of a “home” at
the time. I flew out to LA a few times during my
Boston days to work with Robin Thicke, and the
LA music scene excited me so much that I knew
I would have to live there if I wanted to truly be a
part of it. That was it for me.
Through Robin, I met other musicians and engineers
who were instrumental in getting me into other
sessions with other producers. It’s the producers
who invite you into the studio. They might ask an
engineer or a player for a recommendation, but it
is the producer’s call regarding who gets the gig.
Building up that network of people who trust me to
record bass for them took years. It seemed to take
five years of living in LA before it felt like I officially
joined the session world.
What is your best advice to bass players whot are
aspiring to land a major gig or establish themselves
as session musicians?
My advice to aspiring bass players looking to land
a major gig or become session musicians is to play
as much as you can and say yes to every gig that
comes your way. I got some great live gigs and
some great sessions after meeting someone on a
not so great gig. Because I was willing to do it, it
led to an even better opportunity. You have to be
a part of the musical community and be willing to
move to LA, New York, or Nashville if you really
want to give it a go.
Finally, if you had to pick one EBS product – which
one would it be, and why?
If I had to pick just one EBS product, I would
choose the ValveDrive. It is my go-to pedal to give
me anything from a subtle vintage growl all the
way to a heavy, dirty distortion. It’s my Number
One pedal!
a
b
A. Sean’s EBS
ValveDrive hooked
up with the flip-top
amp from his B15
combo in a rack
case on the John
Mayer Tour.
c
d
B. Sean’s
pedalboard with
John Mayer
featuring an EBS
MultiComp and
BassIQ.
C. The iso cab with
the miked B15 on
the John Mayer
tour.
D. Sean’s studio
pedalboard with the
ValveDrive.
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REASONS TO PICK EBS BASS AMPS
The Swedish-designed EBS bass amps got worldwide recognition when the likes of Marcus Miller, Stanley Clarke and
Bon Jovi’s Hugh McDonald brought them to stages all over the world around the Millennium shift. The list of highprofile users has kept growing ever since - in all kind of musical directions - which makes the versatile EBS amps more
visible than ever today. Here are the Top 5 reasons for you to consider EBS amps as the amp of your choice!
O1
O3
O5
The sound will always be number ONE!
An amplifier must be transparent and natural sounding
– which is the hallmark of any EBS amp. We don’t aim for
awards for the best looking amp or the lightest bass amp
– we aim to make the best sounding amps in the World!
O2
Reliability comes next.
We refine and take proven technology to new levels
to meet our demands instead of chasing the latest
technical developments not knowing if they are yet
reliable. The extremely low number of service matters
and warranty issues on EBS equipment proves that
our strategy works.
EBS amps are the real deal – no bull!
There’s not a single amplifier model from EBS that has
not been used on a major tour! From the ‘flagship’
Fafner II to the lightweight Reidmar and the Classic 500
– no exceptions.
O4
More than 25 years of experience.
EBS first ever product – the EBS-1 studio preamp
came out in 1988. The first three customers were
Flea, Billy Talbot and Jimmy Earl. Ever since, EBS
has continued to develop amplifiers for the pros’
at their headquarters in Stockholm, Sweden.
6 distinct models to choose from
EBS amps are now available in 6 different models. The three ‘premium’ rack mounted
heads – EBS Fafner II, TD660 and HD360 – are entirely made in Sweden and suited
for the toughest touring conditions. The ‘classic’ EBS CL500 offer the EBS sound in an
elegant vintage outfit. The EBS Reidmar amps – lightweight amps named after a mean
dwarf in Norse mythology – are known for their solid tone, quick response and large
headroom, now available in two models, the 470 and the 750. The Classic heads and
the Reidmar are Designed & Developed in Sweden.
Pair your EBS amplifier with any of the wide range of cabinets offered in the ProLine,
NeoLine or ClassicLine configurations to suit your needs!
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REASONS TO PICK EBS BASS EFFECTS
You may have heard of legendary EBS effects such as the MultiComp and the OctaBass – and you have definitely heard
them with top musicians on tours with Justin Timberlake, Bruno Mars and Peter Gabriel or on recordings with bands like
Lamb Of God, Porcupine Tree, Deep Purple and several others. EBS offer 15 different bass effect units – including signature
models developed for the legends Stanley Clarke and Billy Sheehan. Here are 5 reasons for bass players to check ’em out!
O1
O2
O3
O4
Built from the bottom up.
EBS effects are made to match the bass players’
needs. We design and develop effects from the
bottom up to meet the challenges that come with the
dynamic range of the bass guitar, instead of starting
with a guitar effect and try to make it work for bass.
We care for the details to preserve the bottom of
your sound.
O5
Studio quality sound in a stompbox.
The electromechanical components used in EBS
pedals are of the same superior quality as in our
premium bass heads, which cares for a noiseless,
high quality tone. The extended frequency range
from 20-20,000 Hz secure great sound from the
lowest lows to the highest highs, and is the reason
why EBS pedals handle basically any instrument, not
only basses.
Based on 20+ years experience.
EBS first effect for bass - the legendary OctaBass
- came out in 1992. That means more than 20
years of invaluable in-house experience of making
effects for bass. The expertise within the company
has helped develop our wide range of effects units
designed for bass players!
15 distinct models to choose from.
The EBS effects are currently available in 15 distinct
models – from various filters to several distortions.
Whatever your needs are, you are very likely to find the
solution within the EBS range of effects. Meanwhile,
our tech department is constantly developing new
ideas. The units work perfectly together – so why go
anywhere else?
EBS effects are available in most countries, and
through most of the major online shops for musical
equipment. If you still have trouble to find them,
contact EBS for advice.
Roadworthy construction.
The combination of high-quality components and a
protective die cast housing makes EBS effects perfect
for touring conditions. These tools are made for
professional use!
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Centerstaging: warehouse
THE TOUR SUPPLIERS
THE UNSUNG HEROES THAT MAKES
THE SHOW GO ON AND ON.
WITHIN THE COMMUNITY OF MUSICIANS, MUSICAL EQUIPMENT MAKERS AND EVERYTHING SURROUNDING THE MUSIC SCENE THERE ARE VARIOUS
KEY PLAYERS NECESSARY TO MAKE THE SHOW GO ON. A KEY PLAYER THAT FEW OUTSIDE OF THIS COMMUNITY ARE AWARE OF, BUT THAT PLAY A VERY
IMPORTANT ROLE IN THE BUSINESS ARE THE BACKLINE RENTAL COMPANIES - THE TOUR SUPPLIERS.
bands and artists that experience a certain
level of success will sooner or later need their
services. Touring is expensive. It comes with a lot
of costs and logistical issues. One of these spells
b-a-c-k-l-i-n-e. As a band, you need a ‘backline’
of instruments and amplifiers to pull off a show.
If you travel the world to play your music you
cannot always bring your own stuff or keep your
fingers crossed that the local promotor will meet
your demands. You need to find a reliable solution
that gets you going and still fits within the budget
for the tour. Simply put, you need to rent the stuff
from a backline rental company.
Same thing with major events such as festivals,
live music TV shows and tour packages – whenever
such events happen, make sure there’s some level
of involvement from a backline rental company.
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for a brand such as ebs, those companies
are very important. Musical equipment brands
support artists and events to raise awareness
of their equipment. The only way to make that
happen is to build relations with the rental
companies. Such relations are usually based on
demand and supply. The brand gets known to
a level where the rental companies start getting
requests on their products, the brand partner
with the rental companies so they can obtain
equipment at reduced cost, while the brands
artists are offered reduced rental costs – and the
gain for the brand is that its gear will be exposed
and promoted to a larger audience.
EBS work with backline rental companies all
over the world. On the following page is a brief
presentation of some of them...
CENTERSTAGING, LOS ANGELES
Type of services: Tour backline rental equipment, production rehearsal
center, events supplier of backline.
Clients include: The GRAMMY Awards, Academy Awards, MDA
Telethon, Billboard Music Awards, American Music Awards, numerous
Presidential Inaugurations, the Olympics, American Idol, Dancing
With The Stars, Jimmy Kimmel, The Voice, and many more. Countless
tours, and rehearsals with high-profile bands and artists.
www.centerstaging.com
LON COHEN STUDIO RENTALS, LOS ANGELES
Type of services: Specialized in mint condition backline for studio
recordings, tv-shows and video recordings. Also taking care of the
personal equipment for many top of the line musicians in
Los Angeles.
Clients include: Coldplay, Neil Young, Ringo Starr, Aerosmith, Slipknot,
Red Hot Chili Peppers, Robben Ford, Ellen De Generes talkshow,
The Arsenio Hall talkshow etc.
www.loncohen.com
SIR NEW YORK & LOS ANGELES
Type of services: Supply the New York and Los Angeles scene including
major TV networks, events and artists with backline.
Centerstaging: rehearsal facilities.
www.sir-usa.com
JOHN HENRY’S, LONDON, UK
Type of services: One of UK’s largest tour backline supplier. Service
offered within Audio Rental, Backline Rental, Crewing, Equipment
Sales, Endorsee Support, Event Production, Flightcases, Pro Shop
Tour Supplies, Rehearsal Studios, Staging Rental, Storage, Transport.
Clients include: Glastonbury festival, BRIT Awards, BBC, Meltdown
Festival, X-Factory, The London Jazz Festival, Marcus Miller, Bruno
Mars, Prince, Coldplay, Justin Timberlake, One Direction.
www.johnhenrys.com
CAPTURED LIVE, GERMANY
Type of services: The largest tour backline rental equipment and events
supplier of backline in Germany with a client office (for planning/coordinate European tours) in Los Angeles.
Clients: Rock Am Ring/Rock Im Park festivals, the Eurovision Song
Contest, Live 8, Hellfest, Summerbreeze.
SIR LA in the heart of Hollywood on Sunset Blvd.
www.captured-live.com
BACKLINE STHLM, SWEDEN.
Type of services: Backline rental equipment for tours, tv shows and
events. EBS first backline partner, now in the process of building
a big recording studio in Stockholm.
Clients: Many major festivals in Sweden, including the Sweden Rock
Festival, many major recording sessions in the Stockholm area, TV
shows on several major national TV stations based in Stockholm.
www.backlinesthlm.com
A FULL LIST OF BACKLINE COMPANIES CARRYING
EBS CAN BE FOUND AT WWW.EBSSWEDEN.COM
Backline from Backline Sthlm at the Sweden Rock Festival.
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PHOTO: ALFRED NITSCH
ARTIST NEWS
SCORPIONS
50th ANNIVERSARY TOUR
– POWERED BY EBS!
EBS IS HAPPY TO INTRODUCE SCORPIONS BASS PLAYER
PAWEL MACIWODA AS NEW EBS ARTIST!
This means the Scorpions 50th Anniversary Tour
will be amplified by EBS. Pawels rig consist of
TD660 and HD360 amps with ProLine 410 and
115 cabinets. Welcome onboard Pawel!
PHOTO: L ASSE EKLÖF
BILLY SHEEHAN SCANDINAVIAN TOUR
ATTENDED BY A 1000 BASS PLAYERS
PASCAL MULOT
ON EBS AMPS
In September 2014, EBS Pedal
Artist Billy Sheehan did a very
successful clinic tour in Scandinavia,
supported by EBS. On the visit to
Finland, Sweden, Denmark, Norway
and Iceland, Billy’s clinics gathered
a 1000 bass players in total.
While in Stockholm, Billy recorded
a tutorial Video
Guide for his
Signature drive.
Check it out by
scanning this
QR-code.
We are happy to welcome
French bass virtuoso Pascal
Mulot to EBS! Pascal in not
just an EBS artist, but will
help us with demo videos too!
MORE NEW EBS ARTISTS: Steve Di Giorgio - Testament/Death Dta (EBS Amps & Effects), Sean Malone - Cynic (EBS Effects),
Thomas Bekkevold - JORN (EBS Amps), Michel Bärzen - Degradead/Sonic Syndicate (EBS Amps), Steven Anderson - Threshold
(EBS Amps), Patrik Hallgren - Self Deception (EBS Amps), Per Mathisen - Dance With A Stranger (EBS Amps & Effects), Rushad Mistry
- independent (EBS Amps), NDIOBA (EBS Amps & Effects), Eugenie Stepanov - independent (EBS Amps), Peter Müller - Solo Artist
(EBS Amps), Alejandro Climent - Fito & Fitipaldis (EBS strings) See www.ebssweden.com for the complete current artist roster.
14
EBS ARTIST HENRIK LINDER AWARDED BY BASS PLAYER MAGAZINE
PORTR AIT PHOTO: L ASSE EKLÖF
More ‘Young Guns’ to keep
an eye on:
Award winners
Henrik Linder :
& A be L aboriel
Henrik with Tribal
Tech
For the second year in a row, Bass Player Magazine chose an EBS Artist for their
Young Gun Award! Last year’s win by Tal Wilkenfeld was followed by bass player
Henrik Linder of DIRTY LOOPS, who received his award at Bass Player Live
in Los Angeles, November 2014. Henrik performed with Tribal Tech’s Gary Willis,
Kirk Covington and Scott Kinsey in the very same room where Dirty Loops landed
their record deal with David Foster’s Verve label. Both Tal and Henrik was on the
cover of the EBS Magazine the same year they got the award!
PHOTO: R ALF BJURBO
BACKYARD BABIES 2015 COMEBACK + EBS
Swedish rock icons BACKYARD BABIES are back! Their first album in five years
is to be released soon, supported by excessive touring beginning this summer with
many major festivals around Europe. We are happy to introduce bass player Johan
Blomquist as new EBS Artist! Johan uses EBS CL500 amps with ClassicLine 810
cabinets, as well as EBS ValveDrive DI, MultiComp and DynaVerb pedals.
Jamareo Artis - badass
bass player with Bruno
Mars. 25 year old EBS
Pedal Artist Jamareo is
one of the reasons why
you see Bruno Mars band
live on almost every big
TV award. They always
deliver! Jamareo uses EBS
effects.
Swaeli Mbappé - Like
father like son, Swaeli
follow the steps of Etienne
and is an incredibly
talented bass player in his
early 20’s, and EBS Artist
too! There’s no doubt he
could be the next great
bass star emerging from
the French music scene.
Elin Sandberg is a young
Swedish bass player
currently studying at the
Berklee Music School in
Boston. In 2015 she’ll
be playing on Grammy
Award winning drummer
Terri Lyne Carrington’s
coming album, that also
feature among others
Chaka Khan, Esperanza
Spalding and Nathalie
Cole. Watch out for Elin!
Elin uses EBS amps, cabs
and combos.
15
A TRIP DOWN MEMORY LANE...
NAMM 2015. Marcus Miller did a 2 hour signing session at the EBS booth, and finished by signing the poster for the event
for EBS. Here with Bo Engberg, CEO at EBS and Ralf Bjurbo, Marketing & Artist Relations Manager at EBS.
ABOVE. EBS Artist Tal Wilkenfeld
made an appearance at EBS booth at
NAMM 2014, all of a sudden Anthony
Jackson came by to say hello. In
between signing for the hundreds of
fans she jammed with drummer Steve
Ferrone (Tom Petty etc.)
LEFT. EBS Artist Henrik Linder (Dirty
Loops) signed at the EBS booth at
NAMM 2015. Picked up a bass to play
and show some techniques for the
crowd.
16
@ebsswedenofficial
ABOVE. Paulo Mendonca and Jay Tee Teterissa played
some funky music at the EBS booth at MusikMesse 2014.
RIGHT. At the same show, Blind Guardian bassist Barend
Courbois appeared with Delain guitarist Timo Somers.
ABOVE. Etienne Mbappé with guitarist Anthony Jambon
and Etienne’s son Swaeli at NAMM 2015. RIGHT. Alex Al
with his EBS rig on the Arsenio Hall Show, January 2014.
ABOVE. The Duke of EBS Ambassadors; Jackie Clark with Tom Barney
(Steely Dan, Lionking on Broadway etc) and Warren McRae (Tina
Turner) at EBS NAMM booth 2015. RIGHT. Our most shared picture
on Twitter in 2014. The rig of One Direction’s bass player Sandy Beales!
17
#tbt #ebsswedenrocks
MARCEL JACOB TRIBUTE.
Talisman
re-united
for
a special concert at the
Sweden Rock Festival 2014
to honor the memory of
their former bass player and
EBS Artist Marcel Jacob,
who sadly passed away a
couple years ago. To fill the
big shoes of Marcel, another
EBS artist, Johan Niemann
stepped in and did an
excellent job. Although early
on the day, thousands of
people showed up and paid
tribute.
Band photo by
Daniel Falk. Crowd photo
by Ralf Bjurbo.
ABOVE. EBS Artist Anders Iwers with Avatarium did one
of the best gigs on the whole festival at Sweden Rock 2014.
LEFT. EBS Pedal Artist Jon Lawhon pounding the bass with
Black Stone Cherry at the same event. Both photos: Daniel Falk.
18
@ebsswedenofficial
NAMM 2014. Grammy awarded producer Josh
Wilbur (Lamb Of God, Killer Be Killed, Butcher
Babies etc) with his favourite amp that he use in
his studio – the EBS Fafner II!
BJORN ENGLEN. EBS Artist Bjorn Englen on a clinic at Rytmus Music
School in Stockholm, December 2014. A school that has seen several
famous Swedish artists including Robyn and Tove Lo among their students.
NAMM 2014. Killswitch Engage bass player Mike
D’Antonio enjoy a beer on the signing at EBS!
STEVE DI GIORGIO from Testament and Death Dta is a new EBS Artist.
NAMM 2015. Billy Sheehan signing a Billy Sheehan
Photo taken just before this magazine was sent to print by Daniel Falk.
Signature Drive banner at NAMM Show 2015.
19
20
EBS
PRODUCT
GUIDE
2015
THE TOOLS FOR
PROFESSIONALS
IN 2015, EBS INTRODUCE A NEW GENERATION
BLACK LABEL PEDALS – THE STUDIO EDITION.
SEE PAGE 38
21
PREMIUM AMPS & CABINETS
EBS FAFNER II
THE EBS FLAGSHIP
HAVE YOU EVER USED A DRIVE PEDAL WITH A BLEND CONTROL
TO SEAMLESSLY BLEND YOUR CLEAN TONE WITH THE DRIVE?
THAT’S A SIMPLE WAY TO EXPLAIN HOW THE EBS FAFNER II
WORKS – WHEN USED IN PARALLEL MODE.
the ebs fafner ii uses a two channel preamp.
The bottom channel is your Clean sound and the
top channel is the Drive, both with separate tone
controls to shape the sound.
Peter Iwers with In Flames on stage. Photo by Ralf Bjurbo.
When the channels run in parallel mode, the signal
splits in two after the input Gain and Character.
At the end of the line, there’s a blend 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 (similar to the
Level and Clean controls on the Billy Sheehan
Drive).
22
From there the signal goes to the main Volume
control. In parallel mode, you will leave the
bottom clean and defined, 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 switch active, you can switch between
the Clean and Drive Channels using the EBS
RM-4 footswitch remote control (sold separately).
MADE IN SWEDEN
EBS PREMIUM GEAR
The Tube mode sends the signal through a
EBS PREMIUM
12AX7 (ECC83) tube adding tube character and EBS FAFNER II
MADE IN SWEDEN
compression to the clean channel.
Type
the fafner ii feature a Hi and a Lo boost
character filter. 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.
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 filters and then
into the Drive channel.
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, or connect
an external compressor to the effects loop for 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 flexibility on stage. The same
footswitch can be used to kick in the Character Hi
and/or Lo pre-shape filters, and bypass the EQ as
well as mute the amp.
A unique feature is the TWO balanced XLRoutputs on the front. These can send out a preand 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.
the advanced drive has some optional
individual effect loops for each channel
Boost and Tube modes too. Boost mode simply
boosts the whole frequency range as you turn up
the Drive level control.
and a common loop with a mix level control
provide maximum flexibility when hooking up
your effects.
SIGNAL CHAIN
Drive Channel Filters
Level
Clean Channel Filters
Clean Lvl
Level
Clean Lvl
Solid State/Tube Hybrid
with 2-channel preamp
Unique Features
Two 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 Power
750 W RMS @ 2 ohms
SERIAL MODE
(with Serial Mode switch on)
Gain
Comp
Input
VOLUME
VIDEO DEMO!
VOLUME
WWW.EBSSWEDEN.COM
PARALLEL MODE
(with Serial Mode
switch off)
Gain
Input
Comp
23
Tal Wilkenfeld. Photo by Ralf Bjurbo.
EBS HD360
& TD660
THE PROS’ WORKHORSES
EBS TD (TUBE DEFINITION) AND HD (HIGH DEFINITION) BASS HEADS HAVE EARNED
THEIR REPUTATION AS TRUSTED “WORKING HORSES” BY YEARS OF TOURING.
they have served big productions such as
EBS HD360
Type
Solid State
with 4-band EQ
Unique Features
Effects Loop with
Mix Level Control (0-100%).
Character Filter.
Drive.
Notch Filter to prevent
feedback.
Bright Filter.
Phantom Power Out.
XLR-Out with Speaker
Simulation.
Output Power
360 W RMS @ 2 ohms
HD360 DEMO!
WWW.EBSSWEDEN.COM
24
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.
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.
the
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 filter, for a
quick fix to a decent sound by offering a midscooped overall tone. Then the input Gain control
that should be set so it flickers when you play your
instrument hard (which is important with all EBS
heads). The Filter Active button to activate the EQ
filters, then the shelving Bass filter, the advanced
Middle filter 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 frequencies causing unwanted
MADE IN SWEDEN
EBS PREMIUM GEAR
EBS PREMIUM
MADE IN SWEDEN
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 filter and then the unique
Bright filter, 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.
the back panel contain all the extras to
discover. 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. 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 finally 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, Fafner II and the
new Reidmar 750 heads.
the balanced xlr output send a perfectly
EBS TD660
Type
with 4-band EQ
Unique Features
Advanced Drive with
optional Boost and/or
Tube Mode.
Effects Loop with
Character Filter.
feedback.
Bright Filter.
Phantom Power Out.
Simulation.
Output Power
660 W RMS @ 2 ohms
balanced line signal to front of house or the studio
mixing console without the need of an external line
box. You can choose between post/pre EQ, with
our without Speaker Simulation and Ground lift.
TD660 DEMO!
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 9V DC
active bass.
WWW.EBSSWEDEN.COM
25
1
2
3
4
5
7
EBS FAFNER II 8
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 Remote Jacks. 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.
6
9
Front panel
1
2
3
5
6
EBS TD660 & HD360 4
7
Front panel
1
2
3
5
6
4
7
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.
control Character Filter (on/off), Filter Active (on/off), Drive
(on/off) and Mute.
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.
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.
Front panel
EBS BASS AMP
ACCESSORIES
EBS Triple ‘S’ Speakon
Cable. Speaker cable with
Neutrik® Speakon contacts
for professional use.
u
26
u
CONNECT, CONTROL AND
PROTECT YOUR AMPLIFIER.
add value to the Fafner II,
TD660 & HD360 heads,
as well as the NeoGorm
combos!
MADE IN SWEDEN
EBS PREMIUM GEAR
TECHNICAL INFO - EBS FAFNER II Input Impedance: 2 Mohms
Frequency Response: 20 - 20.000 Hz
Gain Range: -oo - +30 dB
Compression Ratio (max): 3:1
Clean Channel EQ: Bass +/-18 dB @80 Hz
Middle +/- 15dB @100 - 4.500 Hz, Q=0.7/1.8
Treble +/- 15 dB @10 kHz
Drive Channel:
Gain Range: 0 - 40 dB
Drive Type: Tube (ECC83)
Post Drive EQ:
Middle +/- 15 dB @50 - 2.000 Hz
Edge +/- 12 dB @ 6 kHz
Speaker Impedance: 2 - 8 ohms
Continuous Output Power:
>600 W RMS @ 4 ohms, 750 W RMS @ 2 ohms
Dimensions, W x D x H: 48 x 36 x 13 cm / 19” x 14” x 3U
Weight: 16 kg / 36 lbs.
EBS PREMIUM
MADE IN SWEDEN
TECHNICAL INFO - EBS TD660 Input Impedance: 1 Mohms
Frequency Response: 35 – 20.000 Hz
Compression Ratio: 3:1
Tone Controls:
Bass +/- 15 dB @ 100 Hz
Mid +/- 12 dB @ 50 –3.000 Hz, Q=0.5
Treble +/- 15 dB @ 6 kHz
Bright -0 / +12 dB @ 10 kHz
Drive Section:
Gain: 0 – 34 dB
Drive type: Solid State or Tube (Groove Tubes®)
Speaker Impedance: 2 -8 ohms
Output Power: Continuous 540 W RMS,
Dynamic Output Power 660 W RMS
Dimensions, W x D x H: 48 x 36 x 13cm / 19” x 14” x 3U
TECHNICAL INFO - EBS HD360 Input Impedance: 2 Mohms
Tone Controls:
Bass +/- 15 dB @ 100 Hz
Mid +/- 12 dB @ 50 –3.000 Hz, Q=0.5
Drive Section:
Gain: 0 – 30 dB
Drive type: Solid State
Specifications are subject to change without notice.
t
t
EBS Rack Cases.
Matching rack cases for
ProLine/NeoLine and
ClassicLine in
3-4 U height.
27
Swaeli Mbappé. Photo by Lasse Eklöf
EBS PROLINE
13-ply Birch &
Spruce 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.
2x Neutrik® SPEAKON
connectors for input and
link through.
Conventional speakers
selected & optimized for
each model.
Adjustable 2” tweeter.
EBS PROLINE
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.
Optional
Matching rack cases
available in 3 & 4U
height.
Warranty
Five year limited
warranty.
EBS ProLine 210
Configuration:
2x10” + 2”
Power handling: 400W RMS
Impedance: 4 ohms
Freq response: 70 -18.000 Hz
Sensitivity: 99 dB
Dimensions 23” x 17” x 15”
(W x D x H): 58 x 44 x 39 cm
Weight: 22.3 kg/49.2 lbs
28
EBS ProLine 410
Configuration:
4x10” + 2”
Impedance: 4 ohms
Sensitivity: 102 dB
(W x D x H): 58 x 44 x 69 cm
Weight: 36.1kg/77.4 lbs
EBS ProLine 115
Configuration:
1x15” + 2”
Impedance: 4 ohms
Freq response: 35 - 18.000 Hz
Sensitivity: 100 dB
(W x D x H): 58 x 44 x 69 cm
EBS ProLine 610
Configuration:
6x10” + 2”
Impedance: 3 ohms
Sensitivity: 103 dB
(W x D x H): 58 x 44 x 95 cm
Weight: 52 kg/114.6 lbs
EBS ProLine 810
Configuration:
8x10” + 2”
Impedance: 4 ohms
Sensitivity: 105 dB
(W x D x H): 58 x 44 x 124 cm
Weight: 60 kg/132.3 lbs
MADE IN SWEDEN
EBS NEOLINE
13-ply Lightweight
with resistant felt. Birch
in baffle.
grill in black.
Deep Dish Handles
(except on mini size
cabinet)
with top and side
handles on 810.
Flip Handles on Mini
Size cabinet on both
sides and bottom for
tilt-back option.
link through.
Third generation
Neodymium light weight
speakers selected &
optimized for each
model.
EBS PREMIUM GEAR
EBS NEOLINE
LIGHT-WEIGHT AND POWERFUL.
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.
EBS PREMIUM
MADE IN SWEDEN
every ebs neoline speaker cabinet is made
from truly tonal, lightweight spruce plywood,
with a baffle 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 fitted 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!
Optional
Rack cases available
in 3 & 4U height.
Warranty
Five year limited
warranty.
MINI SIZE
EBS NeoLine 112
1x12” + 2”
Configuration:
Impedance: 8 ohms
100 dB
Sensitivity: Dimensions 19” x 13” x 15”
(W x D x H): 49 x 34 x 37 cm
Weight: 12 kg/27 lbs
EBS NeoLine 210
2x10” + 2”
Configuration:
Impedance: 4 ohms
Sensitivity: 102 dB
(W x D x H): 58 x 44 x 39 cm
Weight:
19 kg/42 lbs
EBS NeoLine 115
Configuration:
1x15” + 2”
Impedance: 4 ohms
Freq response: 35-18.000 Hz
Sensitivity: 100 dB
(W x D x H): 58 x 44 x 61 cm
Weight: 20 kg/44 lbs
EBS NeoLine 212
2x12” + 2”
Configuration:
4 ohms
Impedance: Freq response: 40-18.000 Hz
103 dB
(W x D x H): 58 x 44 x 61 cm
EBS NeoLine 410
Configuration:
4x10” + 2”
4 ohms
Impedance: Freq response: 50 -18.000 Hz
105 dB
(W x D x H): 58 x 44 x 69 cm
EBS NeoLine 810
Configuration:
8x10” + 2”
Impedance: 4 ohms
Sensitivity: 108 dB
(W x D x H): 58 x 44 x 124 cm
Weight: 47.6 kg / 105 lbs
29
MAGNI 500 BASS COMBO AMPS
COMING
SOON!
EBS
MAGNI
500
GET YOUR
TONE
SAFE AND
SOUND
30
EBS INTRODUCES A COMPLETE NEW LINE OF BASS COMBOS BASED
ON THE AWARD WINNING REIDMAR AMP DESIGN. THESE ARE GREAT
SOUNDING COMBOS THAT PRESERVE THE TONE OF YOUR BASS AND
YOUR PERSONALITY!
MAGNI 500 FEATURES & BENEFITS:
• Based upon the award
winning Reidmar amp design.
• Extremely transparent to the
character of your instrument.
• Fast responding and easy to dial in.
• High efficiency speakers for
best tonal character.
ebs has a fine tradition of making bass combo
units for professional use. All previously released combo
models feature an entirely analog amp design.
• Excellent power-to-weight ratio.
• Available in 2x 10” and 1x 15”
full range configurations with
tweeters.
However, in recent years the market for high-end, analog
solid state combos has been challenged by a wave of lightweight, price-worthy units that may save the backs and
bucks of bass players around the world, but sometimes by
paying the price of a compromized sound.
• Switchable between 120/230V.
• Balanced XLR output with
ground lift.
• Comes with protective cover.
ebs has taken the necessary time to solve the
equation of making a professional sounding, competitive
bass combo incorporating the new lightweight amp design.
the ebs magni 500 is available in two configurations,
the 210 (2x10” + tweeter) and the 115 (1x15” + tweeter).
Both use an amp section based on the award winning
Reidmar design.
Etienne Mbappé. Photo by Lasse Eklöf
The name Magni stems from yet another character in Norse
mythology – Magni, son of Thor (the God of Thunder). The
word Magni translates to ‘Strong’ and is indeed significant
for these thunderous Magni 500 bass combos!
MAGNI 500 preamp is identical
with the Reidmar 470 and feature a
preshape Character optional filter,
adjustable Compressor/Limiter,
a 4-band EQ with Notch and Bright
filters. Bypass switch for the EQ and
controls for input Gain and output
Volume.
MAGNI 500 Back Panel
feature an Effects loop,
Remote connectors, Line
out, Headphones output
and a Balanced XLROutput (Post/Pre EQ).
The Magni 500 combos
feature a switch between
120/230V.
31
LIGHTWEIGHT BASS AMPS
EBS REIDMAR
LIGHT-WEIGHT AMPS WITH
HEAVY-WEIGHT SOUND!
THE REIDMAR IS THE LIGHT-WEIGHT BASS AMP FROM EBS PROFESSIONAL BASS EQUIPMENT. A LIGHT-WEIGHT DESIGN THAT CHALLENGES ANY HEAVYWEIGHT BOUTIQUE AMP IN TONAL QUALITIES. THE REIDMAR TAKES FULL ADVANTAGE OF THE 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 award winning EBS Reidmar amp shows that
anything is possible with clever engineering!
Due to advanced soft-clip technology, the Reidmar does
not suffer any loss of definition in the low register when
the volume is turned up. The Reidmar takes maximum
advantage of the power offered.
look and feel. EBS has never had the intention to
make the world´s lightest and smallest amps, but to make
light bass heads that look, feel and sound like real bass amps!
ebs reidmar 470. Anyone familiar with EBS bass amps
will feel at home with the Reidmar. The preamp is analog,
sporting the renowned built-in compressor from EBS and a
4-band EQ section that is really intuitive. The characteristic
Bright and Notch filters are there. The amp features an
Effects loop, Balanced XLR-out for live and studio use (with
pre/post EQ switch and Ground Lift), Line out, Headphones
out and a Speakon speaker output. The amp processes the
sound through the analog preamp with a D class power amp
providing up to 470 W output.
The EBS Reidmar 470 matches perfectly well with a couple
EBS ClassicLine mini-size 112 cabinets, or the NeoLine minisize cabinets for more clarity and punch.
new! ebs reidmar 750. The 750 will be launched in
2015. It is based on the award winning design of the original
Reidmar and offers an outstanding power-to-weight ratio
with an output up to 700 W RMS.
REIDMAR 470 Back Panel of the 470 model with
Phones Out, Line Out, Speaker Out, Effects loop
and Balanced XLR-Output (Post/Pre EQ).
Above: Both models
can be switched
between 230 V / 120 V
The preamp is almost identical to that of the 470 but the
added Drive section adds to the palette of tools to shape your
tone and make it wilder and more aggressive than its smaller
companion.
On the back, the new Reidmar 750 shares all features with
the 470 and also features remote footswitch control inputs.
Connect the EBS RM-4 footswitch to activate and/or bypass
the Drive, Character filter and EQ section on the amp as well
as to mute the sound.
REIDMAR 750 Back Panel of the 750 model with Speaker Out, Effects loop,
Remote connectors, Line out, Phones out, Mini-tele input and Balanced XLROutput (Post/Pre EQ).
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The Reidmar 750 is the perfect light-weight amp to use with
any full size EBS cabinet. It won’t let you down on any type
of gig!
EVERYONE DESERVES A GREAT BASS SOUND
EBS Reidmar 470.
The new EBS Reidmar 750. Wilder and stronger with more power and a Drive control added.
FEATURES & BENEFITS
Type
Analog preamp,
Class-D Power Amp
with 4-band EQ
Features
Effects Loop.
Character Filter.
Filter Bypass.
Headphones Output
(470 model only).
feedback.
Bright Filter.
Drive (750 model only)
Simulation.
Dutch EBS Artist Jay-Tee
Teterissa with his Reidmar
and NeoLine 112 cabinet.
120 V/230V switchable
Output Power 470
470 W Dynamic @ 4 ohms
/ 250 W RMS
Output Power 750
700 W RMS @ 4 ohms
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CLASSICLINE AMPS & CABINETS
THE EBS CLASSIC LINE
A CLASSY LOOK WITH A CLASSIC SOUND.
vintage tone. The EBS CL500 retro-styled
bass amp is a solid state bass head with a classic
tube amp sound. 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!
EBS CL500 - Technical Specifications
Input Impedance
1 Mohms
Gain range
-oo / +28 dB
Character filter
Shelving High/Low Pass
+6 db @ 75 Hz
-2.5 dB @ 800 Hz
+3 dB @ 9 kHz
Tone Controls
Bass
Shelving
+/- 15 dB @ 100 Hz
Low Mid
Sweepable 150-900 Hz +/-15dB, Q=0.9
High Mid
Sweepable 1.2-7 kHz +/-15dB, Q=1.1
Treble
Shelving
+/- 15 dB @ 10 kHz
Drive Section
Gain 0-30 dB, Low end
compensation <250 Hz
Other Features Balanced Output, Line Out
Minimum speaker impedance
2 ohms
Output Power 500 W RMS @ 2 ohms load
440 W RMS @ 4 ohms load
Dimensions (W x D x H)
19.3” x 11.8” x 8.5”
(49cm x 30cm x 21,5cm)
Weight
14 kg / 31 lbs
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The thoughtfully designed EQ puts you firmly 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. The CL500 is the
perfect match for ALL EBS ClassicLine cabinets,
including the narrower mini size 112 cabinets, due
to the new compact outfit. The EBS CL500 amp
comes with a padded cover.
EBS CL500 AMP
Type
Solid State
Unique Features
4-band EQ with
Dual Mid-Range filters
Character Filter.
Very musical Drive.
XLR-Out post/pre EQ
The 2015 ClassicLine
cabinets update include:
Photo by Daniel Falk.
• Improved front cloth design
for better airflow.
• Heavy-duty hardware.
• Lock-in-place cups matching
the footprint of the CL500
amp on the bigger 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 satisfied.
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.
2015
update.
A new front cloth has been developed with
significant improved air flow for better sound and reduced vibrations.
New heavy-duty protective corners on all models and new casters for
the 410 and 212 models. ‘Lock-in-place’ cups matching the footprint of
the EBS CL500 amp has been added to the CL410, 212 & 810 models.
Cabinet Specifics
Made of multi-laminated plywood covered with vinyl. Cloth front.
Deep Dish Handles.Heavy-duty casters and lock-in-place cups
for EBS CL500 on the 810, 212 and 410 models.
210, 410, 212 and 810 comes with a padded cover.
Speakers & Connectors
2x 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.
Optional
Matching rack cases available
in 3 & 4U height.
Warranty
Five year limited warranty.
MINI SIZE
EBS ClassicLine 112
Configuration:
1x12” + 2”
Impedance: 8 ohms
Sensitivity: 94 dB
(W x D x H): 49 x 34 x 38 cm
Weight: 17,5kg/39 lbs
EBS ClassicLine 210
Configuration:
2x10” + 2”
Impedance: 8 ohms
Sensitivity: 96 dB
(W x D x H): 64 x 34 x 49 cm
Weight: 22,5kg/49.5 lbs
EBS ClassicLine 212
Configuration:
2x12” + 2”
Impedance: 4 ohms
Sensitivity: 97 dB
(W x D x H): 64 x 41 x 68 cm
Weight: 30kg/66 lbs
EBS ClassicLine 410
Configuration:
4x10” + 2”
Impedance: 4 ohms
Sensitivity: 99 dB
(W x D x H): 64 x 41 x 68 cm
Weight: 34kg/76 lbs
EBS ClassicLine 810
Configuration:
8x10” + 2”
Impedance: 4 ohms
Sensitivity: 102 dB
(W x D x H): 64 x 41 x 125 cm
Weight: 55kg/121 lbs
35
SESSION BASS COMBO AMPS
EBS SESSION COMBOS
GREAT SOUND, FOR EVERYONE!
“A well-built,
affordable and
versatile bass
combo. Highly
recommended”
5 of 5 stars
Bass Guitar Magazine, UK
EBS SESSION 120
BASS AMP OF THE
YEAR IN GUITAR &
BASS MAGAZINE
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the session combos are all based on the EBS Classic
bass heads, scaled down to serve each context the best.
stripped off of all the other features not really necessary to get
a great tone, and they are made of less expensive materials.
The philosophy behind the concept is to create combo amps
with all the essential features to any bass player – a great
sound, professional 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
All in all, these combos offer great sound at a good price
– a bit of the best of both worlds.
The 2015 models feature a new front cloth developed with
significant improved air flow for better sound and reduced
vibrations.
30
60
120
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!
EBS SESSION 30
Configuration:
1 x 8”
30W RMS
Output: Freq response: 70 -5.000 Hz
13 L
Cabinet Volume: Dimensions 12.2 x 13.0 x 9.5”
(W x D x H):
31 x 33 x 24 cm
8,6 kg/18.9 lbs
Weight: The little combo–small enough to fit in your bookshelf–
offers great tone and can run on full volume and gain
without damaging the speaker, still with a nice and defined
tone. Although, full gain will add some heavy distortion to
the tone!
EBS SESSION 60
1x10” + tweeter
Configuration:
60W RMS
Output: 60 -18.000 Hz
Freq response: 20 L
Cabinet Volume: 14.8 x 15.6 x 13.5”
Dimensions 38 x 39.5 x 34 cm
(W x D x H):
16 kg / 36 lbs
Weight: the ebs 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 filter turn the
Treble control into a mid-sweep filter that allows further
adjustments, and the Character filter adds a smile on the
EQ making it easy to find a good sound in no time.
EBS SESSION 120
1x12” + tweeter
Configuration:
120W RMS
Output: 45 -18.000 Hz
Freq response: 35 L
Cabinet Volume: 17.1 x 17.9 x 15.8”
Dimensions 43.5 x 45.5 x 40 cm
(W x D x H):
21 kg / 47 lbs
Weight: 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 filter 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 fit 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 2015 models include
a new front cloth design
for better airflow.
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 fitted in a larger cabinet for better bass
response and bigger tone.
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BLACK LABEL PEDALS
EBS BLACK LABEL
NEW 2015 STUDIO EDITION!
EBS INTRODUCE 6 IMPROVED AND RENEWED MODELS OF THE BLACK LABEL PEDALS, CALLED THE STUDIO EDITION, IN 2015!
NEW DISTINCT DESIGN, BETTER SOUND AND MORE USER FRIENDLY THAN EVER. YOUR STUDIO SOUND LIVE!
ebs launched their first pedal for bass
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already in 1992 – the famous OctaBass. Over the
years, the company has developed its Black Label
line of analog and digital effects to become one of
the leading makers of effects specialized for bass,
producing classic units such as the MultiComp,
MultiDrive and UniChorus, to mention just a few.
now introduces a new generation
Black Label Pedals - the Studio Edition. While
being faithful to their origins when it comes to
the sonic qualities, the new generation of pedals
feature several improvements and a new distinct
design to be able to serve yet another generation
of great bass players.
The combination of unrivaled studio quality tone
and elegant simplicity in its design strike the
perfect balance between professional sound and
user-friendly gear that even your drummer will
understand how to operate. These are like Volvos
equipped with Ferrari engines.
The new pedals can be powered by a 9V DC
battery or an external DC power adaptor (9-12V).
Battery is no longer included, for environmental
reasons, and for the same reasons we recommend
powering your pedals with an adaptor such as the
EBS AD-9+, that can power up to 20 EBS pedals.
ebs
THE STUDIO EDITION
NEW IMPROVEMENTS INCLUDE:
• New low noise switching using signal relays for
extremely low mechanical noise and improved life span.
BL ACK L A BEL
• Jumbo sized led lights for better action indication.
STUDIO EDITION
• New design handling 9 to 12V DC power.
• Better protection for accidental voltage spikes.
• New design for stronger individual identity.
• Optimized signals for studio environment.
EBS UniChorus Analog Chorus
EBS MultiComp Analog Compressor
EBS DynaVerb Digital Stereo Reverb
The EBS MultiComp is a studio quality, analog
compressor pedal. Choose between solid state, tube
simulation and multi-band compression. Active/
passive switch. True Bypass. Fine-tuning options for
Threshold inside.
The EBS DynaVerb provides eight different stereo
digital reverb effects, from Rooms, to Plates, to Halls.
This pedal uses a 24-bit digital processing circuitry
for outstanding performance. True Bypass. Extended
options inside to set the reverb in parallel mode.
The EBS UniChorus is a studio quality analog
Chorus, Flange and Pitch Modulation effect in one.
This pedal is built with the best analog processing
circuitry available. Stereo output. True Bypass.
The internal fine-tuning option to change the Effect
mix can be used to blend in the effect with
the original tone.
EBS OctaBass Analog Octaver Effect
EBS MetalDrive Analog Distortion
EBS MultiDrive Analog Overdrive
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 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.
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.
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BLACK LABEL PEDALS
THE CL ASSIC EDITION
EBS BLACK LABEL
’CLASSIC’ EDITION
THESE THREE CLASSIC EBS BLACK LABEL PEDALS WILL ADD NEW DIMENSIONS TO YOUR SOUND.
DESIGNED FOR BASS PLAYERS BUT FAVOURED BY MANY GUITARISTS, THEY WORK SILENTLY
WHILE PRESERVING THE LOW RANGE.
COMMON FEATURES:
• Suitable both for studio
and live use
• Compact, robust and easy-to-use
while introducing the STUDIO EDITION in 2015, these three models
from the CLASSIC edition of the Black Label pedals series will continue to live on
in their classic outfit for 2015 (at least).
Color your sound with these great effects, the DPhaser will bring back classic
sounds from the 70’s like no other phaser effect today, the TremoLo is a true analog
stereo tremolo that works just as perfect for guitar as it does for bass and the BassIQ
envelope filter simply makes playing more fun! Use it for wha-type effects, or sub
notes (see Sean Hurley interview in this magazine) or in the ”Down” setting for
synth-bass like sound out of your stringed instrument! Get them while they last!
EBS DPhaser Digital Phaser
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EBS TremoLo Analog Stereo Tremolo
• 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
EBS Bass IQ Analog Envelope Filter
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.
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.
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.
Extended fine-tuning options inside:
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.
Gain level fine tuning.
High-pass filter mix-in, Gain trimmer, Dynamic
High-pass filter mix-in.
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 !
RED LABEL PEDALS
EBS RED LABEL
GUITAR EDITION
OVER THE LAST YEARS, THERE HAS BEEN A GROWING DEMAND FOR EBS EFFECTS AMONG GUITARISTS.
WE ARE NOW LAUNCHING EFFECTS SPECIALLY MADE FOR GUITAR – THE RED LABEL PEDALS!
FEATURES & BENEFITS:
• Optimized for use with guitar.
• All models have excellent full range
frequency response with no roll-offs.
the first three units in the RED LABEL SERIES are guitar versions of
our two most popular effects among guitarists, the MultiComp and the DynaVerb,
and an improved version of the Red Twister chorus, that originally came out in very
limited numbers back in 1999 (and thus now very sought after in the second hand
market). All made, tweaked and twisted to benefit the electric guitar the most.
• Studio sound quality with a
character that reveals the tone
of the instrument.
The Red Label Pedals are developed with the collective input from our guitarist
customers feedback, as well as from a selected group of some of the most busy
professional guitarists in Sweden. A limited edition will be available already in
the Spring of 2015, with worldwide availability in the Fall of 2015.
•Signal relays switching technique for
extremely low mechanical noise and
long life span.
EBS MultiComp Guitar Compressor
The EBS MultiComp Guitar Edition is a studio quality,
analog compressor pedal fine tuned for guitar.
Choose between solid state, tube simulation and
multi-band compression. Active/passive switch. True
Bypass. Fine-tuning options for Threshold inside.
EBS Red Twister Guitar Chorus
The EBS Red Twister is a studio quality analog
Chorus and Flange effect for guitar with stereo
output and true bypass. The internal fine-tuning
option to change the Effect mix can be used to blend
in the effect with the original tone.
• Handling 9 to 12V DC power
with protection against accidental
over voltage.
• True bypass.
EBS DynaVerb Guitar Stereo Reverb
RED LABEL
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SELECTED & SIGNATURE PEDALS
SPECIAL EFFECTS
EXPAND YOUR TOOLBOX!
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!
EBS MicroBass II Analog 2-channel Preamp
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.
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
EBS ValveDrive DI Tube Preamp/Overdrive/DI-box
The award winning 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.
Use as preamp,
overdrive and/or
DI-box.
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.
All musical high grade
tube design
Balanced XLR-Out
Vintage or modern
tube sound
Classic style passive
filters
Class A tube
overdrive pedal
Designed for best
bass response
It’s my Number One pedal!
- Sean Hurley, John Mayer
9 V DC Power
Supply included
True bypass
EBS WahOne Analog Bass Wah Wah
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.
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
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DESIGNED AND DEVELOPED IN SWEDEN
EBS FuzzMo fuzz effect for bass & guitar
The award winning 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).
Gain, Shape, Volume
and Blend controls.
Three Character
modes - Flat,
Mid-scoop and
Maximum Mid-scoop.
True Bypass.
Power options
9V DC battery or
EBS AD-9+ Power
Supply (not included)
True Bypass. The EBS FuzzMo uses a True Bypass footswitch.
The pedal runs on 9V DC battery or Power Supply.
The EBS Fuzzmo is the nastiest monster you’ll
find while maintaining a solid natural bass
sound. Nothing else can touch it!
- Jon Lawhon, Black Stone Cherry
EBS Billy Sheehan Signature Drive
The several times awarded Billy Sheehan Signature Drive
pedal 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 (ICY-30, see picture below), to ’pimp’ the effect
into your own signature effect!
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).
SEE DEMO!
The EBS Billy Sheehan Signature Drive is designed and
developed by EBS and Billy Sheehan himself. Made for
Billy Sheehan’s personal needs with features optimized to
benefit all bass player’s in need of distortion/overdrive.
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.
ICY-30
received several awards in 2013
including a ’Best Of Show’ Award at
the NAMM Show.
Drive, Tone, Level and
Clean controls.
Three Compressor
Modes - High, Mid,
Off
Clean Loop and Drive
Loop (connect an
insert cable for
send and return).
Advanced Options
By 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).
Power options
9V DC battery or
EBS AD-9+ Power
EBS Stanley Clarke Signature Wah/Tone Filter
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!
The EBS Stanley Clarke
Signature Wah/Tone
Filter evolved through
collaborative effort with
Thomas Lieber of the
Spellbinder Corp. USA
and Stanley Clarke.
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’!
.
Flexible footswitch for
Wah-wah/Bypass or
Wah-Wah/Volume
control
Low-Pass, HighPass, Band-Pass and
Boosted Band-Pass
modes
Extended frequency
range
Variable band width
True bypass
Power options
9V DC battery or
EBS AD-9+ Power
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EBS PEDAL ACCESSORIES
PEDAL ACCESSORIES
SPACE SAVING ACCESSORIES TO MAKE EVERYTHING A LITTLE EASIER.
EBS 2ND ROW – RISE AND HIDE! Added comfort and
secure switching for the pedals on your ‘second row’ is
accomplished with the new 2ND ROW pedal riser. The
clever design allow you to hide loose cables and make
your setup neat and clean.
The 2ND ROW is made of ultra light aircraft-grade
anodized Aluminum with laser engraved text. Attach it to
your pedal board by using velcro (included) or Dual Lock
for universal use.
EBS-SR
PCF-10
PCF-18
PCF-28
PCF-58
EBS Patch Cables. Connect your pedals in the tightest
possible way yet flexible with these flat patch cables
with ultra low-resistance and capacitance. Available in
four lenghts: 10, 18, 28 & 58 cm. Over 50’000 sold!
44
PL-10
PL-20
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!
DC-6
EBS ICY-30. Insert cable with a stereo contact at
one end, split into a mono contact representing
the tip and another representing the ring of the
stereo contact to serve as send and return.
Perfect to use with the loop functions on the
Billy Sheehan Signature drive
EBS DC Split Cables. Split cables to use
with a DC power supply. Available in 2, 4
and 6 split configurations. Choose between
straight or angled contacts. Super slim
design. Including tip end covers to protect
from accidental short circuits.
ICY-30
DC-6/90
AD-9+
EBS AD-9+ – Guaranteed clean and hum free power.
Slim designed power supply that only take u
p one outlet spot.
It is designed for use with almost every pedal on the market, and
can handle all voltages from 100-240 V. The output is short circuit
protected and gives clean and hum free 9V DC power. One AD-9+
supply can power up to 20 pedals. Available with plugs for US,
EU, UK or Japanese standard. Comes with 1,5 m cable. 2.1 mm
Center Negative connector.
45
EBS CARRYON
TM
BRING YOUR PEDALS ONBOARD AS CABIN LUGGAGE.
THE EBS CARRYONTM PEDAL CASE SYSTEM LETS YOU TRAVEL SAFE WITH YOUR PEDALS. THE REINFORCED SOFT-CASE PROTECTS THE EQUIPMENT JUST
AS GOOD AS A FLIGHT CASE, BUT WITH THE BENEFIT OF BEING LIGHTER AND EASIER TO CARRY AROUND DUE TO THE EXTRA PADDED HANDLE AND
WIDE, PADDED SHOULDER STRAP. THE SYSTEM INCLUDE A FLEXIBLE PEDALBOARD WITH HANDLES THAT CAN BE PLACED IN VARIOUS POSITIONS; TWO
PIECES OF THE NEW 2ND ROW PEDAL RISERS 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 FLEXIBILITY WHEN ATTACHING YOUR PEDALS TO THE BOARD.
FEATURES
’Cabin approved’ size
Lockable Soft padded case
Padded dual
reinforced handles
Pedal board with handles that
can be placed in three different
positions.
Comfort padded, extra
long shoulder strap
Clean outer surface for
easy stacking
Net bucket on the inside
for accessories
2-sided pedal board –
Velcro or 3MTM dual lock
Attach the angled risers on top
of the pedal board to build
different levels, or underneath
to tilt the whole pedal board.
The risers can be attached by
glue, Velcro or Dual LockTM.
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 2ND
ROW pedal risers. The
2ND ROW also house
loose cables for a neat and
clean setup.
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.
46
Detachable rubber feets
included. Attached by
screws or with adhesive
tape.
Soft padded flight
case with pedal board.
Pedals, strings & cables not included
Travel safe and comfortable with the wide
and padded shoulder strap and extra padded
handle.
EBS BASS STRINGS
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 FIT 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 finest
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 fit a wide range
of bass guitars and to improve tuning abilities.
AVAILABLE MODELS (BOTH TYPES):
MODELS
Medium Light
Medium
Classic Medium
Heavy Bass
4-STRINGS5TH 6TH
40/60/80/100
+125
+25
45/65/80/100+125
45/65/85/105
+128
+30
50/70/90/110
+135
-
Check with your
distributor for availability!
47
EBS ONLINE
MAIN WEBSITE:
WWW.EBSSWEDEN.COM
The main source for product info and news about EBS and
our artists. Go there to sign up for EBS Newsletter!
EBS ON FACEBOOK:
WWW.FACEBOOK.COM/EBSSWEDEN
EBS ON TWITTER:
WWW.TWITTER.COM/EBSSWEDEN
EBS ON INSTAGRAM:
WWW.INSTAGRAM.COM/EBSSWEDENOFFICIAL
EBS ON YOUTUBE:
WWW.YOUTUBE.COM/EBSSWEDEN
48
Bombus at Sweden Rock Festival 2014. Photo by Daniel Falk.
49
A 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
EBS ARTISTS
A
Alex Acanda (ES/CUBA) - Jerry Gonzalez
Jan Adefelt (SWE) - Independent
Alex Al (US) - Session Great
Miguel Amado (PR) - Fausto
Steve Anderson (UK) - Threshold
Jennie Andersson (SWE) - Spitchic
Johan Andreassen (SWE) - Amaranthe
Nic Angileri (IT/SUI) - Independent
Jim Anton (US) - Johnny Lang
Marc ”Archie” Arciero (UK) - Independent
Christofer Aronsson (SWE) - Intohimo
Karin Axelsson (SWE) - Sonic Syndicate
B
Jon Bakker (NO) - KAMPFAR
Lorenzo Barriendos (ES) - Independent
Sandy Beales (UK) - One Direction
Alex Bedmar (ES) - Hora Zulu
Stephane Beguier (FR) - AKPHAEZYA
Thomas Bekkevold (NO) - Jorn
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
Johan Blomquist (SWE) - Backyard Babies
Andreas Blomqvist (SWE) - Seventh Wonder
Stefan Bratt (SWE) - Atlas Losing Grip
Aleks Brdarski (SWE) - Neighbourhood
Victor Broden (SWE/US) - Independent
Tommy Brown (US) - Independent
Arnaud Buffon (FR) - Body Fluids
C
John Calabrese (CAN) - Danko Jones
Juan Carlos Díaz (ES) - Fundácion Tony Manero
Linus Carlsson (SWE) - Kamchatka
Michael Choi (UK) - Producer/Session Bassist
Jackie Clark (US) - Independent
Johnny Copland (UK) - The Crystal Fighters
Laurence Cottle (UK) - Session Great
Joe Csibi (IRE) - Tonight with Craig Doyle
D
Yuri Daniel (PR) - Jan Garbarek Group
Mike D’Antonio (US) - Killswitch Engage
Mike Davis (US) - Halford
Christoph Deckert (GE) - Jennifer Rostock
Vtali Demidenco (RU) - Tracktor Bowling
Steve Di Giorgio (US) - Testament / Death Dta
Keith Duffy (IRE) - The Corrs, Ronan Keating
E
Henrik Edenhed (SWE) - Straight Frank
Colin Edwin (UK) - Porcupine Tree
Edvin Edvinsson (SWE) - Fibes Oh Fibes
Bjarne Elvsgard (SWE) - Corroded
Bjorn Englen (SWE/US) - Dio Disciples, Soul Sign
Mats Mackan Englund (SWE) - Independent
F
Ola Flink (SWE) - Soilwork
Frasse Franzen (SWE) - Festingarna
Fabio Fraschini (IT) - Il Volo, etc
Full (JP) - Nicotine
Julia Falthin (SWE) - Independent
G
Jesús Gabaldón (ES) - Seguridad Social
Alex García (ES) - Melendi
Ronnie Garrett (US) - Tyler Perry
Rinus Gerritsen (NL) - Golden Earring
Iñigo Goldaracena (ES) - Manolo García, Revolver
Lael Goldberg (UK) - Hurts
César Gonin (SUI) - Breakdown of Insanity
Mikael Redbeard Gustavsson (SWE) - Igneous Human
H
Rob Hakemo (SWE) - M.A.N.
Patrik Hallgren (SWE) - Self Deception
Peo Hallgren (SWE) - United We Stand
Chris Fatty Hargreaves (UK) - Dubstep Bass Master
Jonathan Harvey (UK) - Independent
Mikael Hedlund (SWE) - Hypocrisy
Niko Del Hierro (ES) - Saratoga
Hidekazu Hinata (JP) - STRAIGHTNENR
Nisse Holm (SWE) - The Ryot
Bertil BasBerra Holmgren (SWE) - Independent
I
Omar Ibrahim (GE) - Joe Cocker
Mikel Irazoki (ES) - Miguel Bosé
Peter Iwers (SWE) - In Flames
J
Anders Janfalk(SWE) - All Ends
Andreas Johansson (SWE) - Raised Fist
Bengan Jonasson (SWE) - Dan Reed
Pal Johnson (SWE) - Independent
Anders Jonsson (SWE) - Independent
Julian (GE) - aVid*
Aaron Julison (US) - Kid Rock
50
K
Joakim Karlsson (SWE) - Her Bright Skies
Nathaniel Kearney Jr. (US) - Taio Cruz
Alison Keslow (US) - Independent
Oscar Kempe (SWE) - Neverstore
Eddy Khaimovich (US/ISR) - Session Bassist
Jason Klein (US) - Butcher Babies
L
Chris Lemon (SWE) - Badmouth
BJ "Berra" Laneby (SWE) - Million
Niklas Lennartsson (SWE) - Ape Rape Escape
Henrik Linder (SWE) - Dirty Loops
Jesper Liveröd (SWE) - Nasum, Burst
Kristoffer Ljung (SWE) - Kid Down
Peter London (SWE) - Crashdiet
Salva Lopez (ES) - Complices
Freddi Lubitz (AUT) - Session Bassist
M
Pawel Maciwoda (PL/GE) - Scorpions
Fernando Mainer (ES) - Tako
Dave Marks (UK/IRE) - Session Great
Mariano Martos (ES) - Chicuelo
Per Mathisen (NO) - Dance With A Stranger
Etienne Mbappé (FR/CAM) - John McLaughlin
Swaeli Mbappé (FR) - Independent
Warren J McRae (US) - Tina Turner
Mikael Medin (SWE) - Marrionette
Nicolas Mirande (FR) - Thomas Ottogalli Trio
Rushad Mistry (IND) - Session bassist
Anders Mossberg (SWE) - Independent
Pascal Mulot (FR) - Independent
Peter Müller (GE) - Solo artist
Roberto Mårdstam (SWE) - Scotts
Jesajah Mårskog (SWE) - Veronica Maggio
N
NDIOBA (FI) - Independent
Andi Nero (SWE) - The Bones
Johan Niemann (SWE) - Evergrey
Ni~Ya (JP) - Nightmare
Tomas Näslund (SWE) - Blindside
OP
Orefo Orakwue (UK) - Anastacia
Carsten Pedersen (DK) - Session Bassist
Lee Pomeroy (UK) - Take That, It Bites etc.
R
Paul 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 Bassist
Jonas Rydberg (SWE) - Bombus
S
Eric 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 Blige
Peter Sonntag (GE) - Final Virus
Pat Splat (SWE) - F.K.Ü.
Eugenie Stepanov (UKR) - Session bassist
Jan Jysky Strandberg (FIN) - Independent
Christer Stålbrandt (SWE) - November
T
Jay-Tee Teterissa (NL) - Independent
Dywayne Thomas Jr. (US) - Independent
Chris Tilley (US) - The Contortionist
Robert Triches (SWE) - Independent
Timo Tolonen (FI) - Leningrad Cowboys
UVW
Peter Uvén (SWE) - April Divine
UFO Walter (GE) - Independent
Sola Van Motman (NL) - Independent
Mike Van Tine (US) - Session Player
Leon Watkins (UK - The Dirty Youth
Hazze Wazeen (SWE) - Independent
Christian Wendt (AUT) - Taucher Wendt Trio
Joey Vera (ES) - Session Great
Josh Werner (US) - Helio Parallax
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
ZÅÄÖ
Lennart Z Zethzon (SWE) - Lugnet, Clifftones
Johannes Zetterberg (SWE) - Solo Artist
Thomas Zurmühlen (GE) - James Last
Jocke Ågren (SWE) - Hillsong Sthlm
Capman Örtefors (SWE) - Freak Kitchen
Erkan Özdemir (GE) - Memo Gonzales
EBS PEDAL ARTISTS, BASS PLAYERS
AB
Marten Andersson (SWE/US) - Lizzy Borden
Patrick Andy (US) - Independent
Jamareo Artis (US) - Bruno Mars
Al Barrow (UK) - Magnum
Adam Blackstone (US) - Kanye West, etc
Malcolm Bruce (US) - Independent
Sekou Bunch (US) - Independent
Oliver Buxton (UK) - Session bassist
CD
Branden Campbell (US) - Neon Trees
John Campbell (US) - Lamb Of God
Oscar Cartaya (US) - Independent
Al Carty (US) - T-Pain
Phil Chen (US) - The Doors
Stanley Clarke (US) - Bass Legend
Barend Courbois (NL) - Blind Guardian
Will Davies (UK) - Attack! Attack! UK
Michael Devin (US) - Whitesnake
EFG
Robin Everhart (US) - ex-Rival Sons
Francesco Gallo (IT) - Cry Excess
Roger Glover (UK) - Deep Purple
Pete Griffin (US) - Gryphon Labs
HIJ
Mr.Hardgroove (US) - Public Enemy
Gustaf Hielm (SWE) - Session Bassist
Georg ’Goggi’ Holm (ICE) - Sigur Rós
Sean Hurley (US) - John Mayer / Session Great
Anders Iwers (SWE) - Tiamat/ Avatarium
Jimmy Jay (SWE) - H.E.A.T.
KL
Tom Kent (UK) - Independent
Tim King (US) - SOiL
Jonas Kjellgren (SWE) - Raubtier
Fredrik Larsson (SWE) - Hammerfall
Bill Laswell (US) - Bass Icon/Futurist Producer
Dementerious ’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
Sean Malone (US) - Cynic
Justin Meldal-Johnsen (US) - Beck
Martin Mendez (SWE) - Opeth
Marco Mendoza (US) - ex.Thin Lizzy
Danny Miranda (US) - Meatloaf
Anders Modd (SWE) - Wolf
Jonathan Noyce (UK) - ex. Jethro Tull, ex. Gary Moore
OP
Jerker Odelholm (SWE) - Independent
Ingmar Petersen (GE) - Beehoover
Rufus Philpot (US) - Planet X
George Porter, Jr. (US) - The Meters
QR
Vivi Rama (ARG/US) - Orianthi, Will.I.Am.
STU
Rudy Sarzo (US) - Bass Rock Legend
Fred Schneider (FR) - Independent
Billy Sheehan (US) - Bass Legend
Brett Simons (US) - Melissa Etheridge
Chris Towning (US) - Devil Driver
VXYZÅÄÖ
Kevin Walker (US) - Independent
Nik West (US) - Solo & Session Bassist
Joel Whitley (US) - Session bass- & guitarist
Chico 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) - Independent
Lasse Johansson (SWE) - Candlemass
Jean-Christophe Maillard (FR/US) - Session Guitarist
Rob Math (US) - Soul Sign, Session Guitarist
Paulo Mendonca (SWE) - Guitarist / Solo Artist
Matti Norlin (SWE) - Badge
Jeff Pevar (US) - Session Guitarist
Frank Romano (US) - Session Guitar player
Mick Thomson (US) - Slipknot
Reno Schnell (GE) - Final Virus
Mike Scott (US) - Prince, Justin Timberlake
John Wesley (US) - gtr, Porcupine Tree/Solo Artist
Roy Z (US) - Halford, Bruce Dickinson
EBS PEDAL ARTISTS, KEYBOARDISTS
Tomas Bodin (SWE) - Flower Kings (pedals & amps)
Richard Barbieri (UK) - Porcupine Tree
SCORPION’s bass player Pawel Maciwoda
with EBS amps on the Scorpions 50th
Anniversary tour. Photo: Alfred Nitsch
51
EBS PROFESSIONAL MUSIC EQUIPMENT - DON’T PLAY WITHOUT IT!
w w w
.ebssweden.com
EDITORIAL
Editor in Chief
Bo Engberg
Graphic Design
& Layout
Ralf Bjurbo
CONTRIBUTORS
Photographers
Daniel Falk
Lasse Eklöf
Ralf Bjurbo
WELCOME TO
THE YEAR OF
NEW GEAR!
2014 magazine, we put Henrik Linder on the cover and asked him if that
was to be the year of Dirty Loops? With a little perspective, the prediction came true! Their
debut album hit the top of the charts in Japan, and almost made it to the top in several
more countries all over the World. The band did its first headlining coast-to-coast US tour,
as well as appearances on major festivals. They did everything from jazz festivals to guest
appearances with Swedish DJ superstar Avicii. And if that was not enough, Henrik got Bass
Player Magazine’s Young Gun Award at the end of the year, and got to play a set with his
heroes in Tribal Tech at Bass Player Live in Los Angeles where he received the prize.
in our
Writers
Mikael Jansson
Ralf Bjurbo
COVER PHOTOS
Photo of gear
Lasse Eklöf
2015 to be the year of new gear from EBS! Never in the history of the
company have we had this much new gear to offer the World! We are about to introduce
the brand new design/renewal of our classic Black Label Pedals series, the Studio Edition.
A complete new combo segment based on the Award winning Reidmar amp design called
Magni 500 (named after a son of the Norse god Thor). The long requested bigger, wilder and
stronger brother to the Reidmar (called Reidmar 750) is to be launched and available soon.
There will be new items in our growing and popular line of space saving pedal accessories
and not least, we make our first real entrance into the field of guitar equipment by launching
three pedals in our new Red Label Guitar Edition series – effects based on our bass pedal
models, but tweaked towards use with guitars. We’re really excited to see how these will be
received! Read all about it in this magazine!
we predict
Photo of Sean Hurley
Ralf Bjurbo
CONTACT
EBS Sweden AB
Grindstuvägen 44-46
167 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.
our roster of amazing artists keeps growing, too, and 2015 got a real kick start
with the signing of several new high profile artists! For example, EBS will be on stage with the
mighty Scorpions for their whole 50th Anniversary Tour with bass player Pawel Maciwoda!
We’re also excited to work with Johan Blomquist of Sweden’s legendary rock band Backyard
Babies which makes a major comeback after five years of absence while the members have had
successful solo careers going. Another great bass player that’s now with EBS is Steve DiGiorgio,
who recently rejoined with metal heavyweights Testament and handles the bass with Death
Dta as well. We’re also happy to present Pascal Mulot as a new EBS Artist! The French bass
master will join us for all the major up-coming trade shows, as well as helping us expand the
video library of demo videos on EBS equipment! If that’s not enough, you will see and hear a
lot from our present artists too – Tal Wilkenfeld featured on several major releases coming in
2015, including Toto’s new album XIII; Alex Al did the recent Stevie Wonder Grammy Tribute
Show as the house bassist, and he´s also working on his solo debut; Etienne Mbappé has put a
new band together called The Prophets and that’s just the top of the iceberg!
please follow us on an exciting journey into 2015! The best way to stay up to date is
to go to www.ebssweden.com and sign up for our newsletter! We hope you will enjoy reading
this magazine!
ALL THE BASS!
EBS Sweden AB
© 2015
/THE EBS TEAM
3
NEW EBS GEAR
In 2015 EBS introduce their first pedals in the new Red Label Series for guitar beginning
with the return of the legendary Red Twister chorus/flanger and guitar versions of the
popular DynaVerb and MultiComp. See page 41
The brand new EBS Magni 500 bass
combos based on the award winning
Reidmar amp design. Available from
the summer 2015. See page 30
4
The stronger & wilder Reidmar 750. Coming in the fall 2015. See page 32
The latest addition to EBS space saving
pedal accessories – the 2nd Row Pedal
Riser. See page 44-45
New distinct and improved design of the Black
Label Pedal series, called the Studio Edition
debut in 2015. See page 38
5
NEW TALENT: DIRTY LOOPS
SEAN HURLEY
BASS PLAYER WITH JOHN MAYER
Born in 1973, Sean Hurley is in the middle of a successful career as a first-call session bass
player in Los Angeles, and as a member of John Mayer’s band since 2008. We had the chance
to meet Sean in Stockholm at a John Mayer gig earlier in 2014, a very inspirational meeting
(and great concert) that developed into this interview. Text and portrait photos: Ralf Bjurbo
6
Almost immediately after meeting you, it came clear
that you are a bass player that enjoy playing bass to
support the song, rather than being in the spotlight.
Has it always been that way, or when (and how) did
you develop that approach?
I’ve always played the bass to support the song, but
I also spent my early years challenging myself to
understand all of the capabilities of my instrument.
I accompanied singers with my five string (with a
high C) bass throughout my high school years.
I didn’t know many great guitarists back then, so
I took matters into my own hands. I was also in
a heavy jazz phase during that time, so I’ve played
many solos over jazz changes as well.
At some point after I was 18, I shifted my focus
to playing vocal songs, and to the ensemble and
supportive function of the bass. This fits the music
that I am most passionate about and inspired by:
great songs with great vocalists at the center.
Is it the nature and role of the bass as an instrument
that calls for that approach, or is it just the musical
context that you’re involved in that calls for being a
laidback supporter of songs rather than an extrovert
solo musician up front?
I think it’s a combination of the two. For me, the
role of the bass is primarily to provide support,
and I love playing that role. Support can be in
the form of a groove or a melody, and sometimes
both at the same time. When there are vocals on a
song, bass players really have to listen and support
the singer–or you’ll get fired! I absolutely seek out
opportunities to be the laidback supporter, which
brings me the greatest joy as a bass player.
Have you ever been tempted to make a solo album
where you can step forward, writing songs where
the bass is more at the front?
In my younger days, I used to write songs that
featured bass as the lead voice. At the same time,
I also played in cover bands and even wrote songs
as a duo – bass and vocals. It wasn’t long before I
put more focus on my ensemble playing instead of
chasing solo opportunities.
While working as a sideman in Boston,
Massachusetts (prior to moving to LA), I did have
an instrumental trio and wrote material that
featured bass as the lead melodic instrument on
some songs. But it’s been about 15 years since I’ve
had any desire to do that!
This excitement to play for the song seems to go
hand-in-hand with the gear you use. You seem to
have done your homework to trace the roots’ of
vintage bass equipment and classic tone?
I’ve had many stops along the way on my quest for
the right gear. I didn’t quite find my true voice on
the instrument until 1999, when I recorded and
toured with Vertical Horizon. The classic vintage
tone I was after was only possible with certain
combinations of vintage or vintage-inspired gear.
It was frustrating to figure it out without the money
to buy actual vintage gear.
As my quest continued, I realized that the sound I
craved and wanted to emulate stemmed from this
classic equipment. I definitely did my homework
regarding what gear my idols used and I realized
that I needed to have that same gear in order to
get the tone I wanted. It’s funny how simple that
equation is: classic gear equals classic tone.
Hear Sean Hurley
on the latest John
Mayer album
Paradise Valley.
You have a signature Fender Custom Shop bass that
certainly has a great vintage vibe to it. Tell us about it?
My signature Fender Custom Shop Bass is a copy
of my main Mayer bass, my 1961 Fender P. Mike
Eldred, who headed up the Custom Shop at the
time, asked me to bring my bass to the shop in
December 2012. They measured everything and got
to work on recreating it. Mike suggested offering
the bass in different colors, and I thought that was
a fantastic idea. I love the idea of having different
color choices to make someone else’s signature
bass feel like your own. The feel and sound are
copied from my original ´61, but it doesn’t look like
a carbon copy. I really like that.
The coolest thing the Custom Shop did was address
the foam muting. On my original, I place an ugly
piece of foam under the strings by the bridge to
shorten the decay of the note. It also changes the
tone in a very cool way. I wasn’t sure how Paul
Waller (the builder of the bass) would handle it.
He came to me with two options: the first option
was to tape a clean piece of foam under the strings.
The second option was to use a Jaguar guitar mute
system, which happened to fit perfectly on the bass.
Needless to say, I absolutely love option two. I can
flip it on or off as needed.
Sean’s original
1961 P-Bass
Below: Sean’s
signature bass with
the Jaguar guitar
mute system.
At the show in Stockholm, you had some basses
set up with flatwound strings, and some with
roundwound strings. You also mentioned that you
give the flatwounds a special treat before you put
them on, could you explain what you do and why?
I love the sound of flatwounds once they are broken
in, but that can take way too long to do. It requires
hours of play. They have a brightness right out of
the package that I don’t like, so I experimented one
day by applying Vaseline to grease them up and
deaden them. It worked! I do that with every set
of flats I use, and they sound like they’ve been on
for years! And then of course I never change them.
7
Are there particular songs in the setlist that call for
different strings, or is it just you’d like to have the
option to change sometimes? Which ones do you
prefer?
There are definitely songs that call for rounds versus
flats. I generally stay true to the recordings. If a
song was recorded with rounds, I use a bass with
rounds. If it was flats, I switch to flats. Most of
John’s material that we play live is on flats. It’s a lot
of fun to play a flatwound P Bass song after song in
front of a huge crowd. I definitely prefer flats. It’s
so fun to hear that sound booming through the PA.
You had a big bass rig on stage, but that’s not
providing the main sound that the audience hear,
right?
That’s true. For this tour, I brought a vintage B-15
in an iso cabinet to provide the front of the house
and in-ear amp sound. There was also a DI to
blend in. I had an SVT for my stage sound, but
it wasn’t miked. It was just to shake my booty up
there. The FOH engineer, Chad Franscoviak, told
me he couldn’t use a mike on the SVT because it
was set up so close to the drums that it would get
too much drum bleed. So having the B-15 was a
beautiful thing. It’s my studio sound, on the road.
You use an EBS ValveDrive with the B-15. What
settings does it have, and how is it connected with
the B-15? What does it bring to the mix?
The ValveDrive set
for Sean’s live rig.
I use the EBS ValveDrive to give my B-15 a little
more grit or character. I do the same thing in
the studio. I rarely ever use the B-15 without the
ValveDrive in front of it. It just opens it up and gives
it more harmonic interest. It’s pretty subtle, but I
would really miss it if I didn’t have it. I generally
set it like this: Vol 9 o’clock Treb 3 o’clock Mid all
the way up Bass 7 o’clock and Gain at 9 o’clock, on
the modern (red light) setting.
In the studio, I often use it to really dirty up the
amp. In which case I use this setting: (Vintage or
yellow light) Vol 9 o’clock Treb 4 o’clock Mid all the
way up Bass 7 o’clock and Gain at 10-11 o’clock.
Below: The BassIQ
with the super
subby settings.
We could spot some more EBS pedals on your pedal
board as well. The MultiComp and the BassIQ for
instance. Do you have a standard pedal setup that
follows you on all gigs, or how do you approach
using effects in various contexts?
I have separate pedal boards for live and studio
work. My pedal board for the Mayer tour is dialed
in specifically for his music, which doesn’t really
require any effects. It has the Multi-Comp, which
is a great compressor pedal. I use it to beef up the
tone just a bit. It also has the ValveDrive, which
only affects the B-15. I use the Bass IQ, as a sub
bass sound, which is sent to a second DI to be
blended in by Front of House and the in-ears.
8
My studio pedal board has more going on and is
expandable to accommodate more extreme tonal
changes. I have the EBS ValveDrive and three
other drive or distortion effects to dial in the exact
amount of dirt I need (Xotic Effects BB Bass Pre,
Wren and Cuff PhatPhuk, Wren and Cuff Pickle Pie
and Z Vex Mastotron). This can vary from subtle
to extreme, depending on the session. I also bring
a Pelican case full of other effects to loop into the
studio pedal board if I need to get a little freaky.
My first choice is to grab the right bass, and then
I look to the right pedals to get the sound for the
song. That applies to both live and studio gigs.
Speaking of the BassIQ envelope filter, you use it in
a very unconventional way. Could you describe that?
I use the BassIQ set to my super subby setting
(Thres: off; Attack: all the way up: Toggle: Up), not
as a funky sounding envelope filter effect. I can’t
remember exactly when I tweaked the knobs of the
pedal and discovered this massive sub thing, but
it must have been around ten years ago. I had an
“Aha!” moment and decided to use it like that in the
studio when a pop producer wants a bass guitar to
replace a synth. I set it to never open the filter. It
just heaves the lowest thump and has no top end.
It’s so huge and subby. On the newer True Bypass
models, I open up the pedal and adjust the high
frequency all the way off to get the sound I’m after.
In the past I tried an octave pedal but that forces
me to play an octave above, which is limiting. This
way I use the BassIQ on a separate DI to blend in as
much sub as the song can handle. Producers love it.
So with John Mayer, could you finally give a short
summary of how the bass is connected to the front
of house? In other words, could you give us the
signal chain for your live bass sound?
My live signal chain starts at my pedal board with
a Radial Bassbone. I use this as an A/B mute to
access my Peterson Strobe Stomp. The A signal
goes into the EBS Multicomp and then to a Radial
JD7 to split the signal. One line goes into a DI
(Radial J48), another is sent to my SVT on stage,
a third is sent to the EBS ValveDrive and into the
B-15 behind my SVT, and a fourth is sent through
the EBS Bass IQ (located on my board) to provide
the sub signal via a Radial JDI.
Does your studio setup differ from the live rig?
My studio setup is completely different. I have a
studio pedal board that was built to split my signal
on the board. It has an input for my bass and two
outputs. One is a clean signal that goes into my
Evil Twin bass DI and the second passes through
the pedals, which are only looped in as needed,
depending on the song I’m tracking. It also has an
additional loop so I can add in pedals as needed.
I only put on my most used pedals so that I wouldn’t
have to lug around a board containing every pedal
I own. That said, I use just the EBS ValveDrive
about 90 percent of the time and nothing else! In
the studio, I switch basses more frequently than I
alter my sound with pedals. But it all depends on
the music I’m asked to play.
When you’re not on the road with John, you seem
to keep very busy doing sessions in Los Angeles.
You started your career on the East Coast studying
at Berklee Music College and then playing with the
highly successful Washington D.C.-based Vertical
Horizon for many years.What made you move to Los
Angeles, and how did you do to establish as a first
call session player in the new city?
I’ve lived in LA since 2000, so by now I do get
called all of the time to do sessions. That was a
desire I had dating back to my early days in my
hometown Pittsfield, Massachusetts, a very rural
area of New England. I’ve always set out to play
with as many people as possible. When I got my
start in LA in 2000, following a tour with Vertical
Horizon, I made it clear to everyone I met that I
was not only interested in playing in a band, but
that I wanted to work, work, work!
I moved from Boston to LA when I was still on
the road with Vertical Horizon. It hardly felt like
I moved at all. I didn’t have much of a “home” at
the time. I flew out to LA a few times during my
Boston days to work with Robin Thicke, and the
LA music scene excited me so much that I knew
I would have to live there if I wanted to truly be a
part of it. That was it for me.
A
Through Robin, I met other musicians and engineers
who were instrumental in getting me into other
sessions with other producers. It’s the producers
who invite you into the studio. They might ask an
engineer or a player for a recommendation, but it
is the producer’s call regarding who gets the gig.
Building up that network of people who trust me to
record bass for them took years. It seemed to take
five years of living in LA before it felt like I officially
joined the session world.
What is your best advice to bass players whot are
aspiring to land a major gig or establish themselves
as session musicians?
My advice to aspiring bass players looking to land
a major gig or become session musicians is to play
as much as you can and say yes to every gig that
comes your way. I got some great live gigs and
some great sessions after meeting someone on a
not so great gig. Because I was willing to do it, it
led to an even better opportunity. You have to be
a part of the musical community and be willing to
move to LA, New York, or Nashville if you really
want to give it a go.
Finally, if you had to pick one EBS product – which
one would it be, and why?
If I had to pick just one EBS product, I would
choose the ValveDrive. It is my go-to pedal to give
me anything from a subtle vintage growl all the
way to a heavy, dirty distortion. It’s my Number
One pedal!
B
A. Sean’s EBS
ValveDrive hooked
up with the flip-top
amp from his B15
combo in a rack
case on the John
Mayer Tour.
C
D
B. Sean’s
pedalboard with
John Mayer
featuring an EBS
MultiComp and
BassIQ.
C. The iso cab with
the miked B15 on
the John Mayer
tour.
D. Sean’s studio
pedalboard with the
ValveDrive.
9
REASONS TO PICK EBS BASS AMPS
The Swedish-designed EBS bass amps got worldwide recognition when the likes of Marcus Miller, Stanley Clarke and
Bon Jovi’s Hugh McDonald brought them to stages all over the world around the Millennium shift. The list of highprofile users has kept growing ever since - in all kind of musical directions - which makes the versatile EBS amps more
visible than ever today. Here are the Top 5 reasons for you to consider EBS amps as the amp of your choice!
O1
O3
O5
The sound will always be number ONE!
An amplifier must be transparent and natural sounding
– which is the hallmark of any EBS amp. We don’t aim for
awards for the best looking amp or the lightest bass amp
– we aim to make the best sounding amps in the World!
O2
Reliability comes next.
We refine and take proven technology to new levels
to meet our demands instead of chasing the latest
technical developments not knowing if they are yet
reliable. The extremely low number of service matters
and warranty issues on EBS equipment proves that
our strategy works.
EBS amps are the real deal – no bull!
There’s not a single amplifier model from EBS that has
not been used on a major tour! From the ‘flagship’
Fafner II to the lightweight Reidmar and the Classic 500
– no exceptions.
O4
More than 25 years of experience.
EBS first ever product – the EBS-1 studio preamp
came out in 1988. The first three customers were
Flea, Billy Talbot and Jimmy Earl. Ever since, EBS
has continued to develop amplifiers for the pros’
at their headquarters in Stockholm, Sweden.
6 distinct models to choose from
EBS amps are now available in 6 different models. The three ‘premium’ rack mounted
heads – EBS Fafner II, TD660 and HD360 – are entirely made in Sweden and suited
for the toughest touring conditions. The ‘classic’ EBS CL500 offer the EBS sound in an
elegant vintage outfit. The EBS Reidmar amps – lightweight amps named after a mean
dwarf in Norse mythology – are known for their solid tone, quick response and large
headroom, now available in two models, the 470 and the 750. The Classic heads and
the Reidmar are Designed & Developed in Sweden.
Pair your EBS amplifier with any of the wide range of cabinets offered in the ProLine,
NeoLine or ClassicLine configurations to suit your needs!
10
REASONS TO PICK EBS BASS EFFECTS
You may have heard of legendary EBS effects such as the MultiComp and the OctaBass – and you have definitely heard
them with top musicians on tours with Justin Timberlake, Bruno Mars and Peter Gabriel or on recordings with bands like
Lamb Of God, Porcupine Tree, Deep Purple and several others. EBS offer 15 different bass effect units – including signature
models developed for the legends Stanley Clarke and Billy Sheehan. Here are 5 reasons for bass players to check ’em out!
O1
O2
O3
Built from the bottom up.
EBS effects are made to match the bass players’
needs. We design and develop effects from the
bottom up to meet the challenges that come with the
dynamic range of the bass guitar, instead of starting
with a guitar effect and try to make it work for bass.
We care for the details to preserve the bottom of
your sound.
Studio quality sound in a stompbox.
The electromechanical components used in EBS
pedals are of the same superior quality as in our
premium bass heads, which cares for a noiseless,
high quality tone. The extended frequency range
from 20-20,000 Hz secure great sound from the
lowest lows to the highest highs, and is the reason
why EBS pedals handle basically any instrument, not
only basses.
Roadworthy construction.
O4
O5
Based on 20+ years experience.
EBS first effect for bass - the legendary OctaBass
- came out in 1992. That means more than 20
years of invaluable in-house experience of making
effects for bass. The expertise within the company
has helped develop our wide range of effects units
designed for bass players!
15 distinct models to choose from.
The EBS effects are currently available in 15 distinct
models – from various filters to several distortions.
Whatever your needs are, you are very likely to find the
solution within the EBS range of effects. Meanwhile,
our tech department is constantly developing new
ideas. The units work perfectly together – so why go
anywhere else?
EBS effects are available in most countries, and
through most of the major online shops for musical
equipment. If you still have trouble to find them,
contact EBS for advice.
The combination of high-quality components and a
protective die cast housing makes EBS effects perfect
for touring conditions. These tools are made for
professional use!
11
THE TOUR SUPPLIERS
THE UNSUNG HEROES THAT MAKES
THE SHOW GO ON AND ON.
WITHIN THE COMMUNITY OF MUSICIANS, MUSICAL EQUIPMENT MAKERS AND EVERYTHING SURROUNDING THE MUSIC SCENE THERE ARE VARIOUS
KEY PLAYERS NECESSARY TO MAKE THE SHOW GO ON. A KEY PLAYER THAT FEW OUTSIDE OF THIS COMMUNITY ARE AWARE OF, BUT THAT PLAY A VERY
IMPORTANT ROLE IN THE BUSINESS ARE THE BACKLINE RENTAL COMPANIES - THE TOUR SUPPLIERS.
bands and artists that experience a certain
level of success will sooner or later need their
services. Touring is expensive. It comes with a lot
of costs and logistical issues. One of these spells
b-a-c-k-l-i-n-e. As a band, you need a ‘backline’
of instruments and amplifiers to pull off a show.
If you travel the world to play your music you
cannot always bring your own stuff or keep your
fingers crossed that the local promotor will meet
your demands. You need to find a reliable solution
that gets you going and still fits within the budget
for the tour. Simply put, you need to rent the stuff
from a backline rental company.
Same thing with major events such as festivals,
live music TV shows and tour packages – whenever
such events happen, make sure there’s some level
of involvement from a backline rental company.
12
for a brand such as ebs, those companies
are very important. Musical equipment brands
support artists and events to raise awareness
of their equipment. The only way to make that
happen is to build relations with the rental
companies. Such relations are usually based on
demand and supply. The brand gets known to
a level where the rental companies start getting
requests on their products, the brand partner
with the rental companies so they can obtain
equipment at reduced cost, while the brands
artists are offered reduced rental costs – and the
gain for the brand is that its gear will be exposed
and promoted to a larger audience.
EBS work with backline rental companies all
over the world. On the following page is a brief
presentation of some of them...
CENTERSTAGING, LOS ANGELES
Type of services: Tour backline rental equipment, production rehearsal
center, events supplier of backline.
Clients include: The GRAMMY Awards, Academy Awards, MDA
Telethon, Billboard Music Awards, American Music Awards, numerous
Presidential Inaugurations, the Olympics, American Idol, Dancing
With The Stars, Jimmy Kimmel, The Voice, and many more. Countless
tours, and rehearsals with high-profile bands and artists.
www.centerstaging.com
LON COHEN STUDIO RENTALS, LOS ANGELES
Type of services: Specialized in mint condition backline for studio
recordings, tv-shows and video recordings. Also taking care of the
personal equipment for many top of the line musicians in
Los Angeles.
Clients include: Coldplay, Neil Young, Ringo Starr, Aerosmith, Slipknot,
Red Hot Chili Peppers, Robben Ford, Ellen De Generes talkshow,
The Arsenio Hall talkshow etc.
www.loncohen.com
SIR NEW YORK & LOS ANGELES
Type of services: Supply the New York and Los Angeles scene including
major TV networks, events and artists with backline.
Centerstaging: rehearsal facilities.
www.sir-usa.com
JOHN HENRY’S, LONDON, UK
Type of services: One of UK’s largest tour backline supplier. Service
offered within Audio Rental, Backline Rental, Crewing, Equipment
Sales, Endorsee Support, Event Production, Flightcases, Pro Shop
Tour Supplies, Rehearsal Studios, Staging Rental, Storage, Transport.
Clients include: Glastonbury festival, BRIT Awards, BBC, Meltdown
Festival, X-Factory, The London Jazz Festival, Marcus Miller, Bruno
Mars, Prince, Coldplay, Justin Timberlake, One Direction.
www.johnhenrys.com
CAPTURED LIVE, GERMANY
Type of services: The largest tour backline rental equipment and events
supplier of backline in Germany with a client office (for planning/coordinate European tours) in Los Angeles.
Clients: Rock Am Ring/Rock Im Park festivals, the Eurovision Song
Contest, Live 8, Hellfest, Summerbreeze.
SIR LA in the heart of Hollywood on Sunset Blvd.
www.captured-live.com
BACKLINE STHLM, SWEDEN.
Type of services: Backline rental equipment for tours, tv shows and
events. EBS first backline partner, now in the process of building
a big recording studio in Stockholm.
Clients: Many major festivals in Sweden, including the Sweden Rock
Festival, many major recording sessions in the Stockholm area, TV
shows on several major national TV stations based in Stockholm.
www.backlinesthlm.com
A FULL LIST OF BACKLINE COMPANIES CARRYING
EBS CAN BE FOUND AT WWW.EBSSWEDEN.COM
Backline from Backline Sthlm at the Sweden Rock Festival.
13
PHOTO: ALFRED NITSCH
ARTIST NEWS
SCORPIONS
50th ANNIVERSARY TOUR
– POWERED BY EBS!
EBS IS HAPPY TO INTRODUCE SCORPIONS BASS PLAYER
PAWEL MACIWODA AS NEW EBS ARTIST!
This means the Scorpions 50th Anniversary Tour
will be amplified by EBS. Pawels rig consist of
TD660 and HD360 amps with ProLine 410 and
115 cabinets. Welcome onboard Pawel!
PHOTO: L ASSE EKLÖF
BILLY SHEEHAN SCANDINAVIAN TOUR
ATTENDED BY A 1000 BASS PLAYERS
PASCAL MULOT
ON EBS AMPS
In September 2014, EBS Pedal
Artist Billy Sheehan did a very
successful clinic tour in Scandinavia,
supported by EBS. On the visit to
Finland, Sweden, Denmark, Norway
and Iceland, Billy’s clinics gathered
a 1000 bass players in total.
While in Stockholm, Billy recorded
a tutorial Video
Guide for his
Signature drive.
Check it out by
scanning this
QR-code.
We are happy to welcome
French bass virtuoso Pascal
Mulot to EBS! Pascal in not
just an EBS artist, but will
help us with demo videos too!
MORE NEW EBS ARTISTS: Steve Di Giorgio - Testament/Death Dta (EBS Amps & Effects), Sean Malone - Cynic (EBS Effects),
Thomas Bekkevold - JORN (EBS Amps), Michel Bärzen - Degradead/Sonic Syndicate (EBS Amps), Steven Anderson - Threshold
(EBS Amps), Patrik Hallgren - Self Deception (EBS Amps), Per Mathisen - Dance With A Stranger (EBS Amps & Effects), Rushad Mistry
- independent (EBS Amps), NDIOBA (EBS Amps & Effects), Eugenie Stepanov - independent (EBS Amps), Peter Müller - Solo Artist
(EBS Amps), Alejandro Climent - Fito & Fitipaldis (EBS strings) See www.ebssweden.com for the complete current artist roster.
14
PORTR AIT PHOTO: L ASSE EKLÖF
EBS ARTIST HENRIK LINDER AWARDED BY BASS PLAYER MAGAZINE
More ‘Young Guns’ to keep
an eye on:
AWARD WINNE
HENRIK LINDE RS:
R & A BE L
ABORIE
HENRIK WITH TRIBAL
TECH
For the second year in a row, Bass Player Magazine chose an EBS Artist for their
Young Gun Award! Last year’s win by Tal Wilkenfeld was followed by bass player
Henrik Linder of DIRTY LOOPS, who received his award at Bass Player Live
in Los Angeles, November 2014. Henrik performed with Tribal Tech’s Gary Willis,
Kirk Covington and Scott Kinsey in the very same room where Dirty Loops landed
their record deal with David Foster’s Verve label. Both Tal and Henrik was on the
cover of the EBS Magazine the same year they got the award!
PHOTO: R ALF BJURBO
BACKYARD BABIES 2015 COMEBACK + EBS
Swedish rock icons BACKYARD BABIES are back! Their first album in five years
is to be released soon, supported by excessive touring beginning this summer with
many major festivals around Europe. We are happy to introduce bass player Johan
Blomquist as new EBS Artist! Johan uses EBS CL500 amps with ClassicLine 810
cabinets, as well as EBS ValveDrive DI, MultiComp and DynaVerb pedals.
L
Jamareo Artis - badass
bass player with Bruno
Mars. 25 year old EBS
Pedal Artist Jamareo is
one of the reasons why
you see Bruno Mars band
live on almost every big
TV award. They always
deliver! Jamareo uses EBS
effects.
Swaeli Mbappé - Like
father like son, Swaeli
follow the steps of Etienne
and is an incredibly
talented bass player in his
early 20’s, and EBS Artist
too! There’s no doubt he
could be the next great
bass star emerging from
the French music scene.
Elin Sandberg is a young
Swedish bass player
currently studying at the
Berklee Music School in
Boston. In 2015 she’ll
be playing on Grammy
Award winning drummer
Terri Lyne Carrington’s
coming album, that also
feature among others
Chaka Khan, Esperanza
Spalding and Nathalie
Cole. Watch out for Elin!
Elin uses EBS amps, cabs
and combos.
15
A TRIP DOWN MEMORY LANE...
NAMM 2015. Marcus Miller did a 2 hour signing session at the EBS booth, and finished by signing the poster for the event
for EBS. Here with Bo Engberg, CEO at EBS and Ralf Bjurbo, Marketing & Artist Relations Manager at EBS.
ABOVE. EBS Artist Tal Wilkenfeld
made an appearance at EBS booth at
NAMM 2014, all of a sudden Anthony
Jackson came by to say hello. In
between signing for the hundreds of
fans she jammed with drummer Steve
Ferrone (Tom Petty etc.)
LEFT. EBS Artist Henrik Linder (Dirty
Loops) signed at the EBS booth at
NAMM 2015. Picked up a bass to play
and show some techniques for the
crowd.
16
@ebsswedenofficial
ABOVE. Paulo Mendonca and Jay Tee Teterissa played
some funky music at the EBS booth at MusikMesse 2014.
RIGHT. At the same show, Blind Guardian bassist Barend
Courbois appeared with Delain guitarist Timo Somers.
ABOVE. Etienne Mbappé with guitarist Anthony Jambon
and Etienne’s son Swaeli at NAMM 2015. RIGHT. Alex Al
with his EBS rig on the Arsenio Hall Show, January 2014.
ABOVE. The Duke of EBS Ambassadors; Jackie Clark with Tom Barney
(Steely Dan, Lionking on Broadway etc) and Warren McRae (Tina
Turner) at EBS NAMM booth 2015. RIGHT. Our most shared picture
on Twitter in 2014. The rig of One Direction’s bass player Sandy Beales!
17
#tbt #ebsswedenrocks
MARCEL JACOB TRIBUTE.
Talisman
re-united
for
a special concert at the
Sweden Rock Festival 2014
to honor the memory of
their former bass player and
EBS Artist Marcel Jacob,
who sadly passed away a
couple years ago. To fill the
big shoes of Marcel, another
EBS artist, Johan Niemann
stepped in and did an
excellent job. Although early
on the day, thousands of
people showed up and paid
tribute.
Band photo by
Daniel Falk. Crowd photo
by Ralf Bjurbo.
ABOVE. EBS Artist Anders Iwers with Avatarium did one
of the best gigs on the whole festival at Sweden Rock 2014.
LEFT. EBS Pedal Artist Jon Lawhon pounding the bass with
Black Stone Cherry at the same event. Both photos: Daniel Falk.
18
@ebsswedenofficial
NAMM 2014. Grammy awarded producer Josh
Wilbur (Lamb Of God, Killer Be Killed, Butcher
Babies etc) with his favourite amp that he use in
his studio – the EBS Fafner II!
BJORN ENGLEN. EBS Artist Bjorn Englen on a clinic at Rytmus Music
School in Stockholm, December 2014. A school that has seen several
famous Swedish artists including Robyn and Tove Lo among their students.
NAMM 2014. Killswitch Engage bass player Mike
D’Antonio enjoy a beer on the signing at EBS!
STEVE DI GIORGIO from Testament and Death Dta is a new EBS Artist.
NAMM 2015. Billy Sheehan signing a Billy Sheehan
Photo taken just before this magazine was sent to print by Daniel Falk.
Signature Drive banner at NAMM Show 2015.
19
20
EBS
PRODUCT
GUIDE
2015
THE TOOLS FOR
PROFESSIONALS
IN 2015, EBS INTRODUCE A NEW GENERATION
BLACK LABEL PEDALS – THE STUDIO EDITION.
SEE PAGE 38
21
EBS FAFNER II
THE EBS FLAGSHIP
HAVE YOU EVER USED A DRIVE PEDAL WITH A BLEND CONTROL
TO SEAMLESSLY BLEND YOUR CLEAN TONE WITH THE DRIVE?
THAT’S A SIMPLE WAY TO EXPLAIN HOW THE EBS FAFNER II
WORKS – WHEN USED IN PARALLEL MODE.
the ebs fafner ii uses a two channel preamp.
The bottom channel is your Clean sound and the
top channel is the Drive, both with separate tone
controls to shape the sound.
Peter Iwers with In Flames on stage. Photo by Ralf Bjurbo.
When the channels run in parallel mode, the signal
splits in two after the input Gain and Character.
At the end of the line, there’s a blend 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 (similar to the
Level and Clean controls on the Billy Sheehan
Drive).
22
From there the signal goes to the main Volume
control. In parallel mode, you will leave the
bottom clean and defined, 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 switch active, you can switch between
the Clean and Drive Channels using the EBS
RM-4 footswitch remote control (sold separately).
MADE IN SWEDEN
EBS PREMIUM GEAR
The Tube mode sends the signal through a
EBS PREMIUM
12AX7 (ECC83) tube adding tube character and EBS FAFNER II
MADE IN SWEDEN
compression to the clean channel.
Type
the fafner ii feature a Hi and a Lo boost
character filter. 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.
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 filters and then
into the Drive channel.
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, or connect
an external compressor to the effects loop for 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 flexibility on stage. The same
footswitch can be used to kick in the Character Hi
and/or Lo pre-shape filters, and bypass the EQ as
well as mute the amp.
A unique feature is the TWO balanced XLRoutputs on the front. These can send out a preand 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.
the advanced drive has some optional
individual effect loops for each channel
Boost and Tube modes too. Boost mode simply
boosts the whole frequency range as you turn up
the Drive level control.
and a common loop with a mix level control
provide maximum flexibility when hooking up
your effects.
SIGNAL CHAIN
Level
Clean Lvl
Level
Clean Lvl
with 2-channel preamp
Unique Features
Two 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.
Hi and Lo-boost
character filters.
Double Balanced
XLR-Out (post & pre).
Line Out, Amp Input,
Lo-Z Input and Tuner
Output Power
750 W RMS @ 2 ohms
SERIAL MODE
(with Serial Mode switch on)
Gain
Comp
Input
VOLUME
VIDEO DEMO!
VOLUME
WWW.EBSSWEDEN.COM
PARALLEL MODE
(with Serial Mode
switch off)
Gain
Input
Comp
23
Tal Wilkenfeld. Photo by Ralf Bjurbo.
EBS HD360
& TD660
THE PROS’ WORKHORSES
EBS TD (TUBE DEFINITION) AND HD (HIGH DEFINITION) BASS HEADS HAVE EARNED
THEIR REPUTATION AS TRUSTED “WORKING HORSES” BY YEARS OF TOURING.
they have served big productions such as
EBS HD360
Type
Solid State
with 4-band EQ
Unique Features
Effects Loop with
Character Filter.
Drive.
feedback.
Bright Filter.
Phantom Power Out.
Simulation.
Output Power
360 W RMS @ 2 ohms
HD360 DEMO!
WWW.EBSSWEDEN.COM
24
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.
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.
the
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 filter, for a
quick fix to a decent sound by offering a midscooped overall tone. Then the input Gain control
that should be set so it flickers when you play your
instrument hard (which is important with all EBS
heads). The Filter Active button to activate the EQ
filters, then the shelving Bass filter, the advanced
Middle filter 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 frequencies causing unwanted
MADE IN SWEDEN
EBS PREMIUM GEAR
EBS PREMIUM
MADE IN SWEDEN
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 filter and then the unique
Bright filter, 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.
the balanced xlr output send a perfectly
balanced line signal to front of house or the studio
mixing console without the need of an external line
box. You can choose between post/pre EQ, with
our without Speaker Simulation and Ground lift.
the back panel contain all the extras to
discover. 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. 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 finally 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.
works with the TD660,
HD360, Fafner II and the
new Reidmar 750 heads.
EBS TD660
Type
with 4-band EQ
Unique Features
Advanced Drive with
optional Boost and/or
Tube Mode.
Effects Loop with
Character Filter.
feedback.
Bright Filter.
Phantom Power Out.
Simulation.
Output Power
660 W RMS @ 2 ohms
TD660 DEMO!
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 9V DC
active bass.
WWW.EBSSWEDEN.COM
25
1
2
3
4
5
7
EBS FAFNER II
8
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.
control Character Filters (on/off), Filter Active (on/off), Drive
Channel (on/off) and Mute.
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.
6
9
Front panel
1
2
3
5
6
EBS TD660 & HD360
4
7
Front panel
1
2
3
5
6
4
7
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.
control Character Filter (on/off), Filter Active (on/off), Drive
(on/off) and Mute.
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.
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.
Front panel
EBS BASS AMP
ACCESSORIES
EBS Triple ‘S’ Speakon
Cable. Speaker cable with
Neutrik® Speakon contacts
for professional use.
u
26
u
CONNECT, CONTROL AND
PROTECT YOUR AMPLIFIER.
add value to the Fafner II,
TD660 & HD360 heads,
as well as the NeoGorm
combos!
MADE IN SWEDEN
EBS PREMIUM GEAR
TECHNICAL INFO - EBS FAFNER II
Input Impedance: 2 Mohms
Gain Range: -oo - +30 dB
Compression Ratio (max): 3:1
Clean Channel EQ:
Bass +/-18 dB @80 Hz
Middle +/- 15dB @100 - 4.500 Hz, Q=0.7/1.8
Treble +/- 15 dB @10 kHz
Drive Channel:
Gain Range: 0 - 40 dB
Drive Type: Tube (ECC83)
Post Drive EQ:
Middle +/- 15 dB @50 - 2.000 Hz
Edge +/- 12 dB @ 6 kHz
Speaker Impedance: 2 - 8 ohms
Continuous Output Power:
>600 W RMS @ 4 ohms, 750 W RMS @ 2 ohms
Dimensions, W x D x H: 48 x 36 x 13 cm / 19” x 14” x 3U
EBS PREMIUM
MADE IN SWEDEN
TECHNICAL INFO - EBS TD660
Frequency Response: 35 – 20.000 Hz
Tone Controls:
Bass +/- 15 dB @ 100 Hz
Mid +/- 12 dB @ 50 –3.000 Hz, Q=0.5
Drive Section:
Gain: 0 – 34 dB
Drive type: Solid State or Tube (Groove Tubes®)
TECHNICAL INFO - EBS HD360
Tone Controls:
Bass +/- 15 dB @ 100 Hz
Mid +/- 12 dB @ 50 –3.000 Hz, Q=0.5
Drive Section:
Gain: 0 – 30 dB
Drive type: Solid State
Specifications are subject to change without notice.
t
t
EBS Rack Cases.
Matching rack cases for
ProLine/NeoLine and
ClassicLine in
3-4 U height.
27
Swaeli Mbappé. Photo by Lasse Eklöf
EBS PROLINE
13-ply Birch &
with resistant felt.
grill wich chromed look.
Deep Dish Handles.
with top and side
handles on 810 & 610
models.
link through.
Conventional speakers
selected & optimized for
each model.
EBS PROLINE
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.
Optional
Matching rack cases
available in 3 & 4U
height.
Warranty
Five year limited
warranty.
EBS ProLine 210
Configuration:
2x10” + 2”
Impedance:
4 ohms
Sensitivity:
99 dB
Dimensions
23” x 17” x 15”
(W x D x H): 58 x 44 x 39 cm
Weight:
22.3 kg/49.2 lbs
28
EBS ProLine 410
Configuration:
4x10” + 2”
Impedance:
4 ohms
Sensitivity:
102 dB
Dimensions
23” x 17” x 27”
(W x D x H): 58 x 44 x 69 cm
Weight:
36.1kg/77.4 lbs
EBS ProLine 115
Configuration:
1x15” + 2”
Impedance:
4 ohms
Freq response: 35 - 18.000 Hz
Sensitivity:
100 dB
Dimensions
23” x 17” x 27”
(W x D x H): 58 x 44 x 69 cm
Weight:
27.1 kg/59.7 lbs
EBS ProLine 610
Configuration:
6x10” + 2”
Impedance:
3 ohms
Sensitivity:
103 dB
Dimensions
23” x 17” x 37”
(W x D x H): 58 x 44 x 95 cm
Weight:
52 kg/114.6 lbs
EBS ProLine 810
Configuration:
8x10” + 2”
Impedance:
4 ohms
Sensitivity:
105 dB
Dimensions
23” x 17” x 49”
(W x D x H): 58 x 44 x 124 cm
Weight:
60 kg/132.3 lbs
MADE IN SWEDEN
EBS NEOLINE
13-ply Lightweight
with resistant felt. Birch
in baffle.
grill in black.
Deep Dish Handles
(except on mini size
cabinet)
with top and side
handles on 810.
Flip Handles on Mini
Size cabinet on both
sides and bottom for
tilt-back option.
link through.
Third generation
Neodymium light weight
speakers selected &
optimized for each
model.
EBS PREMIUM GEAR
EBS NEOLINE
LIGHT-WEIGHT AND POWERFUL.
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.
EBS PREMIUM
MADE IN SWEDEN
every ebs neoline speaker cabinet is made
from truly tonal, lightweight spruce plywood,
with a baffle 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 fitted 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!
Optional
Rack cases available
in 3 & 4U height.
Warranty
Five year limited
warranty.
MINI SIZE
EBS NeoLine 112
Configuration:
1x12” + 2”
Impedance:
8 ohms
Sensitivity:
100 dB
Dimensions
19” x 13” x 15”
(W x D x H): 49 x 34 x 37 cm
Weight:
12 kg/27 lbs
EBS NeoLine 210
Configuration:
2x10” + 2”
Impedance:
4 ohms
Sensitivity:
102 dB
Dimensions
23” x 17” x 15”
(W x D x H): 58 x 44 x 39 cm
Weight:
19 kg/42 lbs
EBS NeoLine 115
Configuration:
1x15” + 2”
Impedance:
4 ohms
Sensitivity:
100 dB
Dimensions
23” x 17” x 24”
(W x D x H): 58 x 44 x 61 cm
Weight:
20 kg/44 lbs
EBS NeoLine 212
Configuration:
2x12” + 2”
Impedance:
4 ohms
Sensitivity:
103 dB
Dimensions
23” x 17” x 24”
(W x D x H): 58 x 44 x 61 cm
Weight:
21.3 kg/46.9 lbs
EBS NeoLine 410
Configuration:
4x10” + 2”
Impedance:
4 ohms
Sensitivity:
105 dB
Dimensions
23” x 17” x 27”
(W x D x H): 58 x 44 x 69 cm
Weight:
25.2 kg/55.5 lbs
EBS NeoLine 810
Configuration:
8x10” + 2”
Impedance:
4 ohms
Sensitivity:
108 dB
Dimensions
23” x 17” x 49”
(W x D x H): 58 x 44 x 124 cm
Weight:
47.6 kg / 105 lbs
29
MAGNI 500 BASS COMBO AMPS
COMING
SOON!
EBS
MAGNI
500
GET YOUR
TONE
SAFE AND
SOUND
30
EBS INTRODUCES A COMPLETE NEW LINE OF BASS COMBOS BASED
ON THE AWARD WINNING REIDMAR AMP DESIGN. THESE ARE GREAT
SOUNDING COMBOS THAT PRESERVE THE TONE OF YOUR BASS AND
YOUR PERSONALITY!
MAGNI 500 FEATURES & BENEFITS:
• Basedupontheaward
winning Reidmar amp design.
• Extremelytransparenttothe
character of your instrument.
• Fastrespondingandeasytodialin.
ebs has a fine tradition of making bass combo
units for professional use. All previously released combo
models feature an entirely analog amp design.
However, in recent years the market for high-end, analog
solid state combos has been challenged by a wave of lightweight, price-worthy units that may save the backs and
bucks of bass players around the world, but sometimes by
paying the price of a compromized sound.
• Highefficiencyspeakersfor
best tonal character.
• Excellentpower-to-weightratio.
• Availablein2x10”and1x15”
full range configurations with
tweeters.
• Switchablebetween120/230V.
• BalancedXLRoutputwith
ground lift.
• Comeswithprotectivecover.
ebs has taken the necessary time to solve the
equation of making a professional sounding, competitive
bass combo incorporating the new lightweight amp design.
the ebs magni 500 is available in two configurations,
the 210 (2x10” + tweeter) and the 115 (1x15” + tweeter).
Both use an amp section based on the award winning
Reidmar design.
Etienne Mbappé. Photo by Lasse Eklöf
The name Magni stems from yet another character in Norse
mythology – Magni, son of Thor (the God of Thunder). The
word Magni translates to ‘Strong’ and is indeed significant
for these thunderous Magni 500 bass combos!
MAGNI 500 preamp is identical
with the Reidmar 470 and feature a
preshape Character optional filter,
adjustable Compressor/Limiter,
a 4-band EQ with Notch and Bright
filters. Bypass switch for the EQ and
controls for input Gain and output
Volume.
MAGNI 500 Back Panel
feature an Effects loop,
Remote connectors, Line
out, Headphones output
and a Balanced XLROutput (Post/Pre EQ).
The Magni 500 combos
feature a switch between
120/230V.
31
LIGHTWEIGHT BASS AMPS
EBS REIDMAR
LIGHT-WEIGHT AMPS WITH
HEAVY-WEIGHT SOUND!
THE REIDMAR IS THE LIGHT-WEIGHT BASS AMP FROM EBS PROFESSIONAL BASS EQUIPMENT. A LIGHT-WEIGHT DESIGN THAT CHALLENGES ANY HEAVYWEIGHT BOUTIQUE AMP IN TONAL QUALITIES. THE REIDMAR TAKES FULL ADVANTAGE OF THE 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 award winning EBS Reidmar amp shows that
anything is possible with clever engineering!
Due to advanced soft-clip technology, the Reidmar does
not suffer any loss of definition in the low register when
the volume is turned up. The Reidmar takes maximum
advantage of the power offered.
look and feel. EBS has never had the intention to
make the world´s lightest and smallest amps, but to make
light bass heads that look, feel and sound like real bass amps!
ebs reidmar 470. Anyone familiar with EBS bass amps
will feel at home with the Reidmar. The preamp is analog,
sporting the renowned built-in compressor from EBS and a
4-band EQ section that is really intuitive. The characteristic
Bright and Notch filters are there. The amp features an
Effects loop, Balanced XLR-out for live and studio use (with
pre/post EQ switch and Ground Lift), Line out, Headphones
out and a Speakon speaker output. The amp processes the
sound through the analog preamp with a D class power amp
providing up to 470 W output.
The EBS Reidmar 470 matches perfectly well with a couple
EBS ClassicLine mini-size 112 cabinets, or the NeoLine minisize cabinets for more clarity and punch.
new! ebs reidmar 750. The 750 will be launched in
2015. It is based on the award winning design of the original
Reidmar and offers an outstanding power-to-weight ratio
with an output up to 700 W RMS.
REIDMAR 470 Back Panel of the 470 model with
Phones Out, Line Out, Speaker Out, Effects loop
and Balanced XLR-Output (Post/Pre EQ).
Above: Both models
can be switched
between 230 V / 120 V
The preamp is almost identical to that of the 470 but the
added Drive section adds to the palette of tools to shape your
tone and make it wilder and more aggressive than its smaller
companion.
On the back, the new Reidmar 750 shares all features with
the 470 and also features remote footswitch control inputs.
Connect the EBS RM-4 footswitch to activate and/or bypass
the Drive, Character filter and EQ section on the amp as well
as to mute the sound.
REIDMAR 750 Back Panel of the 750 model with Speaker Out, Effects loop,
Remote connectors, Line out, Phones out, Mini-tele input and Balanced XLROutput (Post/Pre EQ).
32
The Reidmar 750 is the perfect light-weight amp to use with
any full size EBS cabinet. It won’t let you down on any type
of gig!
EBS Reidmar 470.
The new EBS Reidmar 750. Wilder and stronger with more power and a Drive control added.
FEATURES & BENEFITS
Type
Analog preamp,
Class-D Power Amp
with 4-band EQ
Features
Effects Loop.
Character Filter.
Filter Bypass.
Headphones Output
(470 model only).
feedback.
Bright Filter.
Drive (750 model only)
Simulation.
Dutch EBS Artist Jay-Tee
Teterissa with his Reidmar
and NeoLine 112 cabinet.
120 V/230V switchable
Output Power 470
470 W Dynamic @ 4 ohms
/ 250 W RMS
Output Power 750
700 W RMS @ 4 ohms
33
CLASSICLINE AMPS & CABINETS
THE EBS CLASSIC LINE
A CLASSY LOOK WITH A CLASSIC SOUND.
vintage tone. The EBS CL500 retro-styled
bass amp is a solid state bass head with a classic
tube amp sound. 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!
EBS CL500 - Technical Specifications
Input Impedance
Gain range
Character filter
Tone Controls
Bass
Low Mid
High Mid
Treble
1 Mohms
-oo / +28 dB
Shelving High/Low Pass
+6 db @ 75 Hz
-2.5 dB @ 800 Hz
+3 dB @ 9 kHz
Shelving
+/- 15 dB @ 100 Hz
Sweepable 150-900 Hz +/-15dB, Q=0.9
Sweepable
1.2-7 kHz +/-15dB, Q=1.1
Shelving
+/- 15 dB @ 10 kHz
Drive Section
0-30 dB, Low end
compensation <250 Hz
Other Features
Balanced Output, Line Out
Minimum speaker impedance
2 ohms
Output Power
Dimensions(WxDxH)
19.3”x11.8”x8.5”
(49cm x 30cm x 21,5cm)
Weight
14 kg / 31 lbs
34
Gain
The thoughtfully designed EQ puts you firmly 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. The CL500 is the
perfect match for ALL EBS ClassicLine cabinets,
including the narrower mini size 112 cabinets, due
to the new compact outfit. The EBS CL500 amp
comes with a padded cover.
EBS CL500 AMP
Type
Solid State
Unique Features
4-band EQ with
Dual Mid-Range filters
Character Filter.
Very musical Drive.
XLR-Out post/pre EQ
The 2015 ClassicLine
cabinets update include:
Photo by Daniel Falk.
• Improvedfrontclothdesign
for better airflow.
• Heavy-dutyhardware.
• Lock-in-placecupsmatching
the footprint of the CL500
amp on the bigger 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 satisfied.
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.
2015
update.
A new front cloth has been developed with
significant improved air flow for better sound and reduced vibrations.
New heavy-duty protective corners on all models and new casters for
the 410 and 212 models. ‘Lock-in-place’ cups matching the footprint of
the EBS CL500 amp has been added to the CL410, 212 & 810 models.
Cabinet Specifics
Made of multi-laminated plywood covered with vinyl. Cloth front.
Deep Dish Handles.Heavy-duty casters and lock-in-place cups
for EBS CL500 on the 810, 212 and 410 models.
210, 410, 212 and 810 comes with a padded cover.
Speakers & Connectors
2x 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.
Optional
Matching rack cases available
in 3 & 4U height.
Warranty
Five year limited warranty.
MINI SIZE
EBS ClassicLine 112
Configuration:
1x12” + 2”
Impedance:
8 ohms
Sensitivity:
94 dB
Dimensions
19” x 13” x 15”
(W x D x H): 49 x 34 x 38 cm
Weight:
17,5kg/39 lbs
EBS ClassicLine 210
Configuration:
2x10” + 2”
Impedance:
8 ohms
Sensitivity:
96 dB
Dimensions
25” x 13” x 19”
(W x D x H): 64 x 34 x 49 cm
Weight:
22,5kg/49.5 lbs
EBS ClassicLine 212
Configuration:
2x12” + 2”
Impedance:
4 ohms
Sensitivity:
97 dB
Dimensions
25” x 16” x 27”
(W x D x H): 64 x 41 x 68 cm
Weight:
30kg/66 lbs
EBS ClassicLine 410
Configuration:
4x10” + 2”
Impedance:
4 ohms
Sensitivity:
99 dB
Dimensions
25” x 16” x 27”
(W x D x H): 64 x 41 x 68 cm
Weight:
34kg/76 lbs
EBS ClassicLine 810
Configuration:
8x10” + 2”
Impedance:
4 ohms
Sensitivity:
102 dB
Dimensions
25” x 16” x 49”
(W x D x H): 64 x 41 x 125 cm
Weight:
55kg/121 lbs
35
SESSION BASS COMBO AMPS
EBS SESSION COMBOS
GREAT SOUND, FOR EVERYONE!
“A well-built,
affordable and
versatile bass
combo. Highly
recommended”
5 of 5 stars
Bass Guitar Magazine, UK
EBS SESSION 120
BASS AMP OF THE
YEAR IN GUITAR &
BASS MAGAZINE
36
the session combos are all based on the EBS Classic
bass heads, scaled down to serve each context the best.
stripped off of all the other features not really necessary to get
a great tone, and they are made of less expensive materials.
The philosophy behind the concept is to create combo amps
with all the essential features to any bass player – a great
sound, professional 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
All in all, these combos offer great sound at a good price
– a bit of the best of both worlds.
The 2015 models feature a new front cloth developed with
significant improved air flow for better sound and reduced
vibrations.
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 fit in your bookshelf–
offers great tone and can run on full volume and gain
without damaging the speaker, still with a nice and defined
tone. Although, full gain will add some heavy distortion to
the tone!
the ebs 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 filter turn the
Treble control into a mid-sweep filter that allows further
adjustments, and the Character filter adds a smile on the
EQ making it easy to find 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 filter 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 fit 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.
30
60
120
EBS SESSION 30
Configuration:
1 x 8”
Output:
30W RMS
Freq response:
70 -5.000 Hz
Cabinet Volume:
13 L
Dimensions
12.2 x 13.0 x 9.5”
(W x D x H):
31 x 33 x 24 cm
Weight:
8,6 kg/18.9 lbs
EBS SESSION 60
Configuration:
1x10” + tweeter
Output:
60W RMS
Freq response:
60 -18.000 Hz
Cabinet Volume:
20 L
Dimensions
14.8 x 15.6 x 13.5”
(W x D x H):
38 x 39.5 x 34 cm
Weight:
16 kg / 36 lbs
EBS SESSION 120
Configuration:
1x12” + tweeter
Output:
120W RMS
Freq response:
45 -18.000 Hz
Cabinet Volume:
35 L
Dimensions
17.1 x 17.9 x 15.8”
(W x D x H):
43.5 x 45.5 x 40 cm
Weight:
21 kg / 47 lbs
The 2015 models include
a new front cloth design
for better airflow.
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 fitted in a larger cabinet for better bass
response and bigger tone.
37
BLACK LABEL PEDALS
EBS BLACK LABEL
NEW 2015 STUDIO EDITION!
EBS INTRODUCE 6 IMPROVED AND RENEWED MODELS OF THE BLACK LABEL PEDALS, CALLED THE STUDIO EDITION, IN 2015!
NEW DISTINCT DESIGN, BETTER SOUND AND MORE USER FRIENDLY THAN EVER. YOUR STUDIO SOUND LIVE!
ebs launched their first pedal for bass
38
already in 1992 – the famous OctaBass. Over the
years, the company has developed its Black Label
line of analog and digital effects to become one of
the leading makers of effects specialized for bass,
producing classic units such as the MultiComp,
MultiDrive and UniChorus, to mention just a few.
now introduces a new generation
Black Label Pedals - the Studio Edition. While
being faithful to their origins when it comes to
the sonic qualities, the new generation of pedals
feature several improvements and a new distinct
design to be able to serve yet another generation
of great bass players.
The combination of unrivaled studio quality tone
and elegant simplicity in its design strike the
perfect balance between professional sound and
user-friendly gear that even your drummer will
understand how to operate. These are like Volvos
equipped with Ferrari engines.
The new pedals can be powered by a 9V DC
battery or an external DC power adaptor (9-12V).
Battery is no longer included, for environmental
reasons, and for the same reasons we recommend
powering your pedals with an adaptor such as the
EBS AD-9+, that can power up to 20 EBS pedals.
ebs
THE STUDIO EDITION
NEW IMPROVEMENTS INCLUDE:
• Newlownoiseswitchingusingsignalrelaysfor
extremely low mechanical noise and improved life span.
• Jumbosizedledlightsforbetteractionindication.
BL ACK L A BEL
STUDIO EDITION
•Newdesignhandling9to12VDCpower.
• Betterprotectionforaccidentalvoltagespikes.
• Newdesignforstrongerindividualidentity.
•Optimizedsignalsforstudioenvironment.
EBS UniChorus Analog Chorus
EBS MultiComp Analog Compressor
EBS DynaVerb Digital Stereo Reverb
The EBS MultiComp is a studio quality, analog
compressor pedal. Choose between solid state, tube
simulation and multi-band compression. Active/
passive switch. True Bypass. Fine-tuning options for
Threshold inside.
The EBS UniChorus is a studio quality analog
Chorus, Flange and Pitch Modulation effect in one.
This pedal is built with the best analog processing
circuitry available. Stereo output. True Bypass.
The internal fine-tuning option to change the Effect
mix can be used to blend in the effect with
the original tone.
EBS OctaBass Analog Octaver Effect
EBS MetalDrive Analog Distortion
EBS MultiDrive Analog Overdrive
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 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.
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.
39
BLACK LABEL PEDALS
THE CL ASSIC EDITION
EBS BLACK LABEL
’CLASSIC’ EDITION
THESE THREE CLASSIC EBS BLACK LABEL PEDALS WILL ADD NEW DIMENSIONS TO YOUR SOUND.
DESIGNED FOR BASS PLAYERS BUT FAVOURED BY MANY GUITARISTS, THEY WORK SILENTLY
WHILE PRESERVING THE LOW RANGE.
COMMON FEATURES:
• Suitablebothforstudio
and live use
• Compact,robustandeasy-to-use
while introducing the STUDIO EDITION in 2015, these three models
from the CLASSIC edition of the Black Label pedals series will continue to live on
in their classic outfit for 2015 (at least).
Color your sound with these great effects, the DPhaser will bring back classic
sounds from the 70’s like no other phaser effect today, the TremoLo is a true analog
stereo tremolo that works just as perfect for guitar as it does for bass and the BassIQ
envelope filter simply makes playing more fun! Use it for wha-type effects, or sub
notes (see Sean Hurley interview in this magazine) or in the ”Down” setting for
synth-bass like sound out of your stringed instrument! Get them while they last!
EBS DPhaser Digital Phaser
40
EBS TremoLo Analog Stereo Tremolo
• Builtforbass,greatforguitar,
keys etc., supremely adaptable
• Fine-Tuningoptionson
several Black Label Pedals
• Preservethelowrange
• Truebypass
• 9VDC
EBS Bass IQ Analog Envelope Filter
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.
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.
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.
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.
Gain level fine tuning.
High-pass filter mix-in, Gain trimmer, Dynamic
High-pass filter mix-in.
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 !
RED LABEL PEDALS
EBS RED LABEL
GUITAR EDITION
OVER THE LAST YEARS, THERE HAS BEEN A GROWING DEMAND FOR EBS EFFECTS AMONG GUITARISTS.
WE ARE NOW LAUNCHING EFFECTS SPECIALLY MADE FOR GUITAR – THE RED LABEL PEDALS!
FEATURES & BENEFITS:
• Optimizedforusewithguitar.
• Allmodelshaveexcellentfullrange
frequency response with no roll-offs.
the first three units in the RED LABEL SERIES are guitar versions of
our two most popular effects among guitarists, the MultiComp and the DynaVerb,
and an improved version of the Red Twister chorus, that originally came out in very
limited numbers back in 1999 (and thus now very sought after in the second hand
market). All made, tweaked and twisted to benefit the electric guitar the most.
• Studiosoundqualitywitha
character that reveals the tone
of the instrument.
The Red Label Pedals are developed with the collective input from our guitarist
customers feedback, as well as from a selected group of some of the most busy
professional guitarists in Sweden. A limited edition will be available already in
the Spring of 2015, with worldwide availability in the Fall of 2015.
•Signalrelaysswitchingtechniquefor
extremely low mechanical noise and
long life span.
EBS MultiComp Guitar Compressor
The EBS MultiComp Guitar Edition is a studio quality,
analog compressor pedal fine tuned for guitar.
Choose between solid state, tube simulation and
multi-band compression. Active/passive switch. True
Bypass. Fine-tuning options for Threshold inside.
EBS Red Twister Guitar Chorus
The EBS Red Twister is a studio quality analog
Chorus and Flange effect for guitar with stereo
output and true bypass. The internal fine-tuning
option to change the Effect mix can be used to blend
in the effect with the original tone.
• Handling9to12VDCpower
with protection against accidental
over voltage.
• Truebypass.
EBS DynaVerb Guitar Stereo Reverb
RED LABEL
41
SELECTED & SIGNATURE PEDALS
SPECIAL EFFECTS
EXPAND YOUR TOOLBOX!
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!
EBS MicroBass II Analog 2-channel Preamp
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.
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
EBS ValveDrive DI Tube Preamp/Overdrive/DI-box
The award winning 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.
Use as preamp,
overdrive and/or
DI-box.
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.
All musical high grade
tube design
Balanced XLR-Out
Vintage or modern
tube sound
Classic style passive
filters
Class A tube
overdrive pedal
Designed for best
bass response
It’s my Number One pedal!
- Sean Hurley, John Mayer
9 V DC Power
Supply included
True bypass
EBS WahOne Analog Bass Wah Wah
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.
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
42
DESIGNED AND DEVELOPED IN SWEDEN
EBS FuzzMo fuzz effect for bass & guitar
The award winning 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).
Gain, Shape, Volume
and Blend controls.
Three Character
modes - Flat,
Mid-scoop and
Maximum Mid-scoop.
True Bypass.
Power options
9V DC battery or
EBS AD-9+ Power
True Bypass. The EBS FuzzMo uses a True Bypass footswitch.
The pedal runs on 9V DC battery or Power Supply.
The EBS Fuzzmo is the nastiest monster you’ll
find while maintaining a solid natural bass
sound. Nothing else can touch it!
- Jon Lawhon, Black Stone Cherry
The several times awarded Billy Sheehan Signature Drive
pedal 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 (ICY-30, see picture below), to ’pimp’ the effect
into your own signature effect!
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).
SEE DEMO!
The EBS Billy Sheehan Signature Drive is designed and
developed by EBS and Billy Sheehan himself. Made for
Billy Sheehan’s personal needs with features optimized to
benefit all bass player’s in need of distortion/overdrive.
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.
ICY-30
received several awards in 2013
including a ’Best Of Show’ Award at
the NAMM Show.
Drive, Tone, Level and
Clean controls.
Three Compressor
Modes - High, Mid,
Off
Clean Loop and Drive
Loop (connect an
insert cable for
send and return).
Advanced Options
By 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).
Power options
9V DC battery or
EBS AD-9+ Power
EBS Stanley Clarke Signature Wah/Tone Filter
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!
The EBS Stanley Clarke
Signature Wah/Tone
Filter evolved through
collaborative effort with
Thomas Lieber of the
Spellbinder Corp. USA
and Stanley Clarke.
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’!
.
Flexible footswitch for
Wah-wah/Bypass or
Wah-Wah/Volume
control
Low-Pass, HighPass, Band-Pass and
Boosted Band-Pass
modes
Extended frequency
range
Variable band width
True bypass
Power options
9V DC battery or
EBS AD-9+ Power
43
PEDAL ACCESSORIES
SPACE SAVING ACCESSORIES TO MAKE EVERYTHING A LITTLE EASIER.
EBS 2ND ROW – RISE AND HIDE! Added comfort and
secure switching for the pedals on your ‘second row’ is
accomplished with the new 2ND ROW pedal riser. The
clever design allow you to hide loose cables and make
your setup neat and clean.
The 2ND ROW is made of ultra light aircraft-grade
anodized Aluminum with laser engraved text. Attach it to
your pedal board by using velcro (included) or Dual Lock
for universal use.
EBS-SR
PCF-10
PCF-18
PCF-28
PCF-58
EBS Patch Cables. Connect your pedals in the tightest
possible way yet flexible with these flat patch cables
with ultra low-resistance and capacitance. Available in
four lenghts: 10, 18, 28 & 58 cm. Over 50’000 sold!
44
PL-10
PL-20
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 ICY-30. Insert cable with a stereo contact at
one end, split into a mono contact representing
the tip and another representing the ring of the
stereo contact to serve as send and return.
Perfect to use with the loop functions on the
Billy Sheehan Signature drive
DC-6
EBS DC Split Cables. Split cables to use
with a DC power supply. Available in 2, 4
and 6 split configurations. Choose between
straight or angled contacts. Super slim
design. Including tip end covers to protect
from accidental short circuits.
ICY-30
DC-6/90
AD-9+
EBS AD-9+ – Guaranteed clean and hum free power.
Slim designed power supply that only take up one outlet spot.
It is designed for use with almost every pedal on the market, and
can handle all voltages from 100-240 V. The output is short circuit
protected and gives clean and hum free 9V DC power. One AD-9+
supply can power up to 20 pedals. Available with plugs for US,
EU, UK or Japanese standard. Comes with 1,5 m cable. 2.1 mm
Center Negative connector.
45
EBS CARRYON
TM
BRING YOUR PEDALS ONBOARD AS CABIN LUGGAGE.
THE EBS CARRYONTM PEDAL CASE SYSTEM LETS YOU TRAVEL SAFE WITH YOUR PEDALS. THE REINFORCED SOFT-CASE PROTECTS THE EQUIPMENT JUST
AS GOOD AS A FLIGHT CASE, BUT WITH THE BENEFIT OF BEING LIGHTER AND EASIER TO CARRY AROUND DUE TO THE EXTRA PADDED HANDLE AND
WIDE, PADDED SHOULDER STRAP. THE SYSTEM INCLUDE A FLEXIBLE PEDALBOARD WITH HANDLES THAT CAN BE PLACED IN VARIOUS POSITIONS; TWO
PIECES OF THE NEW 2ND ROW PEDAL RISERS 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 FLEXIBILITY WHEN ATTACHING YOUR PEDALS TO THE BOARD.
FEATURES
’Cabin approved’ size
Lockable Soft padded case
Padded dual
reinforced handles
Pedal board with handles that
can be placed in three different
positions.
Comfort padded, extra
long shoulder strap
Clean outer surface for
easy stacking
Net bucket on the inside
for accessories
2-sided pedal board –
Velcro or 3MTM dual lock
Attach the angled risers on top
of the pedal board to build
different levels, or underneath
to tilt the whole pedal board.
The risers can be attached by
glue, Velcro or Dual LockTM.
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 2ND
ROW pedal risers. The
2ND ROW also house
loose cables for a neat and
clean setup.
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.
46
Detachable rubber feets
included. Attached by
screws or with adhesive
tape.
Soft padded flight
case with pedal board.
Pedals, strings & cables not included
Travel safe and comfortable with the wide
and padded shoulder strap and extra padded
handle.
EBS BASS STRINGS
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 FIT 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 finest
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 fit a wide range
of bass guitars and to improve tuning abilities.
AVAILABLE MODELS (BOTH TYPES):
MODELS
Medium Light
Medium
Classic Medium
Heavy Bass
4-STRINGS
5TH
6TH
40/60/80/100
45/65/80/100
45/65/85/105
50/70/90/110
+125
+125
+128
+135
+25
+30
-
Check with your
distributor for availability!
47
EBS ONLINE
MAIN WEBSITE:
WWW.EBSSWEDEN.COM
The main source for product info and news about EBS and
our artists. Go there to sign up for EBS Newsletter!
EBS ON FACEBOOK:
WWW.FACEBOOK.COM/EBSSWEDEN
EBS ON TWITTER:
WWW.TWITTER.COM/EBSSWEDEN
EBS ON INSTAGRAM:
WWW.INSTAGRAM.COM/EBSSWEDENOFFICIAL
EBS ON YOUTUBE:
WWW.YOUTUBE.COM/EBSSWEDEN
48
Bombus at Sweden Rock Festival 2014. Photo by Daniel Falk.
49
A 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
EBS ARTISTS
A
Alex Acanda (ES/CUBA) - Jerry Gonzalez
Jan Adefelt (SWE) - Independent
Alex Al (US) - Session Great
Miguel Amado (PR) - Fausto
Steve Anderson (UK) - Threshold
Jennie Andersson (SWE) - Spitchic
Johan Andreassen (SWE) - Amaranthe
Nic Angileri (IT/SUI) - Independent
Jim Anton (US) - Johnny Lang
Marc”Archie”Arciero (UK) - Independent
Christofer Aronsson (SWE) - Intohimo
Karin Axelsson (SWE) - Sonic Syndicate
B
Jon Bakker (NO) - KAMPFAR
Lorenzo Barriendos (ES) - Independent
Sandy Beales (UK) - One Direction
Alex Bedmar (ES) - Hora Zulu
Stephane Beguier (FR) - AKPHAEZYA
Thomas Bekkevold (NO) - Jorn
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
Johan Blomquist (SWE) - Backyard Babies
Andreas Blomqvist (SWE) - Seventh Wonder
Stefan Bratt (SWE) - Atlas Losing Grip
Aleks Brdarski (SWE) - Neighbourhood
Victor Broden (SWE/US) - Independent
Tommy Brown (US) - Independent
Arnaud Buffon (FR) - Body Fluids
C
John Calabrese (CAN) - Danko Jones
Juan Carlos Díaz (ES) - Fundácion Tony Manero
Linus Carlsson (SWE) - Kamchatka
Michael Choi (UK) - Producer/Session Bassist
Jackie Clark (US) - Independent
Johnny Copland (UK) - The Crystal Fighters
Laurence Cottle (UK) - Session Great
Joe Csibi (IRE) - Tonight with Craig Doyle
D
Yuri Daniel (PR) - Jan Garbarek Group
Mike D’Antonio (US) - Killswitch Engage
Mike Davis (US) - Halford
Christoph Deckert (GE) - Jennifer Rostock
Vtali Demidenco (RU) - Tracktor Bowling
Steve Di Giorgio (US) - Testament / Death Dta
Keith Duffy (IRE) - The Corrs, Ronan Keating
E
Henrik Edenhed (SWE) - Straight Frank
Colin Edwin (UK) - Porcupine Tree
Edvin Edvinsson (SWE) - Fibes Oh Fibes
Bjarne Elvsgard (SWE) - Corroded
Bjorn Englen (SWE/US) - Dio Disciples, Soul Sign
Mats Mackan Englund (SWE) - Independent
F
Ola Flink (SWE) - Soilwork
Frasse Franzen (SWE) - Festingarna
Fabio Fraschini (IT) - Il Volo, etc
Full (JP) - Nicotine
Julia Falthin (SWE) - Independent
G
Jesús Gabaldón (ES) - Seguridad Social
Alex García (ES) - Melendi
Ronnie Garrett (US) - Tyler Perry
Rinus Gerritsen (NL) - Golden Earring
Iñigo Goldaracena (ES) - Manolo García, Revolver
Lael Goldberg (UK) - Hurts
César Gonin (SUI) - Breakdown of Insanity
Mikael Redbeard Gustavsson (SWE) - Igneous Human
H
Rob Hakemo (SWE) - M.A.N.
Patrik Hallgren (SWE) - Self Deception
Peo Hallgren (SWE) - United We Stand
Chris Fatty Hargreaves (UK) - Dubstep Bass Master
Jonathan Harvey (UK) - Independent
Mikael Hedlund (SWE) - Hypocrisy
Niko Del Hierro (ES) - Saratoga
Hidekazu Hinata (JP) - STRAIGHTNENR
Nisse Holm (SWE) - The Ryot
Bertil BasBerra Holmgren (SWE) - Independent
I
Omar Ibrahim (GE) - Joe Cocker
Mikel Irazoki (ES) - Miguel Bosé
Peter Iwers (SWE) - In Flames
J
Anders Janfalk(SWE) - All Ends
Andreas Johansson (SWE) - Raised Fist
Bengan Jonasson (SWE) - Dan Reed
Pal Johnson (SWE) - Independent
Anders Jonsson (SWE) - Independent
Julian (GE) - aVid*
Aaron Julison (US) - Kid Rock
50
K
Joakim Karlsson (SWE) - Her Bright Skies
Nathaniel Kearney Jr. (US) - Taio Cruz
Alison Keslow (US) - Independent
Oscar Kempe (SWE) - Neverstore
Eddy Khaimovich (US/ISR) - Session Bassist
Jason Klein (US) - Butcher Babies
L
Chris Lemon (SWE) - Badmouth
BJ "Berra" Laneby (SWE) - Million
Niklas Lennartsson (SWE) - Ape Rape Escape
Henrik Linder (SWE) - Dirty Loops
Jesper Liveröd (SWE) - Nasum, Burst
Kristoffer Ljung (SWE) - Kid Down
Peter London (SWE) - Crashdiet
Salva Lopez (ES) - Complices
Freddi Lubitz (AUT) - Session Bassist
M
Pawel Maciwoda (PL/GE) - Scorpions
Fernando Mainer (ES) - Tako
Dave Marks (UK/IRE) - Session Great
Mariano Martos (ES) - Chicuelo
Per Mathisen (NO) - Dance With A Stranger
Etienne Mbappé (FR/CAM) - John McLaughlin
Swaeli Mbappé (FR) - Independent
Warren J McRae (US) - Tina Turner
Mikael Medin (SWE) - Marrionette
Nicolas Mirande (FR) - Thomas Ottogalli Trio
Rushad Mistry (IND) - Session bassist
Anders Mossberg (SWE) - Independent
Pascal Mulot (FR) - Independent
Peter Müller (GE) - Solo artist
Roberto Mårdstam (SWE) - Scotts
Jesajah Mårskog (SWE) - Veronica Maggio
N
NDIOBA (FI) - Independent
Andi Nero (SWE) - The Bones
Johan Niemann (SWE) - Evergrey
Ni~Ya (JP) - Nightmare
Tomas Näslund (SWE) - Blindside
OP
Orefo Orakwue (UK) - Anastacia
Carsten Pedersen (DK) - Session Bassist
Lee Pomeroy (UK) - Take That, It Bites etc.
R
Paul 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 Bassist
Jonas Rydberg (SWE) - Bombus
S
Eric 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 Blige
Peter Sonntag (GE) - Final Virus
Pat Splat (SWE) - F.K.Ü.
Eugenie Stepanov (UKR) - Session bassist
Jan Jysky Strandberg (FIN) - Independent
Christer Stålbrandt (SWE) - November
T
Jay-Tee Teterissa (NL) - Independent
Dywayne Thomas Jr. (US) - Independent
Chris Tilley (US) - The Contortionist
Robert Triches (SWE) - Independent
Timo Tolonen (FI) - Leningrad Cowboys
UVW
Peter Uvén (SWE) - April Divine
UFO Walter (GE) - Independent
Sola Van Motman (NL) - Independent
Mike Van Tine (US) - Session Player
Leon Watkins (UK - The Dirty Youth
Hazze Wazeen (SWE) - Independent
Christian Wendt (AUT) - Taucher Wendt Trio
Joey Vera (ES) - Session Great
Josh Werner (US) - Helio Parallax
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
ZÅÄÖ
Lennart Z Zethzon (SWE) - Lugnet, Clifftones
Johannes Zetterberg (SWE) - Solo Artist
Thomas Zurmühlen (GE) - James Last
Jocke Ågren (SWE) - Hillsong Sthlm
Capman Örtefors (SWE) - Freak Kitchen
Erkan Özdemir (GE) - Memo Gonzales
EBS PEDAL ARTISTS, BASS PLAYERS
AB
Marten Andersson (SWE/US) - Lizzy Borden
Patrick Andy (US) - Independent
Jamareo Artis (US) - Bruno Mars
Al Barrow (UK) - Magnum
Adam Blackstone (US) - Kanye West, etc
Malcolm Bruce (US) - Independent
Sekou Bunch (US) - Independent
Oliver Buxton (UK) - Session bassist
CD
Branden Campbell (US) - Neon Trees
John Campbell (US) - Lamb Of God
Oscar Cartaya (US) - Independent
Al Carty (US) - T-Pain
Phil Chen (US) - The Doors
Stanley Clarke (US) - Bass Legend
Barend Courbois (NL) - Blind Guardian
Will Davies (UK) - Attack! Attack! UK
Michael Devin (US) - Whitesnake
EFG
Robin Everhart (US) - ex-Rival Sons
Francesco Gallo (IT) - Cry Excess
Roger Glover (UK) - Deep Purple
Pete Griffin (US) - Gryphon Labs
HIJ
Mr.Hardgroove (US) - Public Enemy
Gustaf Hielm (SWE) - Session Bassist
Georg ’Goggi’ Holm (ICE) - Sigur Rós
Sean Hurley (US) - John Mayer / Session Great
Anders Iwers (SWE) - Tiamat/ Avatarium
Jimmy Jay (SWE) - H.E.A.T.
KL
Tom Kent (UK) - Independent
Tim King (US) - SOiL
Jonas Kjellgren (SWE) - Raubtier
Fredrik Larsson (SWE) - Hammerfall
Bill Laswell (US) - Bass Icon/Futurist Producer
Dementerious ’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
Sean Malone (US) - Cynic
Justin Meldal-Johnsen (US) - Beck
Martin Mendez (SWE) - Opeth
Marco Mendoza (US) - ex.Thin Lizzy
Danny Miranda (US) - Meatloaf
Anders Modd (SWE) - Wolf
Jonathan Noyce (UK) - ex. Jethro Tull, ex. Gary Moore
OP
Jerker Odelholm (SWE) - Independent
Ingmar Petersen (GE) - Beehoover
Rufus Philpot (US) - Planet X
George Porter, Jr. (US) - The Meters
QR
Vivi Rama (ARG/US) - Orianthi, Will.I.Am.
STU
Rudy Sarzo (US) - Bass Rock Legend
Fred Schneider (FR) - Independent
Billy Sheehan (US) - Bass Legend
Brett Simons (US) - Melissa Etheridge
Chris Towning (US) - Devil Driver
VXYZÅÄÖ
Kevin Walker (US) - Independent
Nik West (US) - Solo & Session Bassist
Joel Whitley (US) - Session bass- & guitarist
Chico 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) - Independent
Lasse Johansson (SWE) - Candlemass
Jean-Christophe Maillard (FR/US) - Session Guitarist
Rob Math (US) - Soul Sign, Session Guitarist
Paulo Mendonca (SWE) - Guitarist / Solo Artist
Matti Norlin (SWE) - Badge
Jeff Pevar (US) - Session Guitarist
Frank Romano (US) - Session Guitar player
Mick Thomson (US) - Slipknot
Reno Schnell (GE) - Final Virus
Mike Scott (US) - Prince, Justin Timberlake
John Wesley (US) - gtr, Porcupine Tree/Solo Artist
Roy Z (US) - Halford, Bruce Dickinson
EBS PEDAL ARTISTS, KEYBOARDISTS
Tomas Bodin (SWE) - Flower Kings (pedals & amps)
Richard Barbieri (UK) - Porcupine Tree
SCORPION’s bass player Pawel Maciwoda
with EBS amps on the Scorpions 50th
Anniversary tour. Photo: Alfred Nitsch
51
EBS PROFESSIONAL MUSIC EQUIPMENT - DON’T PLAY WITHOUT IT!
W W W
.EBSSWEDEN.COM

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