EBS Magazine 2014 by EBS Sweden AB

EBS MAGAZINE – 2014

WELCOME TO THE EBS MAGAZINE 2014 HERE YOU WILL FIND ALL YOU NEED TO KNOW ABOUT EBS PROFESSIONAL BASS EQUIPMENT AS WELL AS INTERVIEWS WITH SOME OF THE GREATEST BASS PLAYERS OF TODAY. AS YOU WILL NOTICE, THEY ALL MENTION THE IMPORTANCE OF BEING YOURSELF AND DEVELOP YOUR OWN UNIQUE TONE. WE ALWAYS KEEP THAT IN MIND WHEN DESIGNING AND DEVELOPING GEAR. OUR GOAL IS TO MAKE GEAR THAT IS TRANSPARENT TO THE UNIQUE TONE OF EVERY TRUE MUSICIAN. GEAR THAT REFLECTS THE SOUND OF YOUR SOUL. WE NOW LEAVE THE 25TH YEAR IN EBS HISTORY, AN ANNIVERSARY THAT WAS CELEBRATED IN MANY WAYS THROUGH OUT 2013. THE OFFICIAL PARTY–HELD IN STOCKHOLM, SEPTEMBER 2013–FEATURED ETIENNE MBAPPÉ & HIS SON SWAELI DOING AN AMAZING PERFORMANCE WITH ETIENNE’S BAND SU LA TAKÉ. ELECTRICITY WAS IN THE AIR, GOOSE BUMPS ON YOUR SKIN, AND THE BAND WAS ’KILLER’. ONE THING IS FOR SURE; THE MBAPPÉ FAMILY NAME WILL BE AROUND FOR A LONG TIME TO COME WITHIN THE BASS COMMUNITY! CAPTURED ON PHOTO BY LASSE EKLÖF. PS... DON’T FORGET TO VISIT OUR NEW WEBSITE AT WWW.EBSSWEDEN.COM

EBS MAGAZINE – 2014

EDITORIAL Editor in Chief Bo Engberg

Graphic Design & Layout Ralf Bjurbo

CONTRIBUTORS Photographers Daniel Falk Lasse Eklöf Peter Orevi

NEW GEAR FROM EBS!

Writers Mikael Jansson Ralf Bjurbo

COVER PHOTOS Photo of Henrik Linder by Lasse Eklöf. Photo of Stanley Clarke by Jennifer McCormick.

CONTACT EBS Sweden AB Grindstuvägen 44-46 167 33 Bromma

ONLINE www.ebssweden.com

42 EBS MAGAZINE – 2014

STANLEY CLA BASS WISDOM FROM ONE OF THE GREATEST

EBS MAGAZINE – 2014

R KE

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

Mr. Stanley Clarke, you are one of the true Titans of the electric and upright bass in modern time, and a pioneer using the electric bass as a solo instrument. It would take a whole biography to sum up your extraordinary and successful career, but if you would pick just a few highlights that you personally consider being the most life-changing or important in a special way — musically and/or emotionally, what would those be?

“First, it probably would have been playing with legendary sax player Joe Henderson. It was through Joe that I met Lenny White, who became a constant in my career over the past 40 or so years, whether as a performer with Return To Forever, a collaborator, a producer on some of my CDs and, of course, a friend.” “Second, it was meeting and joining with Chick Corea in forming Return To Forever. It was great being able to spearhead a movement. That movement was jazz-rock, jazz-fusion or just fusion…whatever one wants to call it.”

Photo credit: Steven Parke (& his dog John)

“Third, it was my start in film composing and its evolution into movies like Boyz’n’the Hood. That particular film not only ushered in a new genre in movie themes. As a film composer, it was one of the first to incorporate a score mixing both orchestral and hip hop music. Overall, I’ve scored more than 65 films and television shows, including The Transporter, Romeo Must Die, and What’s Love Got To Do With It. I just finished the score for Malcolm Lee’s Best Man’s Holiday which will be released in mid-November 2013.” History leads us to present time, and with your latest solo album being recognized with a Grammy Award, you are no doubt still performing music at the very top level, not resting on laurels past. What does your most recent work include, and what is there to look forward to in the near future from Stanley Clarke?

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

CONTINUE >> >>

EBS MAGAZINE – 2014

INTERVIEW: STANLEY CLARKE

Being a musician with a more than 40 year long and continuously successful career — where do you get the inspiration and drive to continue developing and creating great music? By listening to other musicians or maybe from something complete different?

“I feel the inspiration and drive come from how you grow up—your family, the values they teach, their work ethic, their musical exposure—all these things influence you as an adult and carry on throughout one’s life.” “As a kid I was blessed with all these things. I was shown a love for many types of music, lessons in discipline and commitment to practicing, being on time, always striving for the best. I chose music early on and that drive and inspiration and those values have never waned.” What do you think of the current music scene and are there any new artists that you find especially interesting today?

“Of course things have changed substantially in the music scene and it seems like it is mostly directed by the ‘business’ of music. The talent is certainly there, but it’s more difficult to be original than it used to be.” “Especially, it’s more for that original to be picked up by the mainstream. I’m not sure there would be a Jimi Hendrix or Janis Joplin today, because

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

EBS MAGAZINE – 2014

few in the industry are willing to take risks like in the Sixties, Seventies and Eighties.” “All these things go in phases, though. Something unique in their time like The Beatles, Elvis or Dylan in the Sixties will come along, the audience will be there and a new phase will begin.” Like all legendary bass players, you have always had a signature tone, something that is hard to put the finger on but instantly reveals who is playing. Is it possible to describe in words how you have developed your tone, or does it just comes naturally?

“Tone develops over time and is unique to who you are. It develops from practicing and playing and the uniqueness comes from the fact that no one else is doing it or can do it. I don’t think anyone can calculate a tone they want to accomplish, it comes from playing… a LOT!” “I always tell young players: Go ahead and emulate another person’s style or tone—then forget about it. I’ve always felt that personal style is better when kept simple.” Although most comes from the heart, soul and fingers, has musical equipment any importance? And are there any pieces of gear that you find extra important for creating your tone — or maybe better described — represent the tone you create and want to achieve but in an amplified way?

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

INTERVIEW: STANLEY CLARKE

“The equipment I tend to use gets simpler and simpler as time passes. My amps and EBS pedal are pretty much it.” When EBS and Stanley Clarke joined forces and released a Signature Wah pedal in 2009, a common reaction seemed to be: “Stanley Clarke? Wah pedal?” The bass player’s community did not really connect the wah-wah type of effect as significant for the Stanley Clarke sound. But, as I understand it, although physically being a wah pedal (and possible to use as one); your idea was to use it simply as a tone filter? Can you elaborate on that?

“My primary use of it is as a tonal control. It does looks like a wah pedal, though. I felt that a foot on a pedal would be an easier way to select frequencies than with the hand. You can use it without any hesitation in play. It works!” What are the advantages of using the Stanley Clarke Signature Wah as a tone filter for a bass player who is inspired by your tone, but maybe not being able to afford an Alembic bass?

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

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

Your history with EBS did not start with a wah pedal. Do you currently use any other equipment from the company?

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

The EBS Stanley Clarke Signature Wah was released at the NAMM Show in Anaheim, January 2009. It was evolved through collaborative effort with Thomas Lieber of the Spellbinder Corp. USA and Stanley Clarke.

Finally, any good advice to the young aspiring musicians out there on how to develop their own signature tone?

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

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

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

EBS MAGAZINE – 2014

NEW TALENT: DIRTY LOOPS

EBS MAGAZINE – 2014

INTERVIEW: HENRIK LINDER/DIRTY LOOPS

HENRIK LINDER WILL THIS BE THE YEAR OF DIRTY LOOPS? DIRTY LOOPS? IS THAT A POP BAND OR A FUSION BAND? DOES IT EVEN MATTER? SOME BELIEVE THEY WILL START A NEW PHASE IN MUSIC, THE KIND THAT STANLEY CLARKE MENTIONS ELSEWHERE IN THIS MAGAZINE. OTHERS ARE SKEPTIC AND THINK THEY STILL HAVE A LOT TO PROVE. ANYWAY, THE YEAR 2014 WILL PROVIDE THE ANSWER WITH THE RELEASE OF DIRTY LOOPS´ DEBUT ALBUM–AND THE BAND IS PREPARED TO GO OUT ON THE ROAD! INTERVIEW BY RALF BJURBO. PHOTOS BY LASSE EKLÖF

“W

e never thought about what genre we´re in. We have both pop and fusion influences, but a lot of other influences as well. The band is very much about pushing limits and to never play safe. What we are I guess is up to others to decide, it doesn’t really matter to us”, Henrik Linder, Dirty Loops´ bass player, says.

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

It seems that the big buzz really came after you re-arranged the Justin Bieber song, Baby, around Christmas 2011. Then you went to LA yourself shortly after?

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

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

The last time we spoke, you mentioned there

I’ve met musicians that put their hopes in Dirty Loops bringing back great musicianship to the tops of the charts again, the way it used to be. Does that add pressure or is it more of an inspirational boost to help you work even harder?

The new album is completed and the release is around the corner. The first song of the album, Hit Me, just hit the YouTube and iTunes. What are your own expectations on the album?

where no plans to incorporate more instruments in the mix, however, there are songs on the album that involves other musicians. Could you tell us about that?

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

CONTINUE >> >>

EBS MAGAZINE – 2014

EBS TECH TALK WITH MATS KRISTOFFERSSON

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

“Yeah, absolutely! We’ve all been eagerly waiting for this moment for almost two years.” How will you translate the recorded material into the live show performance? Will it incorporate a lot of pre-recorded backtracks in order to recreate the produced material, or is it basically just a way of working with the arrangements to suit the live show?

“We will bring an extra keyboard player for the live gigs to cut down on the tracks, but I think we will probably also rearrange some stuff for the live situation.” Another thing that I’ve noticed, is you’ve gone from a standard bass rig to a stereo setup? What’s your new live rig look like, and what are the reasons to go stereo? Does it have to do with your being a three piece band or, maybe an idea inspired by somebody else that plays a similar kind of rig?

“I’ve started to incorporate MIDI in the rig, so actually it’s two stereo rigs. One goes DI and the other is miked. Most synth bass sounds will go directly into the PA and all bass sounds will go through the TD 660s and the four 4x10 Proline cabinets. The stereo rig is to make delays and modulation effect sound fatter, and to be able to split signals when I trig synth bass sounds blended with the clean tone.” Your bass has undergone some changes, like these weird looking frets. What’s that, and what basses do you use now?

“I still play Swedish Mattissonbass six- and seven-string instruments exclusively. The True Temperament frets have way better intonation than regular frets. I just don’t see any reason not to use them.” How do you approach the bass in terms of creating your own unique style, which you certainly have?

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

EBS MAGAZINE – 2014

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

EBSINTERVIEW: TECH TALK HENRIK WITH MATS LINDER/DIRTY KRISTOFFERSSON LOOPS

nature to play, which constantly develops me. If something is hard for me, it’s hard to come whine about it to someone who plays keyboard and sings over the top at the same time. I never want to get stuck and I want to develop my playing for as long as I live.” Finally, do you have any exercises to share to develop speed, timing and stamina? And what do you do to warm up for a show?

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

HENRIK’S EBS GEAR

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

DIRTY LOOPS - A MODERN FAIRYTALE The three guys of Dirty Loops met at fairly young age when they went to the same music school in their hometown Stockholm, Sweden. They formed the band after a jam, and started to mess around with ideas that eventually led to them publishing a cover song—in Dirty Loops style— on Youtube, back in 2010. The amazing response for that and the following videos resulted in millions of views and soon they caught the eye of Swedish top song writer Andreas Carlsson, who became their manager. Andreas took the band to Los Angeles, where they got signed for a World-Wide record deal with Verve/Universal by legendary composer and label manager David Foster. The band will release their debut album with original songs in 2014. The first single ’Hit Me’ debuted on iTunes in November 2013. More info at: www.dirty-loops.com

EBS MAGAZINE – 2014

GRAMMY AWARD WINNING RECORDING ENGINEER & PRODUCER JOSH WILBUR ON

RECORDING

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

How do you look at the role of the bass guitar in music, from a producer’s perspective? Would you say it lays the foundation of a song, or do you sometimes think of it in a different way?

“I think it depends on the band or song even. Some bands would like the bass to be as prominent as the guitars. Others just want a low end foundation to round out the sonics of the recording. In your average rock band setting, I tend to think the bass is a big part of what dictates what people perceive as the overall guitar sound on the record. The relationship between the two is so important. They really help each other out.” 12

EBS MAGAZINE – 2014

Looking at your resume, there are lots of different type of artists that you have collaborated with, from hip hop artists like Lady Sovereign, to folk rock with Steve Earle to pop with Pink to the hottest metal bands like Lamb Of God and Gojira. Are there big differences in how you set up the bass when recording and mixing various styles, or is there a common ground that always works?

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

INTERVIEW: JOSH WILBUR

What does your latest work include, and are there any current projects you work on, that you can (and are allowed to) mention about that we should keep our eyes open for?

…and it ended up you were using that pedal all over the album. What was it that the EBS MultiComp brought to the mix?

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

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

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

And now you have been using the EBS Fafner II in the studio for a while too. What is your experience with that amp as a recording tool? And what are the ‘secrets’ you have discovered from using it?

Speaking of effects, I remember when John Campbell, EBS pedal artist and the bass player with Lamb Of God, let me know that he was on his way to the studio to use some EBS effects on the recordings for their latest album Resolution. Was that the fi rst time you encountered EBS gear in the studio?

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

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

JOSH SELECTED WORK As producer: Killer Be Killed/TBA Butcher Babies/Goliath Hatebreed/The Divinity of Purpose Gojira /L’ Enfant Sauvage Lamb of God/Resolution Lamb of God/Wrath*

Mixing/Engineering: Escape the Fate/Ungrateful Tenacious D/Rize of the Fenix P!nk/Greatest Hits... So Far!!! Avenged Sevenfold/ Nightmare Stacie Orrico/Best of Stacie Orrico Leona Lewis/Spirit Avril Lavigne/The Best Damn Thing Steve Earle/Washington Square Serenade** Lady Sovereign/Love Me or Hate Me Project 86/And the Rest Will Follow Ashanti/Collectables by Ashanti Fuel/The Best of Fuel Atreyu/The Curse Puddle of Mudd/Life on Display Fuel/Natural Selection* Faith Hill/Cry * Grammy Nominated ** Grammy Awarded

JOSH WILBUR’S STANDARD RECORDING SETUP FOR BASS

JOSH WILBUR BASS RECORDING SIGNAL PATH

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

EBS MAGAZINE – 2014

FEATURE: JAMAREO ARTIS

HOOLIGANS FROM MARS B

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

JAMAREO ARTIS WITH BRUNO MARS

runo Mars definitely has the ability to write hits – but if it wasn’t for the amazing live show, that is completely out of this world, things may have been different. The bass player of The Hooligans – as the band calls itself – is EBS pedal artist Jamareo Artis. At age 24, he has already earned his welldeserved reputation as a monster bass player. We got to meet Jamareo in Stockholm, Sweden, on Bruno Mars´ Moonshine Jungle Tour, right after a sold out show in front of 15,000 people. Jamareo revealed that Bruno always had a clear idea that it’s now more important than ever to deliver an amazing live performance in order to build a career that lasts for more than an album or two. And it’s not just about playing; it’s about the performance as a whole. On stage, all members of the band play a major part in the choreography of the show, making it simply explode – which in turn sells out arenas, making the audience get on its feet to join the party all over the World.

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

“When I slap, it’s the old school type of slap playing that developed during the Seventies – simple, effective grooves – but most of the time, I stick to finger style.” Despite having heroes, Jamareo point out how important it is to develop your own significant style. Something that is unique, and your own, and not just copying others. Jamareo is one of those players that have a style of his own, which is why he is recognized as one of the most talented younger bass players today! Jamareo’s pedal board. Photo from the preparations for the Moonshine Jungle Tour in Los Angeles, January 2013.

EBS MAGAZINE – 2014

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

FEATURE: EBS ARTIST NEWS

EBS ARTIST NEWS

BASS PLAYER AWARDS 2013

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

ETIENNE MBAPPÉ WITH THE RINGERS

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

DIRTY LOOPS DEBUT CD OUT IN 2014

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

BILLY SHEEHAN & THE WINERY DOGS

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

IN FLAMES IN THE STUDIO

NEW EBS ARTIST

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

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

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

EBS MAGAZINE – 2014

2013 in the mirror...

FROM TOP LEFT... Henrik Linder at NAMM 2013 Tal and Tony visited EBS at NAMM EBS released the Billy Sheehan Signature Drive at NAMM. The new pedal on display at Musikmesse, Frankfurt. 2013 marked EBS 25 years! EBS Pedal Artist Marco Mendoza with EBS service tech, Harald Malave.

EBS MAGAZINE â&#x20AC;&#x201C; 2014

SWEDEN ROCK FESTIVAL 2013 Jonas Björler, At The Gates at Sweden Rock Festival, 2013. EBS supported three of five stages at Sweden’s biggest hard rock festival with bass amps which resulted in more than 40 bands out of 83 played EBS Amps & Cabinets at the festival. Photo: Daniel Falk

GETAWAY FESTIVAL 2013 Many EBS Artists played at the Getaway Festival in Gävle, Sweden. Among these; EBS Pedal Artists John Campbell, Lamb Of God and Roger Glover of Deep Purple (right) Photos: Daniel Falk

EBS MAGAZINE – 2014

FROM TOP LEFT PAGE... Etienne Mbappé and his son Swaeli playing with Su La Take at the EBS 25th Anniversary Party in Stockholm, September 2013. Photo: Lasse Eklöf Also playing at the event, Paulo Mendonca Power Funk Trio with EBS Pedal Artist Paulo Mendonca and EBS Artist Jay-Tee Teterissa. Photo: Lasse Eklöf The new EBS Classic 500 bass amp with the new ClassicLine 210 was previewed at the Musicians Planet Exhibition Show in Stockholm in October. At the show, the EBS FuzzMo pedal was officially launched. FROM TOP, RIGHT PAGE... EBS participated in the Bass Player Live event in Los Angeles in November where Swedish rocker’s EBS Pedal Artist Marten Andersson (Lizzy Borden) and EBS Artist Bjorn Englen (Dio Disciples/Soul Sign) came by. Legendary rock bassist Rudy Sarzo got introduced to the Billy Sheehan Signature Drive at Bass Player Live. EBS Artist Tal Wilkenfeld received the Young Gun Award by Bass Player Magazine, presented to her by Roger Sadowsky and Don Was. Tal then performed with her band, including drummer legend Steve Ferrone and proved not only to be an incredible skilled bass player but a great vocalist as well!

EBS MAGAZINE – 2014

GEAR: EBS PRODUCT GUIDE

EBS PRODUCTS THE TOOLS FOR PROFESSIONALS COMBINING AN UNRIVALLED TONAL QUALITY WITH ROBUSTNESS MAKES EBS PRODUCTS PERFECT FOR PROFESSIONAL TOURING AND STUDIO SESSIONS. EASY TO ADAPT TO CHANGING CONDITIONS AND DESIGNED TO SUIT ANY VENUE, THE EBS PRODUCTS WILL LET MUSICIANS BRING THEIR DISTINCT SOUND TO THEIR AUDIENCE IN ITS PUREST POSSIBLE FORM.

EBS MAGAZINE – 2014

GEAR: EBS PRODUCT GUIDE

PREMIUM GEAR

EBS AMPS

BASS AMPS

CABINETS MADE IN SWEDEN

EBS FAFNER II THE EBS FLAGSHIP

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

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

The channels can run in parallel mode. That means that the signal splits in two after the input Gain and Character filters – one goes through the Drive channel and the other goes through the Clean channel. At the end of the line, there’s a level control for the Drive channel (LEVEL) to control how much distortion you want, and a level control for Clean channel (CLEAN LVL) to set the balance between the distorted and clean channel. From there the signal goes to the main Volume control. In this setting, you will leave the bottom clean and 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 active, you can switch between the Clean and Drive Channels using the RM-4 footswitch remote. 22

EBS MAGAZINE – 2014

GEAR: EBS PRODUCT GUIDE

MADE IN SWEDEN EBS PREMIUM GEAR

THE ADVANCED DRIVE has some optional

Boost and Tube modes too. Boost mode simply boosts the whole frequency range as you turn up the Drive level control.

EBS FAFNER II Type Solid State/Tube Hybrid with 2-channel preamp

EBS PREMIUM

Features MADEUnique IN SWEDEN

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

THE FAFNER II OFFERS a Hi and a Lo

boost character 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. 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.

SIGNAL CHAIN

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.

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

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. INDIVIDUAL EFFECT LOOPS for each channel

and a common loop with a mix level control provide maximum flexibility when hooking up your effects.

Drive Channel Filters

Level

Clean Channel Filters

Clean Lvl

Drive Channel Filters

Level

Clean Channel Filters

Clean Lvl

SERIAL MODE (with Serial Mode switch on) Gain

Comp

Input

VOLUME

WATCH THE VIDEO DEMO FOR EBS FAFNER II NOW!

PARALLEL MODE (with Serial Mode switch off) Gain

Input

Comp

VOLUME

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EBS MAGAZINE – 2014

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PREMIUM GEAR

EBS AMPS

BASS AMPS

CABINETS MADE IN SWEDEN

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 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. 24

EBS MAGAZINE – 2014

THE HD360 is completely based on Solid

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

have a lot in common that will make you feel at home with one if you know the other.

The basic layout of the control panel is almost identical. First there is a Character 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

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WATCH V IDEO ON THE HD360 DEMOS & W W W.EBS S W EDTD660 AT EN.COM EBS PREMIUM

MADE IN SWEDEN

EBS TD660 Type Solid State/Tube Hybrid with 4-band EQ

frequencies causing unwanted feedback with the Frequency control. It is very useful in rumbling venues that may pick up certain frequencies, or when you get feedback from an instrument, such as an upright bass. Next control is the shelving Treble 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. FINALLY THERE’S the balanced XLR output, that lets you send a perfectly balanced line signal to front of house or in the studio without the need of an external line box. You can choose between post/pre EQ, with our without Speaker Simulation and Ground lift. THE INPUT JACK has a special feature since, if used with a stereo cable, it offers 9V DC Phantom Power output, that can be used to power a single 9V DC EBS pedal or an active bass.

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

Unique Features Advanced Drive with optional Boost and/or Tube Mode. Effects Loop with Mix Level Control (0-100%). Built-in Compressor. Character Filter. Filter Remote Inputs. Notch Filter to prevent feedback. Bright Filter. Phantom Power Out. XLR-Out with Speaker Simulation. Output Power 660 W RMS @ 2 ohms

EBS HD360 Type Solid State with 4-band EQ Unique Features Effects Loop with Mix Level Control (0-100%). Built-in Compressor. Character Filter. Drive. Filter Remote Inputs. Notch Filter to prevent feedback. Bright Filter. Phantom Power Out. XLR-Out with Speaker Simulation. Output Power 360 W RMS @ 2 ohms

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

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EBS AMPS

AMP SPECIFICATIONS

CABINETS MADE IN SWEDEN

EBS FAFNER II

1 Post loop situated after Volume control. Use Line Out to connect to another amp via Pwramp Input, in order to use two Fafner II amps together. 2 Clean Channel Loop. Only active for the clean channel. 3 Drive Channel Loop. Only active for the drive channel. 4 Effects Loop. Common loop for both channels. Situated after the individual loops. 5 Lo-Z Input. A low impedance input for connecting wireless device. When connecting to the input on the front panel, this input is disabled. 6 Tuner Out. Low impedance output suitable for tuners. The signal from this output is identical to the instruments output. 7 Filter Remote. Remote jacks for the EBS RM-4 footswitch to control Character Filters (on/off), Filter Active (on/off), Drive Channel (on/off) and Mute. 8 FX Mix Level Control. Blend the effects connected through the common effects loop (4) with the amp sound. 0% (off), 50% (parallel), 100% (serial). 9 Post AND Pre EQ Balanced XLR-Out. Equal to a high end line box to connect to PA mixing consoles or studio broadcast units, with high noise immunity. With Gnd Lift and Pad switches. Pad sets the option of either studio standard level or microphone level. Post and Pre XLR-out can both be used at the same time.

Front panel

EBS TD660 & HD360

Front panel 1

Front panel

EBS MAGAZINE â&#x20AC;&#x201C; 2014

1 Phantom Power control. Switch on or off Phantom Power from the instrument input on the front panel and/or the Effect Return on the Effects Loop on the rear panel. Phantom Power offer 9 V DC power to drive an active instrument or a single EBS Black Label Pedal using a stereo instrument cable. More info about this feature in the manual. 2 Filter Remote. Remote jacks for the EBS RM-4 footswitch to control Character Filter (on/off), Filter Active (on/off), Drive (on/off) and Mute. 3 Tuner Out. Low impedance output suitable for tuners. The signal from this output is identical to the instruments output. 4 Use Line Out to connect to an extra power amp to extend the rig, driving more cabinets. Or use the Line Out to connect to your computer sound interface for home recording. Line Out is located post EQ, post Volume. 5 Effects Loop. Gives you the option to connect your effects through the loop instead of between instrument and amp. 6 FX Mix Level Control. Blend the effects connected through the effects loop (5) with the amp sound. 0% (off), 50% (parallel), 100% (serial). 7 Balanced XLR-Out. Equal to a high end line box to connect to PA mixing consoles or studio broadcast units, with high noise immunity. With Gnd Lift, Speaker Simulator and Post EQ switches.

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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 Weight: 12 kg / 27 lbs.

TECHNICAL INFO - EBS HD360 Input Impedance: 2 Mohms Frequency Response: 20 - 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 @ 4 kHz Bright -0 / +20 dB @ 10 kHz Drive Section: Gain: 0 – 30 dB Drive type: Solid State Speaker Impedance: 2 -8 ohms Output Power: Continuous 300 W RMS, Dynamic Output Power 360 W RMS Dimensions, W x D x H: 48 x 33 x 9cm / 19” x 13” x 2U Weight: 9 kg / 20 lbs.

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

Specifications are subject to change without notice.

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EBS AMPS

RIG GUIDE

CABINETS MADE IN SWEDEN

EBS PROLINE FEATURES Cabinet Specifics 13-ply Birch & Lightweight 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. Speakers & Connectors 2x Neutrik® SPEAKON connectors for input and link through. Conventional speakers selected & optimized for each model. Adjustable 2” tweeter. Optional Matching rack cases available in 3 & 4U height.

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.

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

EBS MAGAZINE – 2014

EBS ProLine 410 Configuration: 4x10” + 2” Power handling: 800W RMS Impedance: 4 ohms Freq response: 70 -18.000 Hz 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” Power handling: 300W RMS Impedance: 4 ohms Freq response: 35 - 3.000 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” Power handling: 900W RMS Impedance: 3 ohms Freq response: 70 -18.000 Hz 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” Power handling: 1200W RMS Impedance: 4 ohms Freq response: 70 -18.000 Hz 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

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EBS PREMIUM

MADE IN SWEDEN

EBS NEOLINE FEATURES Cabinet Specifics 13-ply Lightweight Spruce plywood covered with resistant felt. Birch in baffle. Protective woven steel grill in black. Deep Dish Handles (except on mini size cabinet) Heavy-duty back wheels with top and side handles on 810. Flip Handles on Mini Size cabinet on both sides and bottom for tilt-back option. Speakers & Connectors 2x Neutrik® SPEAKON connectors for input and link through. Third generation Neodymium light weight speakers selected & optimized for each model. Adjustable 2” tweeter. Optional Matching rack cases available in 3 & 4U height. Warranty Five year limited warranty.

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. 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!

MINI SIZE

EBS NeoLine 112 Configuration: 1x12” + 2” Power handling: 300W RMS Impedance: 8 ohms Freq response: 50 -18.000 Hz 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” Power handling: 500W RMS Impedance: 4 ohms Freq response: 50 -18.000 Hz 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” Power handling: 300W RMS Impedance: 4 ohms Freq response: 35-18.000 Hz 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” Power handling: 600W RMS Impedance: 4 ohms Freq response: 40-18.000 Hz 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” Power handling: 1000W RMS Impedance: 4 ohms Freq response: 50 -18.000 Hz 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” Power handling: 2000W RMS Impedance: 4 ohms Freq response: 70 -18.000 Hz 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

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EBS AMPS

RIG GUIDE

CABINETS MADE IN SWEDEN

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

professional bass player, providing gear that rewards great musicianship. Gear that will make all practice hours and work it takes to become a competent musician worthwhile. To help finding the proper setup to match your style and personality, we’ve put together a few

PERFECT BALANCE EBS HD360 with NeoLine 210 and 212 cabinets creates maybe the most well balanced rig of all EBS setups. An amazing combination of portability, sound and flexibility (three rigs in one, since both cabinets can be used stand-alone too!). Simply a wonderful sounding rig! Budget alternative: Swap the cabinets for a couple NeoLine 112 mini cabs for an even more portable rig, but with a little less power.

PETER IWERS EBS MONSTER EBS Fafner II with NeoLine 810 cabinets is what drives the bass on stage with In Flames. This is simply THE monster bass rig! The versatility with a separate Drive channel and the power and punch offered by the Fafner II and this cabinet is unbeatable! Budget alternative: Fafner II with a ClassicLine 810 or a NeoLine 410

EBS MAGAZINE – 2014

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

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EBS PREMIUM

MADE IN SWEDEN

MILLER/WILKENFELD TOWER EBS TD660 (or HD360) with two ProLine 410 cabinets offers the sound of slap master Marcus Miller and the thump of bass godess Tal Wilkenfeld. A great all-round rig, with nice balance between lows and highs and a full and rich midrange. To many, this setup best represents ”the Natural EBS Sound”. Budget alternative: HD360 with one ProLine 410

TRADITIONAL TOWER EBS TD660 (or HD360) with ProLine 410 and a ProLine 115 cabinet is a traditional setup that appeals to the conservative bass player. It will make most bass players feel at home. Budget alternative: Swap the cabinets for a ClassicLine 410 and 212.

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EBS AMPS

BASS COMBOS

CABINETS MADE IN SWEDEN

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

EBS NEOGORM BASS COMBO DELUXE

Drive section Powerful EQ with BRIGHT filter Remote connections for drive, mute and filters Effects loop with mix level control Balanced output with speaker simulation, ground lift and post EQ filter 350 W RMS output power Side and top handles and detachable,lockable casters Covers available as an option.

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

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

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

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 !

MADE IN SWEDEN EBS PREMIUM GEAR

EBS NEOGORM COMBOS TECHNICAL SPECIFICATIONS

210 212 115

NEOGORM 210 Configuration: 2 x 10” + 2” Output: 350W RMS EBS PREMIUM Freq response: 50 -18.000 Hz Cabinet Volume: 59 L MADE IN SWEDEN Dimensions 23”x 15” x 21” (W x D x H): 58 x 37 x 52 cm Weight: 29,5 kg / 65 lbs

NEOGORM 212 Configuration: 2 x 12” + 2” Output: 350W RMS Freq response: 40 -18.000 Hz Cabinet Volume: 86 L Dimensions 23”x 15” x 28” (W x D x H): 58 x 37 x 70 cm Weight: 33 kg / 72.7 lbs

NEOGORM 115 Configuration: 1 x 15” +2” Output: 350W RMS Freq response: 35 -18.000 Hz Cabinet Volume: 73 L Dimensions 23”x 15” x 24” (W x D x H): 58 x 37 x 61 cm Weight: 26 kg / 57.3 lbs

MODELS

4-STRINGS

5TH

6TH

Medium Light Medium Classic Medium Heavy Bass

40/60/80/100 45/65/80/100 45/65/85/105 50/70/90/110

+125 +125 +128 +135

+25 +30 -

EBS TITANIUM NICKEL STRINGS 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.

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

w w w

CHECK WITH YOUR DISTRIBUTOR FOR AVAILABILITY!

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LIGHT-WEIGHT GEAR

EBS AMPS

CABINETS DESIGNED AND DEVELOPED IN SWEDEN

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

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

Due to advanced soft-clip technology, the Reidmar does not suffer any loss of definition in the low register when the volume is turned up. It does not use a present automatic limiter that kicks in at a certain point and levels out the lows like many other class-D amps do. No, the Reidmar takes maximum advantage of the power offered. That makes it a powerful, great sounding bass amp that is fully comparable with other heads with larger and more expensive power amps - dynamite! THE NATURE OF THE BEAST. While offering a powerful and defined sound at most levels, when pushed to the limit it provides a natural and useful amp distortion, like the Drive on a solid state amp, This further extends the possibilities to use the EBS Reidmar in different musical contexts.

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LOOK AND FEEL. EBS has never had the intention to make the world´s lightest and smallest amp, but to make a light bass head that looks, feels and sounds like a bass amp while not falling off the cabinet at higher volumes. With the Reidmar that mission is completed! TECHNICALLY SPEAKING. Anyone familiar with EBS bass amps will feel at home with the Reidmar. The renowned built-in compressor and the 4-band EQ-section are really intuitive and feature the (for EBS) characteristic Bright and Notch filters and remind you a lot of the layouts of HD360 and TD660. The preamp is analog, and similar to the preamp on HD and TD heads. The amp also features an Effects loop (send and return), Balanced XLR-out for live and studio use (with pre/post EQ switch and Ground Lift), Line out, Headphones out and Speakon speaker output. The amp processes

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

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

EBS REIDMAR Type Analog preamp, Class-D Power Amp with 4-band EQ Features Effects Loop. Built-in Compressor. Character Filter. Filter Bypass. Phones Output. Notch Filter to prevent feedback. Bright Filter. XLR-Out with Speaker Simulation. 120 V/230V switchable Output Power 250 W RMS / 470 W Dynamic @ 4 ohms

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

Above: Back Panel of the Reidmar with Phones Out, Line Out, Speaker Out, Effects loop and Balanced XLR-Output (Post/Pre EQ). Left: Switch between 230 V / 120 V on the back of the Reidmar, for use abroad.

EBS MAGAZINE – 2014

CLASSIC GEAR

EBS AMPS

CABINETS DESIGNED AND DEVELOPED IN SWEDEN

THE EBS CLASSIC 500 A CLASSY BASS AMP WITH A CLASSIC SOUND. EBS CLASSIC 500 Type Solid State Unique Features 4-band EQ with Dual Mid-Range filters Character Filter. Very musical Drive. XLR-Out post/pre EQ Output Power 500 W RMS @ 2 ohms 440 W RMS @ 4 ohms Weight 14 kg / 31 lbs

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

The thoughtfully designed EQ puts you 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. With the new design, the Classic 500 is the perfect match for ALL EBS ClassicLine cabinets, including the narrower mini size 112 cabinets, due to the new compact outfit. The new EBS Classic 500 amp comes with a padded cover.

EBS Classic 500 - Technical Specifications Input Impedance Gain range Character filter

Tone Controls Bass Low Mid High Mid Treble Drive Section

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

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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Gain

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

EBS CLASSIC LINE BASED ON THE LEGACY OF THE EBS ‘BOUTIQUE’ CABINETS. THE CLASSICLINE cabinets make the EBS great bass sound available to every bass player. Reminiscent of the EBS ProLine cabinets, with a little warmer and rounder character that adds a vintage touch. These are powerful cabinets that will make demanding bass players 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 EBSkatalog_ljus2.indd 1 switch to control the tweeter. All cabinets, except for the 112, comes with a padded cover included.

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

www.ebs.bass.se

NEW ADDITION. A new cabinet in the Classic Line is the versatile 210,

Optional Matching rack cases available in 3 & 4U height.

2006-08-28 10:15:35

Warranty Five year limited warranty.

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

EBS ClassicLine 112 Configuration: 1x12” + 2” Power handling: 250W RMS Impedance: 8 ohms Freq response: 35 -18.000 Hz 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” Power handling: 250W RMS Impedance: 8 ohms Freq response: 35 -18.000 Hz 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” Power handling: 500W RMS Impedance: 4 ohms Freq response: 35 -18.000 Hz 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” Power handling: 500W RMS Impedance: 4 ohms Freq response: 55 -18.000 Hz 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” Power handling: 1000W RMS Impedance: 4 ohms Freq response: 55 -18.000 Hz Sensitivity: 102 dB Dimensions 25” x 16” x 49” (W x D x H): 64 x 41 x 125 cm Weight: 55kg/121 lbs

EBS MAGAZINE – 2014

GEAR: EBS PRODUCT GUIDE

CLASSIC GEAR

EBS AMPS

BASS COMBO AMPS

CABINETS DESIGNED AND DEVELOPED IN SWEDEN

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

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

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

“A well-built, affordable and versatile bass combo. Highly recommended” - 5 of 5, Bass Guitar Magazine, UK

EBS MAGAZINE – 2014

GEAR: EBS PRODUCT GUIDE

EVERYONE DESERVES A GREAT BASS SOUND

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 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.

30 60 120

EBS SESSION COMBOS TECHNICAL SPECIFICATIONS

THE CLASSIC SESSION 60 tilt-back combo

features a 10” speaker and a tweeter. It sounds great straight from the box and offers controls for Gain, Bass, Treble and Volume to further dial in the tone. The Enhance 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.

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

EBS MAGAZINE – 2014

GEAR: EBS PRODUCT GUIDE

EBS EFFECTS EBS EFFECTS DESIGNED

BLACK LABEL PEDALS

DEVELOPED IN SWEDEN

EBS BLACK LABEL PEDALS

ADD A NEW DIMENSION TO YOUR SOUND.

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

COMMON FEATURES Suitable both for studio and live use Compact, robust and easyto-use Built for bass, great for guitar, keys etc., supremely adaptable Fine-Tuning options on several Black Label Pedals Preserve the low range True bypass 9V DC

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EBS MultiComp Analog Compressor

EBS OctaBass Analog Octaver Effect

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

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.

EBS Bass IQ Analog Envelope Filter

EBS UniChorus Analog Chorus

The EBS BassIQ is an analog envelope filter pedal that is triggered by the notes you play. The results are the funkiest and most responsive sounds found in a stomp box. The BassIQ features controls for threshold and attack, and runs in three different modes, Hi-Q, Up and Down. True Bypass. Extended fine-tuning options inside.

The EBS UniChorus provide studio quality Chorus, Flange and Pitch Modulation effects. This pedal is built with the best analog processing circuitry available. Stereo output. True Bypass. Extended fine-tuning options inside.

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

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

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

EBS DynaVerb Digital Stereo Reverb

EBS BassIQ

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

EBS TremoLo

Gain level fine tuning.

EBS DynaVerb

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

The EBS DynaVerb provides eight different stereo digital reverb effects, from Rooms, to Plates, to Halls. This pedal uses a complete new 24-bit digital processing circuitry for outstanding performance. True Bypass. Extended fine-tuning options inside.

LISTEN!

SCAN FOR SOUND SAMPLES OF BLACK LABEL PEDALS!

EBS DPhaser Digital Phaser

EBS TremoLo Analog Stereo Tremolo

The EBS DPhaser offers three very distinct and different phaser effects. Select everything from classical 70´s sounds up to hyper modern swirling phasing effects. The pedal is built with the highest quality components and uses 24-bit digital processing circuitry for outstanding performance on stage and in the recording studio. Extended fine-tuning options inside.

The EBS TremoLo gives you the choice of the vintage tremolo sound or sweeping filter effects. The sweep character can be selected from a choice of three different waveforms; sine, square and saw-tooth waveforms. The EBS TremoLo pedal uses true bypass techniques and operates in mono or true stereo with auto panning of the tremolo effect.

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

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

EBS MAGAZINE – 2014

GEAR: EBS PRODUCT GUIDE

EBS EFFECTS EBS EFFECTS DESIGNED

SELECTED & SIGNATURE PEDALS

DEVELOPED IN SWEDEN

SPECIAL EFFECTS 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 FEATURES 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 EBS ValveDrive DI, class A tube pedal, can be used as an overdrive/distortion effect, as a preamp for warming up a solid state amp sound and at the same time as a DI-box with the new feature of a balanced XLR-out! This little tube preamp/overdrive can make your bass either glow or growl, whether you want your instrument to sing or scream. The EBS ValveDrive delivers everything, from classic tube warmth to hard and pure tube distortion. The new edition runs on 9 V DC power. Power supply included. The design in steel, chrome and Bakelite is based on a classic concept with an easy dial-in design.

FEATURES Use as preamp, overdrive and/or DI-box. Balanced XLR-Out NEW! Vintage or modern tube sound All musical high grade tube design Classic style passive filters Class A tube overdrive pedal Designed for best bass response 9 V DC Power Supply included NEW! True bypass

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 wahwah 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.

EBS MAGAZINE – 2014

FEATURES Wah-wah and Volume pedal in one Select wah-wah or envelope filter character Equipped with awarded ”tubesim” circuitry Extremely wide frequency range Possible reversed pedal action True bypass

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EBS FuzzMo fuzz effect for bass & guitar FEATURES Gain, Shape, Volume and Blend controls. Three Character modes - Flat, Mid-scoop and Maximu Mid-scoop. Switching Technique True Bypass Footswitch. Optional EBS AD-9+ Power Supply (not included)

The EBS FuzzMo pedal is developed by EBS to fill the gap between EBS excellent distortion pedals and a vintage type of fuzz effect for bass. The pedal produce a wide range of vintage and modern effects with several features to dial-in Your favorite fuzz tone. Blending possibilities. Similar to the Billy Sheehan Signature Drive, you can blend the effect with a clean signal. Fire up the distortion engine’s gain as much as you like with the Gain control, set the Volume for the fuzz effect and then blend in the clean unaffected tone by turning up the Blend control. Instead of a tone control, the EBS FuzzMo features a Shape control that changes the shape of the gain engine, from triangle to square wave through the passive tone stack. Character filter. If the controls does not offer enough flexibility, this pedal also feature a Character filter. This goes in three steps from flat, to subtle mid-scoop, to maximum mid-scoop (or cut). True Bypass. The EBS FuzzMo uses a True Bypass footswitch. The pedal runs on 9V DC battery or Power Supply.

EBS Billy Sheehan Signature Drive FEATURES 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). Optional EBS AD-9+ Power Supply (not included)

The Billy Sheehan Signature Drive pedal is developed by EBS in close co-operation with Billy himself. It is based on the concept of mixing together a clean signal with a distorted to be able to preserve low frequencies and find balance between distortion and definition. A built-in compressor make possible to keep the note differentiation clearly audible even at heavily distorted sounds. This pedal also offers unlimited pre-post mix tone shaping, made possible by including a clean loop and a drive loop. The user can add any other effect they wish within each loop, using an insert cable, to ’pimp’ the effect into your own signature effect! With the new extended size box from EBS, there are controls for Drive (gain for the overdrive engine), Tone (sets the frequency scoop for the drive), Level (sets level for drive channel post Drive Loop and pre final compressor) and Clean (sets level for the clean channel, post Clean Loop and pre final compressor). The pedal also offers three different compression modes. High, Mid and Off. The Mid setting can be determined by the user through an internal trim pot. EBS Billy Sheehan Signature Drive received several awards in 2013 including a ’Best Of Show’ Award at the NAMM Show.

EBS Stanley Clarke Signature Wah/Tone Filter FEATURES Flexible footswitch for Wah-wah/Bypass or Wah-Wah/Volume control Low-Pass, High-Pass, Band-Pass and Boosted Band-Pass modes Extended frequency range Variable band width True bypass The EBS Stanley Clarke Signature Wah/Tone Filter evolved through collaborative effort with Thomas Lieber of the Spellbinder Corp. USA and Stanley Clarke.

The EBS Stanley Clarke Signature Wah is a highly flexible pedal made for bass, that can be used as a wah or simply as a tone filter. It does not affect the entire frequency range, like many other wah pedals do, which preserve the bottom of your sound, even when the effect is engaged. It features four different preshape pass modes, with additional controls for the Frequency Range and Band Width that you’d like the pedal to operate in. It also has the option to switch between wah-effect and volume pedal functionality! Stanley Clarke, one of the worlds’ most iconic and innovative bass players think twice before he put his name on a product. His original idea with this pedal, was to use it as a tone filter with a passive bass to make possible for bass players on a tighter budget to acheive a ’Stanley Clarke signature sound’ usually requiering a very expensive boutique instrument. Being one of the most demanding players, with a distinctive tone and a clear idea of his sound, it was a real challenge to create a pedal that meet these standards. Enjoy the most delicious wah wah effects for bass imaginable or use this piece to grab the ’Stanley Clarke tone’!

EBS MAGAZINE – 2014

GEAR: EBS PRODUCT GUIDE

EBS STRINGS & ACCESSORIES EBS QUALITY STRINGS & ACCESSORIES

EBS CARRYON

BRING YOUR PEDALS ONBOARD AS CABIN LUGGAGE.

The new EBS CarryOnTM Pedal Case System lets you travel safe with your pedals. The reinforced soft-case protects the equipment just as good as a 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; angled pads to make possible to attach pedals in different levels or to put an angle to the whole pedal board. Velcro tape as well as 3MTM Dual Lock are included to offer 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 shoulder strap Clean outer surface for easy stacking Net bucket on the inside for accessories 2-sided pedal board – Velcro or 3MTM dual lock

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

Velcro pads and 3MTM dual lock included Removable pedal board handles – for interchangeable position Possibility to set complete pedalboard/or selected pedals in different angles using the included angled attachable rubber pads. Detachable rubber feets included. Attached by screws or with adhesive tape.

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.

EBS MAGAZINE – 2014

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.

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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! EBS MAGAZINE – 2014

GEAR: ACCESSORIES

EBS STRINGS & ACCESSORIES EBS QUALITY STRINGS & ACCESSORIES

BASS AMP EXTRAS

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

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





CONNECT, CONTROL AND PROTECT YOUR EBS AMPLIFIER.

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

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EBS MAGAZINE – 2014

GEAR: ACCESSORIES

PEDAL EXTRAS

THE SMALL THINGS THAT MAKE EVERYTHING A LITTLE EASIER.

DC-6/90

DC-6

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



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

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

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PL-20

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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!

PL-10

EBS MAGAZINE – 2014

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

EBS ONLINE MAIN WEBSITE: WWW.EBSSWEDEN.COM The main source for product info and news about EBS and our artists. EBS ON TWITTER: WWW.TWITTER.COM/EBSSWEDEN The Micro blog where we post short news, and push for updates on the website and blogs. Subscribe and you will get notified by email when we write something ion Twitter or at the Blog. EBS ON YOUTUBE: WWW.YOUTUBE.COM/EBSSWEDEN Our Channel where we post our own videos. Lots of EBS videos posted by others can be found by searching the Youtube. EBS ON FACEBOOK: WWW.FACEBOOK.COM/EBSSWEDEN Our Facebook page. Like it if you have a Facebook account!

EBS MAGAZINE â&#x20AC;&#x201C; 2014

EBS MAGAZINE – 2014

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, JANUARY 2013 A Alex Acanda (ES/CUBA) - Jerry Gonzalez Jan Adefelt (SWE) - Independent Alex Al (US) - The Arsenio Hall Show Miguel Amado (PR) - Fausto Jennie Andersson (SWE) - Spitchic Johan Andreassen (SWE) - Amaranthe Nic Angileri (IT/SUI) - 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 Carles Benavent (ES) - Solo Artist Johan Bengtsson (SWE) - The Sounds Lewi Bergrud (NO) - Session Bassist Ralf Bienioschek (GE) - Bass Player/Musical Director Jonas Björler (SWE) - The Haunted/At The Gates Andreas Blomqvist (SWE) - Seventh Wonder Stefan Bratt (SWE) - Atlas Losing Grip Aleks Brdarski (SWE) - Neighbourhood Victor Broden (SWE/US) - Independent Tommy Brown (US) - Independent Bronxen (SWE) - Junkstars Arnaud Buffon (FR) - Body Fluids C John Calabrese (CAN) - Danko Jones Juan Carlos Díaz (ES) - Fundácion Tony Manero Linus Carlsson (SWE) - Kamchatka Michael Choi (UK) - Frankmusik, ex. MIKA Jackie Clark (US) - Independent Johnny Copland (UK) - The Crystal 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 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. 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 K Joakim Karlsson (SWE) - Her Bright Skies Nathaniel Kearney Jr. (US) - Taio Cruz

EBS MAGAZINE – 2014

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 "Mini" 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 Fernando Mainer (ES) - Tako John Marcus (US) - Tim McGraw Dave Marks (UK/IRE) - Session Great Mariano Martos (ES) - Chicuelo 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 Ivan Moccia (SUI) - Dreamshade Anders Mossberg (SWE) - Independent Roberto Mårdstam (SWE) - Scotts Jesajah Mårskog (SWE) - Veronica Maggio N Andi Nero (SWE) - The Bones Johan Niemann (SWE) - Evergrey Ni~Ya (JP) - Nightmare Tomas Näslund (SWE) - Blindside O Orefo Orakwue (UK) - Anastacia, Sugababes P Carsten Pedersen (DK) - Session Bassist Mason Pitts (SWE/US) - Apollo Drive 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. Jan Jysky Strandberg (FIN) - Independent Christer Stålbrandt (SWE) - November Rikard Swahn (SWE) - Skiller 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 Solomon Walker (US) - Morrissey 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 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) - Clifftones Johannes Zetterberg (SWE) - Solo Artist Zornheym (SWE) - Dark Funeral Thomas Zurmühlen (GE) - James Last Jocke Ågren (SWE) - Hillsong Sthlm Capman Örtefors (SWE) - Freak Kitchen Erkan Özdemir (GE) - Memo Gonzales

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) - Independent Will Davies (UK) - Attack! Attack! UK Michael Devin (US) - Whitesnake EFG Robin Everhart (US) - Rival Sons Francesco Gallo (IT) - Cry Excess Roger Glover (UK) - Deep Purple Pete Griffin (US) - Gryphon Labs, exZappa Plays Zappa HIJ Mr.Hardgroove (US) - Public Enemy Gustaf Hielm (SWE) - Session Bassist Georg ’Goggi’ Holm (ICE) - Sigur Rós Anders Iwers (SWE) - Tiamat Jimmy Jay (SWE) - H.E.A.T. KL Tom Kent (UK) - 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 Justin Meldal-Johnsen (US) - NIN, Beck Martin Mendez (SWE) - Opeth Marco Mendoza (US) - Thin Lizzy Danny Miranda (US) - Meatloaf Anders Modd (SWE) - Wolf John Moyer (US) - Disturbed, Adrenaline Mob Jonathan Noyce (UK) - ex. Jethro Tull, ex. Gary Moore 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. Magnus Rosén (SWE) - ex. Hammerfall 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) - Justin Timberlake 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 Mitch Mills (US) - Sugarwall Jamie Mooses (UK) - rythm guit. with Queen 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

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

EBS MAGAZINE – 2014

EBS PROFESSIONAL BASS EQUIPMENT - DON’T PLAY WITHOUT IT!

THE EBS CLASSIC 500 is a classy bass amp with a classic sound. It is a solid state bass head but with a beautiful tube-like tone. The musical boosted Drive control and the exceptional control offered by the dual midrange section makes it easy to dial-in any type of vintage (or modern) bass sound. The plenty of power offered from the new power amp makes the Classic 500 an amazingly versatile bass amp with plenty of headroom. Transparent to the character of your bass – in true EBS tradition! With the new compact design, the Classic 500 is the perfect match for ALL EBS ClassicLine cabinets, including the narrower mini size 112 cabinets. The new design also works fine with the ProLine and NeoLine cabinets.

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EBS MAGAZINE – 2014

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