EBS Magazine 2015 by EBS Sweden AB

BACKYARD BABIES Johan Blomquist with his new EBS ClassicLine rig. Johan is one of the artists recently joining EBS. Photo: Ralf Bjurbo

EBS MAGAZINE â&#x20AC;&#x201C; 2015

EDITORIAL Editor in Chief Bo Engberg

Graphic Design & Layout Ralf Bjurbo

CONTRIBUTORS Photographers Daniel Falk Lasse Eklöf Ralf Bjurbo

WELCOME TO THE YEAR OF NEW GEAR! 2014 magazine, we put Henrik Linder on the cover and asked him if that was to be the year of Dirty Loops? With a little perspective, the prediction came true! Their debut album hit the top of the charts in Japan, and almost made it to the top in several more countries all over the World. The band did its first headlining coast-to-coast US tour, as well as appearances on major festivals. They did everything from jazz festivals to guest appearances with Swedish DJ superstar Avicii. And if that was not enough, Henrik got Bass Player Magazine’s Young Gun Award at the end of the year, and got to play a set with his heroes in Tribal Tech at Bass Player Live in Los Angeles where he received the prize.

in our

Writers Mikael Jansson Ralf Bjurbo

COVER PHOTOS Photo of gear Lasse Eklöf

2015 to be the year of new gear from EBS! Never in the history of the company have we had this much new gear to offer the World! We are about to introduce the brand new design/renewal of our classic Black Label Pedals series, the Studio Edition. A complete new combo segment based on the Award winning Reidmar amp design called Magni 500 (named after a son of the Norse god Thor). The long requested bigger, wilder and stronger brother to the Reidmar (called Reidmar 750) is to be launched and available soon. There will be new items in our growing and popular line of space saving pedal accessories and not least, we make our first real entrance into the field of guitar equipment by launching three pedals in our new Red Label Guitar Edition series – effects based on our bass pedal models, but tweaked towards use with guitars. We’re really excited to see how these will be received! Read all about it in this magazine!

we predict

Photo of Sean Hurley Ralf Bjurbo

CONTACT EBS Sweden AB Grindstuvägen 44-46 167 33 Bromma

ONLINE www.ebssweden.com

our roster of amazing artists keeps growing, too, and 2015 got a real kick start with the signing of several new high profile artists! For example, EBS will be on stage with the mighty Scorpions for their whole 50th Anniversary Tour with bass player Pawel Maciwoda! We’re also excited to work with Johan Blomquist of Sweden’s legendary rock band Backyard Babies which makes a major comeback after five years of absence while the members have had successful solo careers going. Another great bass player that’s now with EBS is Steve DiGiorgio, who recently rejoined with metal heavyweights Testament and handles the bass with Death Dta as well. We’re also happy to present Pascal Mulot as a new EBS Artist! The French bass master will join us for all the major up-coming trade shows, as well as helping us expand the video library of demo videos on EBS equipment! If that’s not enough, you will see and hear a lot from our present artists too – Tal Wilkenfeld featured on several major releases coming in 2015, including Toto’s new album XIII; Alex Al did the recent Stevie Wonder Grammy Tribute Show as the house bassist, and he´s also working on his solo debut; Etienne Mbappé has put a new band together called The Prophets and that’s just the top of the iceberg! please follow us on an exciting journey into 2015! The best way to stay up to date is to go to www.ebssweden.com and sign up for our newsletter! We hope you will enjoy reading this magazine!

/THE EBS TEAM

EBS MAGAZINE – 2015

NEW EBS GEAR

In 2015 EBS introduce their first pedals in the new Red Label Series for guitar beginning with the return of the legendary Red Twister chorus/flanger and guitar versions of the popular DynaVerb and MultiComp. See page 41

The brand new EBS Magni 500 bass combos based on the award winning Reidmar amp design. Available from the summer 2015. See page 30

EBS MAGAZINE â&#x20AC;&#x201C; 2015

The stronger & wilder Reidmar 750. Coming in the fall 2015. See page 32

The latest addition to EBS space saving pedal accessories â&#x20AC;&#x201C; the 2nd Row Pedal Riser. See page 44-45

New distinct and improved design of the Black Label Pedal series, called the Studio Edition debut in 2015. See page 38

EBS MAGAZINE â&#x20AC;&#x201C; 2015

NEW TALENT: DIRTY LOOPS

SEAN HURLEY BASS PLAYER WITH JOHN MAYER Born in 1973, Sean Hurley is in the middle of a successful career as a first-call session bass player in Los Angeles, and as a member of John Mayer’s band since 2008. We had the chance to meet Sean in Stockholm at a John Mayer gig earlier in 2014, a very inspirational meeting (and great concert) that developed into this interview. Text and portrait photos: Ralf Bjurbo

EBS MAGAZINE – 2015

INTERVIEW: SEAN HURLEY

Almost immediately after meeting you, it came clear that you are a bass player that enjoy playing bass to support the song, rather than being in the spotlight. Has it always been that way, or when (and how) did you develop that approach?

I’ve always played the bass to support the song, but I also spent my early years challenging myself to understand all of the capabilities of my instrument. I accompanied singers with my five string (with a high C) bass throughout my high school years. I didn’t know many great guitarists back then, so I took matters into my own hands. I was also in a heavy jazz phase during that time, so I’ve played many solos over jazz changes as well. At some point after I was 18, I shifted my focus to playing vocal songs, and to the ensemble and supportive function of the bass. This fits the music that I am most passionate about and inspired by: great songs with great vocalists at the center. Is it the nature and role of the bass as an instrument that calls for that approach, or is it just the musical context that you’re involved in that calls for being a laidback supporter of songs rather than an extrovert solo musician up front?

I think it’s a combination of the two. For me, the role of the bass is primarily to provide support, and I love playing that role. Support can be in the form of a groove or a melody, and sometimes both at the same time. When there are vocals on a song, bass players really have to listen and support the singer–or you’ll get fired! I absolutely seek out opportunities to be the laidback supporter, which brings me the greatest joy as a bass player. Have you ever been tempted to make a solo album where you can step forward, writing songs where the bass is more at the front?

In my younger days, I used to write songs that featured bass as the lead voice. At the same time, I also played in cover bands and even wrote songs as a duo – bass and vocals. It wasn’t long before I put more focus on my ensemble playing instead of chasing solo opportunities. While working as a sideman in Boston, Massachusetts (prior to moving to LA), I did have an instrumental trio and wrote material that featured bass as the lead melodic instrument on some songs. But it’s been about 15 years since I’ve had any desire to do that! This excitement to play for the song seems to go hand-in-hand with the gear you use. You seem to have done your homework to trace the roots’ of vintage bass equipment and classic tone?

I’ve had many stops along the way on my quest for the right gear. I didn’t quite find my true voice on the instrument until 1999, when I recorded and toured with Vertical Horizon. The classic vintage tone I was after was only possible with certain combinations of vintage or vintage-inspired gear. It was frustrating to figure it out without the money to buy actual vintage gear. As my quest continued, I realized that the sound I craved and wanted to emulate stemmed from this classic equipment. I definitely did my homework regarding what gear my idols used and I realized that I needed to have that same gear in order to get the tone I wanted. It’s funny how simple that equation is: classic gear equals classic tone.

Hear Sean Hurley on the latest John Mayer album Paradise Valley.

You have a signature Fender Custom Shop bass that certainly has a great vintage vibe to it. Tell us about it?

My signature Fender Custom Shop Bass is a copy of my main Mayer bass, my 1961 Fender P. Mike Eldred, who headed up the Custom Shop at the time, asked me to bring my bass to the shop in December 2012. They measured everything and got to work on recreating it. Mike suggested offering the bass in different colors, and I thought that was a fantastic idea. I love the idea of having different color choices to make someone else’s signature bass feel like your own. The feel and sound are copied from my original ´61, but it doesn’t look like a carbon copy. I really like that. The coolest thing the Custom Shop did was address the foam muting. On my original, I place an ugly piece of foam under the strings by the bridge to shorten the decay of the note. It also changes the tone in a very cool way. I wasn’t sure how Paul Waller (the builder of the bass) would handle it. He came to me with two options: the first option was to tape a clean piece of foam under the strings. The second option was to use a Jaguar guitar mute system, which happened to fit perfectly on the bass. Needless to say, I absolutely love option two. I can flip it on or off as needed.

Sean’s original 1961 P-Bass

Below: Sean’s signature bass with the Jaguar guitar mute system.

At the show in Stockholm, you had some basses set up with flatwound strings, and some with roundwound strings. You also mentioned that you give the flatwounds a special treat before you put them on, could you explain what you do and why?

I love the sound of flatwounds once they are broken in, but that can take way too long to do. It requires hours of play. They have a brightness right out of the package that I don’t like, so I experimented one day by applying Vaseline to grease them up and deaden them. It worked! I do that with every set of flats I use, and they sound like they’ve been on for years! And then of course I never change them.

EBS MAGAZINE – 2015

INTERVIEW: SEAN HURLEY

Are there particular songs in the setlist that call for different strings, or is it just you’d like to have the option to change sometimes? Which ones do you prefer?

There are definitely songs that call for rounds versus flats. I generally stay true to the recordings. If a song was recorded with rounds, I use a bass with rounds. If it was flats, I switch to flats. Most of John’s material that we play live is on flats. It’s a lot of fun to play a flatwound P Bass song after song in front of a huge crowd. I definitely prefer flats. It’s so fun to hear that sound booming through the PA. You had a big bass rig on stage, but that’s not providing the main sound that the audience hear, right?

That’s true. For this tour, I brought a vintage B-15 in an iso cabinet to provide the front of the house and in-ear amp sound. There was also a DI to blend in. I had an SVT for my stage sound, but it wasn’t miked. It was just to shake my booty up there. The FOH engineer, Chad Franscoviak, told me he couldn’t use a mike on the SVT because it was set up so close to the drums that it would get too much drum bleed. So having the B-15 was a beautiful thing. It’s my studio sound, on the road. You use an EBS ValveDrive with the B-15. What settings does it have, and how is it connected with the B-15? What does it bring to the mix?

The ValveDrive set for Sean’s live rig.

I use the EBS ValveDrive to give my B-15 a little more grit or character. I do the same thing in the studio. I rarely ever use the B-15 without the ValveDrive in front of it. It just opens it up and gives it more harmonic interest. It’s pretty subtle, but I would really miss it if I didn’t have it. I generally set it like this: Vol 9 o’clock Treb 3 o’clock Mid all the way up Bass 7 o’clock and Gain at 9 o’clock, on the modern (red light) setting. In the studio, I often use it to really dirty up the amp. In which case I use this setting: (Vintage or yellow light) Vol 9 o’clock Treb 4 o’clock Mid all the way up Bass 7 o’clock and Gain at 10-11 o’clock.

Below: The BassIQ with the super subby settings.

We could spot some more EBS pedals on your pedal board as well. The MultiComp and the BassIQ for instance. Do you have a standard pedal setup that follows you on all gigs, or how do you approach using effects in various contexts?

I have separate pedal boards for live and studio work. My pedal board for the Mayer tour is dialed in specifically for his music, which doesn’t really require any effects. It has the Multi-Comp, which is a great compressor pedal. I use it to beef up the tone just a bit. It also has the ValveDrive, which only affects the B-15. I use the Bass IQ, as a sub bass sound, which is sent to a second DI to be blended in by Front of House and the in-ears. 8

EBS MAGAZINE – 2015

My studio pedal board has more going on and is expandable to accommodate more extreme tonal changes. I have the EBS ValveDrive and three other drive or distortion effects to dial in the exact amount of dirt I need (Xotic Effects BB Bass Pre, Wren and Cuff PhatPhuk, Wren and Cuff Pickle Pie and Z Vex Mastotron). This can vary from subtle to extreme, depending on the session. I also bring a Pelican case full of other effects to loop into the studio pedal board if I need to get a little freaky. My first choice is to grab the right bass, and then I look to the right pedals to get the sound for the song. That applies to both live and studio gigs. Speaking of the BassIQ envelope filter, you use it in a very unconventional way. Could you describe that?

I use the BassIQ set to my super subby setting (Thres: off; Attack: all the way up: Toggle: Up), not as a funky sounding envelope filter effect. I can’t remember exactly when I tweaked the knobs of the pedal and discovered this massive sub thing, but it must have been around ten years ago. I had an “Aha!” moment and decided to use it like that in the studio when a pop producer wants a bass guitar to replace a synth. I set it to never open the filter. It just heaves the lowest thump and has no top end. It’s so huge and subby. On the newer True Bypass models, I open up the pedal and adjust the high frequency all the way off to get the sound I’m after. In the past I tried an octave pedal but that forces me to play an octave above, which is limiting. This way I use the BassIQ on a separate DI to blend in as much sub as the song can handle. Producers love it. So with John Mayer, could you finally give a short summary of how the bass is connected to the front of house? In other words, could you give us the signal chain for your live bass sound?

My live signal chain starts at my pedal board with a Radial Bassbone. I use this as an A/B mute to access my Peterson Strobe Stomp. The A signal goes into the EBS Multicomp and then to a Radial JD7 to split the signal. One line goes into a DI (Radial J48), another is sent to my SVT on stage, a third is sent to the EBS ValveDrive and into the B-15 behind my SVT, and a fourth is sent through the EBS Bass IQ (located on my board) to provide the sub signal via a Radial JDI. Does your studio setup differ from the live rig?

My studio setup is completely different. I have a studio pedal board that was built to split my signal on the board. It has an input for my bass and two outputs. One is a clean signal that goes into my Evil Twin bass DI and the second passes through the pedals, which are only looped in as needed, depending on the song I’m tracking. It also has an additional loop so I can add in pedals as needed.

INTERVIEW: SEAN HURLEY

I only put on my most used pedals so that I wouldn’t have to lug around a board containing every pedal I own. That said, I use just the EBS ValveDrive about 90 percent of the time and nothing else! In the studio, I switch basses more frequently than I alter my sound with pedals. But it all depends on the music I’m asked to play. When you’re not on the road with John, you seem to keep very busy doing sessions in Los Angeles. You started your career on the East Coast studying at Berklee Music College and then playing with the highly successful Washington D.C.-based Vertical Horizon for many years.What made you move to Los Angeles, and how did you do to establish as a first call session player in the new city?

I’ve lived in LA since 2000, so by now I do get called all of the time to do sessions. That was a desire I had dating back to my early days in my hometown Pittsfield, Massachusetts, a very rural area of New England. I’ve always set out to play with as many people as possible. When I got my start in LA in 2000, following a tour with Vertical Horizon, I made it clear to everyone I met that I was not only interested in playing in a band, but that I wanted to work, work, work! I moved from Boston to LA when I was still on the road with Vertical Horizon. It hardly felt like I moved at all. I didn’t have much of a “home” at the time. I flew out to LA a few times during my Boston days to work with Robin Thicke, and the LA music scene excited me so much that I knew I would have to live there if I wanted to truly be a part of it. That was it for me.

Through Robin, I met other musicians and engineers who were instrumental in getting me into other sessions with other producers. It’s the producers who invite you into the studio. They might ask an engineer or a player for a recommendation, but it is the producer’s call regarding who gets the gig. Building up that network of people who trust me to record bass for them took years. It seemed to take five years of living in LA before it felt like I officially joined the session world. What is your best advice to bass players whot are aspiring to land a major gig or establish themselves as session musicians?

My advice to aspiring bass players looking to land a major gig or become session musicians is to play as much as you can and say yes to every gig that comes your way. I got some great live gigs and some great sessions after meeting someone on a not so great gig. Because I was willing to do it, it led to an even better opportunity. You have to be a part of the musical community and be willing to move to LA, New York, or Nashville if you really want to give it a go. Finally, if you had to pick one EBS product – which one would it be, and why?

If I had to pick just one EBS product, I would choose the ValveDrive. It is my go-to pedal to give me anything from a subtle vintage growl all the way to a heavy, dirty distortion. It’s my Number One pedal!

A. Sean’s EBS

ValveDrive hooked up with the flip-top amp from his B15 combo in a rack case on the John Mayer Tour.

B. Sean’s pedalboard with John Mayer featuring an EBS MultiComp and BassIQ. C. The iso cab with the miked B15 on the John Mayer tour. D. Sean’s studio pedalboard with the ValveDrive. EBS MAGAZINE – 2015

REASONS TO PICK EBS BASS AMPS The Swedish-designed EBS bass amps got worldwide recognition when the likes of Marcus Miller, Stanley Clarke and Bon Jovi’s Hugh McDonald brought them to stages all over the world around the Millennium shift. The list of highprofile users has kept growing ever since - in all kind of musical directions - which makes the versatile EBS amps more visible than ever today. Here are the Top 5 reasons for you to consider EBS amps as the amp of your choice!

O1 O3 O5

The sound will always be number ONE! An amplifier must be transparent and natural sounding – which is the hallmark of any EBS amp. We don’t aim for awards for the best looking amp or the lightest bass amp – we aim to make the best sounding amps in the World!

Reliability comes next. We refine and take proven technology to new levels to meet our demands instead of chasing the latest technical developments not knowing if they are yet reliable. The extremely low number of service matters and warranty issues on EBS equipment proves that our strategy works.

EBS amps are the real deal – no bull! There’s not a single amplifier model from EBS that has not been used on a major tour! From the ‘flagship’ Fafner II to the lightweight Reidmar and the Classic 500 – no exceptions.

More than 25 years of experience. EBS first ever product – the EBS-1 studio preamp came out in 1988. The first three customers were Flea, Billy Talbot and Jimmy Earl. Ever since, EBS has continued to develop amplifiers for the pros’ at their headquarters in Stockholm, Sweden.

6 distinct models to choose from EBS amps are now available in 6 different models. The three ‘premium’ rack mounted heads – EBS Fafner II, TD660 and HD360 – are entirely made in Sweden and suited for the toughest touring conditions. The ‘classic’ EBS CL500 offer the EBS sound in an elegant vintage outfit. The EBS Reidmar amps – lightweight amps named after a mean dwarf in Norse mythology – are known for their solid tone, quick response and large headroom, now available in two models, the 470 and the 750. The Classic heads and the Reidmar are Designed & Developed in Sweden. Pair your EBS amplifier with any of the wide range of cabinets offered in the ProLine, NeoLine or ClassicLine configurations to suit your needs!

EBS MAGAZINE – 2015

REASONS TO PICK EBS BASS EFFECTS You may have heard of legendary EBS effects such as the MultiComp and the OctaBass – and you have definitely heard them with top musicians on tours with Justin Timberlake, Bruno Mars and Peter Gabriel or on recordings with bands like Lamb Of God, Porcupine Tree, Deep Purple and several others. EBS offer 15 different bass effect units – including signature models developed for the legends Stanley Clarke and Billy Sheehan. Here are 5 reasons for bass players to check ’em out!

O1 O2 O3

Built from the bottom up. EBS effects are made to match the bass players’ needs. We design and develop effects from the bottom up to meet the challenges that come with the dynamic range of the bass guitar, instead of starting with a guitar effect and try to make it work for bass. We care for the details to preserve the bottom of your sound.

Studio quality sound in a stompbox. The electromechanical components used in EBS pedals are of the same superior quality as in our premium bass heads, which cares for a noiseless, high quality tone. The extended frequency range from 20-20,000 Hz secure great sound from the lowest lows to the highest highs, and is the reason why EBS pedals handle basically any instrument, not only basses.

Based on 20+ years experience. EBS first effect for bass - the legendary OctaBass - came out in 1992. That means more than 20 years of invaluable in-house experience of making effects for bass. The expertise within the company has helped develop our wide range of effects units designed for bass players!

15 distinct models to choose from. The EBS effects are currently available in 15 distinct models – from various filters to several distortions. Whatever your needs are, you are very likely to find the solution within the EBS range of effects. Meanwhile, our tech department is constantly developing new ideas. The units work perfectly together – so why go anywhere else? EBS effects are available in most countries, and through most of the major online shops for musical equipment. If you still have trouble to find them, contact EBS for advice.

Roadworthy construction. The combination of high-quality components and a protective die cast housing makes EBS effects perfect for touring conditions. These tools are made for professional use!

EBS MAGAZINE – 2015

Centerstaging: warehouse

THE TOUR SUPPLIERS THE UNSUNG HEROES THAT MAKES THE SHOW GO ON AND ON.

WITHIN THE COMMUNITY OF MUSICIANS, MUSICAL EQUIPMENT MAKERS AND EVERYTHING SURROUNDING THE MUSIC SCENE THERE ARE VARIOUS KEY PLAYERS NECESSARY TO MAKE THE SHOW GO ON. A KEY PLAYER THAT FEW OUTSIDE OF THIS COMMUNITY ARE AWARE OF, BUT THAT PLAY A VERY IMPORTANT ROLE IN THE BUSINESS ARE THE BACKLINE RENTAL COMPANIES - THE TOUR SUPPLIERS.

bands and artists that experience a certain level of success will sooner or later need their services. Touring is expensive. It comes with a lot of costs and logistical issues. One of these spells b-a-c-k-l-i-n-e. As a band, you need a ‘backline’ of instruments and amplifiers to pull off a show. If you travel the world to play your music you cannot always bring your own stuff or keep your fingers crossed that the local promotor will meet your demands. You need to find a reliable solution that gets you going and still fits within the budget for the tour. Simply put, you need to rent the stuff from a backline rental company.

Same thing with major events such as festivals, live music TV shows and tour packages – whenever such events happen, make sure there’s some level of involvement from a backline rental company.

EBS MAGAZINE – 2015

for a brand such as ebs, those companies

are very important. Musical equipment brands support artists and events to raise awareness of their equipment. The only way to make that happen is to build relations with the rental companies. Such relations are usually based on demand and supply. The brand gets known to a level where the rental companies start getting requests on their products, the brand partner with the rental companies so they can obtain equipment at reduced cost, while the brands artists are offered reduced rental costs – and the gain for the brand is that its gear will be exposed and promoted to a larger audience. EBS work with backline rental companies all over the world. On the following page is a brief presentation of some of them...

CENTERSTAGING, LOS ANGELES Type of services: Tour backline rental equipment, production rehearsal center, events supplier of backline. Clients include: The GRAMMY Awards, Academy Awards, MDA Telethon, Billboard Music Awards, American Music Awards, numerous Presidential Inaugurations, the Olympics, American Idol, Dancing With The Stars, Jimmy Kimmel, The Voice, and many more. Countless tours, and rehearsals with high-profile bands and artists. www.centerstaging.com

Centerstaging: warehouse

LON COHEN STUDIO RENTALS, LOS ANGELES Type of services: Specialized in mint condition backline for studio recordings, tv-shows and video recordings. Also taking care of the personal equipment for many top of the line musicians in Los Angeles. Clients include: Coldplay, Neil Young, Ringo Starr, Aerosmith, Slipknot, Red Hot Chili Peppers, Robben Ford, Ellen De Generes talkshow, The Arsenio Hall talkshow etc. www.loncohen.com

SIR NEW YORK & LOS ANGELES Type of services: Supply the New York and Los Angeles scene including major TV networks, events and artists with backline.

Centerstaging: rehearsal facilities.

www.sir-usa.com

JOHN HENRY’S, LONDON, UK Type of services: One of UK’s largest tour backline supplier. Service offered within Audio Rental, Backline Rental, Crewing, Equipment Sales, Endorsee Support, Event Production, Flightcases, Pro Shop Tour Supplies, Rehearsal Studios, Staging Rental, Storage, Transport. Clients include: Glastonbury festival, BRIT Awards, BBC, Meltdown Festival, X-Factory, The London Jazz Festival, Marcus Miller, Bruno Mars, Prince, Coldplay, Justin Timberlake, One Direction. www.johnhenrys.com

CAPTURED LIVE, GERMANY Type of services: The largest tour backline rental equipment and events supplier of backline in Germany with a client office (for planning/coordinate European tours) in Los Angeles. Clients: Rock Am Ring/Rock Im Park festivals, the Eurovision Song Contest, Live 8, Hellfest, Summerbreeze.

SIR LA in the heart of Hollywood on Sunset Blvd.

www.captured-live.com

BACKLINE STHLM, SWEDEN. Type of services: Backline rental equipment for tours, tv shows and events. EBS first backline partner, now in the process of building a big recording studio in Stockholm. Clients: Many major festivals in Sweden, including the Sweden Rock Festival, many major recording sessions in the Stockholm area, TV shows on several major national TV stations based in Stockholm. www.backlinesthlm.com A FULL LIST OF BACKLINE COMPANIES CARRYING EBS CAN BE FOUND AT WWW.EBSSWEDEN.COM

EBS MAGAZINE – 2015

Backline from Backline Sthlm at the Sweden Rock Festival.

PHOTO: ALFRED NITSCH

ARTIST NEWS SCORPIONS

50th ANNIVERSARY TOUR

– POWERED BY EBS! EBS IS HAPPY TO INTRODUCE SCORPIONS BASS PLAYER PAWEL MACIWODA AS NEW EBS ARTIST! This means the Scorpions 50th Anniversary Tour will be amplified by EBS. Pawels rig consist of TD660 and HD360 amps with ProLine 410 and 115 cabinets. Welcome onboard Pawel!

PHOTO: L ASSE EKLÖF

BILLY SHEEHAN SCANDINAVIAN TOUR ATTENDED BY A 1000 BASS PLAYERS

PASCAL MULOT ON EBS AMPS

In September 2014, EBS Pedal Artist Billy Sheehan did a very successful clinic tour in Scandinavia, supported by EBS. On the visit to Finland, Sweden, Denmark, Norway and Iceland, Billy’s clinics gathered a 1000 bass players in total. While in Stockholm, Billy recorded a tutorial Video Guide for his Signature drive. Check it out by scanning this QR-code.

We are happy to welcome French bass virtuoso Pascal Mulot to EBS! Pascal in not just an EBS artist, but will help us with demo videos too!

MORE NEW EBS ARTISTS: Steve Di Giorgio - Testament/Death Dta (EBS Amps & Effects), Sean Malone - Cynic (EBS Effects), Thomas Bekkevold - JORN (EBS Amps), Michel Bärzen - Degradead/Sonic Syndicate (EBS Amps), Steven Anderson - Threshold (EBS Amps), Patrik Hallgren - Self Deception (EBS Amps), Per Mathisen - Dance With A Stranger (EBS Amps & Effects), Rushad Mistry - independent (EBS Amps), NDIOBA (EBS Amps & Effects), Eugenie Stepanov - independent (EBS Amps), Peter Müller - Solo Artist (EBS Amps), Alejandro Climent - Fito & Fitipaldis (EBS strings) See www.ebssweden.com for the complete current artist roster. 14

EBS MAGAZINE – 2015

EBS ARTIST HENRIK LINDER AWARDED BY BASS PLAYER MAGAZINE PORTR AIT PHOTO: L ASSE EKLÖF

More ‘Young Guns’ to keep an eye on:

Award winners Henrik Linder : & A be L aboriel

Henrik with Tribal

Tech

For the second year in a row, Bass Player Magazine chose an EBS Artist for their Young Gun Award! Last year’s win by Tal Wilkenfeld was followed by bass player Henrik Linder of DIRTY LOOPS, who received his award at Bass Player Live in Los Angeles, November 2014. Henrik performed with Tribal Tech’s Gary Willis, Kirk Covington and Scott Kinsey in the very same room where Dirty Loops landed their record deal with David Foster’s Verve label. Both Tal and Henrik was on the cover of the EBS Magazine the same year they got the award!

PHOTO: R ALF BJURBO

BACKYARD BABIES 2015 COMEBACK + EBS

Swedish rock icons BACKYARD BABIES are back! Their first album in five years is to be released soon, supported by excessive touring beginning this summer with many major festivals around Europe. We are happy to introduce bass player Johan Blomquist as new EBS Artist! Johan uses EBS CL500 amps with ClassicLine 810 cabinets, as well as EBS ValveDrive DI, MultiComp and DynaVerb pedals.

Jamareo Artis - badass bass player with Bruno Mars. 25 year old EBS Pedal Artist Jamareo is one of the reasons why you see Bruno Mars band live on almost every big TV award. They always deliver! Jamareo uses EBS effects.

Swaeli Mbappé - Like father like son, Swaeli follow the steps of Etienne and is an incredibly talented bass player in his early 20’s, and EBS Artist too! There’s no doubt he could be the next great bass star emerging from the French music scene.

Elin Sandberg is a young Swedish bass player currently studying at the Berklee Music School in Boston. In 2015 she’ll be playing on Grammy Award winning drummer Terri Lyne Carrington’s coming album, that also feature among others Chaka Khan, Esperanza Spalding and Nathalie Cole. Watch out for Elin! Elin uses EBS amps, cabs and combos.

EBS MAGAZINE – 2015

A TRIP DOWN MEMORY LANE...

NAMM 2015. Marcus Miller did a 2 hour signing session at the EBS booth, and finished by signing the poster for the event for EBS. Here with Bo Engberg, CEO at EBS and Ralf Bjurbo, Marketing & Artist Relations Manager at EBS.

ABOVE. EBS Artist Tal Wilkenfeld made an appearance at EBS booth at NAMM 2014, all of a sudden Anthony Jackson came by to say hello. In between signing for the hundreds of fans she jammed with drummer Steve Ferrone (Tom Petty etc.) LEFT. EBS Artist Henrik Linder (Dirty Loops) signed at the EBS booth at NAMM 2015. Picked up a bass to play and show some techniques for the crowd.

EBS MAGAZINE â&#x20AC;&#x201C; 2015

@ebsswedenofficial

ABOVE. Paulo Mendonca and Jay Tee Teterissa played some funky music at the EBS booth at MusikMesse 2014. RIGHT. At the same show, Blind Guardian bassist Barend Courbois appeared with Delain guitarist Timo Somers.

ABOVE. Etienne Mbappé with guitarist Anthony Jambon and Etienne’s son Swaeli at NAMM 2015. RIGHT. Alex Al with his EBS rig on the Arsenio Hall Show, January 2014.

ABOVE. The Duke of EBS Ambassadors; Jackie Clark with Tom Barney (Steely Dan, Lionking on Broadway etc) and Warren McRae (Tina Turner) at EBS NAMM booth 2015. RIGHT. Our most shared picture on Twitter in 2014. The rig of One Direction’s bass player Sandy Beales!

EBS MAGAZINE – 2015

#tbt #ebsswedenrocks

MARCEL JACOB TRIBUTE. Talisman re-united for a special concert at the Sweden Rock Festival 2014 to honor the memory of their former bass player and EBS Artist Marcel Jacob, who sadly passed away a couple years ago. To fill the big shoes of Marcel, another EBS artist, Johan Niemann stepped in and did an excellent job. Although early on the day, thousands of people showed up and paid tribute. Band photo by Daniel Falk. Crowd photo by Ralf Bjurbo.

ABOVE. EBS Artist Anders Iwers with Avatarium did one of the best gigs on the whole festival at Sweden Rock 2014. LEFT. EBS Pedal Artist Jon Lawhon pounding the bass with Black Stone Cherry at the same event. Both photos: Daniel Falk. 18

EBS MAGAZINE â&#x20AC;&#x201C; 2015

@ebsswedenofficial

NAMM 2014. Grammy awarded producer Josh Wilbur (Lamb Of God, Killer Be Killed, Butcher Babies etc) with his favourite amp that he use in his studio – the EBS Fafner II!

BJORN ENGLEN. EBS Artist Bjorn Englen on a clinic at Rytmus Music School in Stockholm, December 2014. A school that has seen several famous Swedish artists including Robyn and Tove Lo among their students.

NAMM 2014. Killswitch Engage bass player Mike D’Antonio enjoy a beer on the signing at EBS!

STEVE DI GIORGIO from Testament and Death Dta is a new EBS Artist.

NAMM 2015. Billy Sheehan signing a Billy Sheehan

Photo taken just before this magazine was sent to print by Daniel Falk.

Signature Drive banner at NAMM Show 2015.

EBS MAGAZINE – 2015

EBS PRODUCT GUIDE 2015 THE TOOLS FOR PROFESSIONALS

IN 2015, EBS INTRODUCE A NEW GENERATION BLACK LABEL PEDALS – THE STUDIO EDITION. SEE PAGE 38

EBS MAGAZINE – 2015

PREMIUM AMPS & CABINETS

EBS FAFNER II THE EBS FLAGSHIP

HAVE YOU EVER USED A DRIVE PEDAL WITH A BLEND CONTROL TO SEAMLESSLY BLEND YOUR CLEAN TONE WITH THE DRIVE? THAT’S A SIMPLE WAY TO EXPLAIN HOW THE EBS FAFNER II WORKS – WHEN USED IN PARALLEL MODE.

the ebs fafner ii uses a two channel preamp.

The bottom channel is your Clean sound and the top channel is the Drive, both with separate tone controls to shape the sound.

Peter Iwers with In Flames on stage. Photo by Ralf Bjurbo.

When the channels run in parallel mode, the signal splits in two after the input Gain and Character. At the end of the line, there’s a blend control for the Drive channel (LEVEL) to control how much distortion you want, and a level control for Clean channel (CLEAN LVL) to set the balance between the distorted and clean channel (similar to the Level and Clean controls on the Billy Sheehan Drive).

From there the signal goes to the main Volume control. In parallel mode, you will leave the bottom clean and defined, while you add as much distortion as you like on top. If you turn the CLEAN LVL all the way down in parallel mode, with Drive switch active, you can switch between the Clean and Drive Channels using the EBS RM-4 footswitch remote control (sold separately).

EBS MAGAZINE – 2015

MADE IN SWEDEN EBS PREMIUM GEAR

The Tube mode sends the signal through a EBS PREMIUM 12AX7 (ECC83) tube adding tube character and EBS FAFNER II MADE IN SWEDEN compression to the clean channel. Type the fafner ii feature a Hi and a Lo boost character filter. Both engaged at the same time create a mid scooped, pre-shaped sound character. They can also be used one at a time to boost just the lows or highs.

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

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

if you add a footswitch, such as the EBS RM-4, you can kick in the Drive when you need it, offering extended flexibility on stage. The same footswitch can be used to kick in the Character Hi and/or Lo pre-shape filters, and bypass the EQ as well as mute the amp.

A unique feature is the TWO balanced XLRoutputs on the front. These can send out a preand a post-EQ line signal â&#x20AC;&#x201C; at the same time! This is great in the studio or on stage and gives the sound engineer two different signals to blend together.

the advanced drive has some optional

individual effect loops for each channel

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

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

SIGNAL CHAIN

Drive Channel Filters

Level

Clean Channel Filters

Clean Lvl

Drive Channel Filters

Level

Clean Channel Filters

Clean Lvl

Solid State/Tube Hybrid with 2-channel preamp Unique Features Two Channel Preamp with separate Drive Channel, possible to run in parallell or serial mode. Individual Fx-Loop for each channel. Common Fx-loop with mix level control (0-100%). Tube Mode. Built-in Compressor. Hi and Lo-boost character filters. Filter Remote Inputs. Double Balanced XLR-Out (post & pre). Line Out, Amp Input, Lo-Z Input and Tuner Output Power 750 W RMS @ 2 ohms

SERIAL MODE (with Serial Mode switch on) Gain

Comp

Input

VOLUME

VIDEO DEMO!

VOLUME

WWW.EBSSWEDEN.COM

PARALLEL MODE (with Serial Mode switch off) Gain

Input

Comp

EBS MAGAZINE â&#x20AC;&#x201C; 2015

Tal Wilkenfeld. Photo by Ralf Bjurbo.

EBS HD360 & TD660 THE PROS’ WORKHORSES EBS TD (TUBE DEFINITION) AND HD (HIGH DEFINITION) BASS HEADS HAVE EARNED THEIR REPUTATION AS TRUSTED “WORKING HORSES” BY YEARS OF TOURING. they have served big productions such as EBS HD360 Type Solid State with 4-band EQ Unique Features Effects Loop with Mix Level Control (0-100%). 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

HD360 DEMO!

WWW.EBSSWEDEN.COM 24

EBS MAGAZINE – 2015

world tours with Bon Jovi, Kid Rock and Tina Turner, intimate tours with demanding bass players like Marcus Miller and Tal Wilkenfeld as well as loud and rough tours with hard working bands like The Haunted (with well over a 1, 000 gigs on EBS TD heads) or Danko Jones. Just being reliable is not enough. These heads also offer incredible tone; natural and true to the character of the instrument and personality of the musician using it. the ebs td660 is the powerhouse. With 660

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

hd360 is completely based on Solid State technique. The HD heads have become favorites among studio session players, offering an exceptionally good and thought-out EQ that has been tuned-in carefully to cover all the frequency ranges that you need to optimize your tone. With a 360 W RMS output it offers enough power for most of us, and is slightly smaller and lighter in size than the TD head. the

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

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

MADE IN SWEDEN

PREMIUM AMPS & CABINETS

EBS PREMIUM GEAR

EBS PREMIUM

MADE IN SWEDEN

feedback with the Frequency control. It is very useful in rumbling venues that may pick up certain frequencies, or when you get feedback from an instrument, such as an upright bass. Next control is the shelving Treble filter and then the unique Bright filter, which is almost like a volume control for the cabinet’s tweeter. When turned up it opens up the sound and makes the tone huge and alive. the drive is the only difference on the front panel, where the TD offers the extended options Tube Mode (to connect the tube), and Boost Mode. Boost Mode boosts the whole frequency range when turning up the Drive, adding distortion to the whole spectra.

the back panel contain all the extras to discover. There’s the Effects Loop, featuring a Mix level control that lets you blend in all effects hooked up through the loop with your sound, from zero to a hundred percent. There is a Tuner output, for connecting a tuner rack unit easily. You have a Line out, in case you need the power from another amp to drive a second pair of cabinets, and finally the Filter Remote Inputs to connect the RM-4 footswitch that lets you switch on and off Character, Filter Bypass, Drive and Mute from front of stage. The EBS RM-4 footswitch works with the TD660, HD360, Fafner II and the new Reidmar 750 heads.

the balanced xlr output send a perfectly

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

balanced line signal to front of house or the studio mixing console without the need of an external line box. You can choose between post/pre EQ, with our without Speaker Simulation and Ground lift.

TD660 DEMO!

the input jack has a special feature since, if used with a stereo cable, it offers 9V DC Phantom Power output, that can be used to power a 9V DC active bass.

WWW.EBSSWEDEN.COM

EBS MAGAZINE – 2015

PREMIUM AMPS & CABINETS

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 Remote Jacks. Remote jacks for the EBS RM-4 footswitch to control Character Filters (on/off), Filter Active (on/off), Drive Channel (on/off) and Mute. 8 FX Mix Level Control. Blend the effects connected through the common effects loop (4) with the amp sound. 0% (off), 50% (parallel), 100% (serial). 9 Post AND Pre EQ Balanced XLR-Out. Equal to a high end line box to connect to PA mixing consoles or studio broadcast units, with high noise immunity. With Gnd Lift and Pad switches. Pad sets the option of either studio standard level or microphone level. Post and Pre XLR-out can both be used at the same time.

Front panel

EBS TD660 & HD360 4

Front panel 1

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 Remote Jacks. 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.

Front panel

EBS BASS AMP ACCESSORIES

EBS MAGAZINE – 2015

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

CONNECT, CONTROL AND PROTECT YOUR AMPLIFIER.

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

MADE IN SWEDEN EBS PREMIUM GEAR

TECHNICAL INFO - EBS FAFNER II Input Impedance: 2 Mohms Frequency Response: 20 - 20.000 Hz Gain Range: -oo - +30 dB Compression Ratio (max): 3:1 Clean Channel EQ: Bass +/-18 dB @80 Hz Middle +/- 15dB @100 - 4.500 Hz, Q=0.7/1.8 Treble +/- 15 dB @10 kHz Drive Channel: Gain Range: 0 - 40 dB Drive Type: Tube (ECC83) Post Drive EQ: Middle +/- 15 dB @50 - 2.000 Hz Edge +/- 12 dB @ 6 kHz Speaker Impedance: 2 - 8 ohms Continuous Output Power: >600 W RMS @ 4 ohms, 750 W RMS @ 2 ohms Dimensions, W x D x H: 48 x 36 x 13 cm / 19” x 14” x 3U Weight: 16 kg / 36 lbs.

EBS PREMIUM

MADE IN SWEDEN

TECHNICAL INFO - EBS TD660 Input Impedance: 1 Mohms Frequency Response: 35 – 20.000 Hz Compression Ratio: 3:1 Tone Controls: Bass +/- 15 dB @ 100 Hz Mid +/- 12 dB @ 50 –3.000 Hz, Q=0.5 Treble +/- 15 dB @ 6 kHz Bright -0 / +12 dB @ 10 kHz Drive Section: Gain: 0 – 34 dB Drive type: Solid State or Tube (Groove Tubes®) Speaker Impedance: 2 -8 ohms Output Power: Continuous 540 W RMS, Dynamic Output Power 660 W RMS Dimensions, W x D x H: 48 x 36 x 13cm / 19” x 14” x 3U 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.

Specifications are subject to change without notice.

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

EBS MAGAZINE – 2015

Swaeli Mbappé. Photo by Lasse Eklöf EBS PROLINE 13-ply Birch & Spruce plywood covered with resistant felt. Protective woven steel grill wich chromed look. Deep Dish Handles. Heavy-duty back wheels with top and side handles on 810 & 610 models. 2x Neutrik® SPEAKON connectors for input and link through. Conventional speakers selected & optimized for each model. Adjustable 2” tweeter.

EBS PROLINE NATURAL SOUND DEVELOPED THROUGH EVOLUTION. BUILT WITH THE FINEST QUALITY 13-PLY BIRCH AND LIGHTWEIGHT SPRUCE PLYWOOD, THESE SPEAKER CABINETS RADIATE THE NATURAL TONES CREATED BY THE TECHNOLOGY THAT PRECEDES THEM. transparency,

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

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

Optional Matching rack cases available in 3 & 4U height. Warranty Five year limited warranty.

EBS ProLine 210 Configuration: 2x10” + 2” Power handling: 400W RMS Impedance: 4 ohms Freq response: 70 -18.000 Hz Sensitivity: 99 dB Dimensions 23” x 17” x 15” (W x D x H): 58 x 44 x 39 cm Weight: 22.3 kg/49.2 lbs

EBS MAGAZINE – 2015

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 - 18.000 Hz Sensitivity: 100 dB Dimensions 23” x 17” x 27” (W x D x H): 58 x 44 x 69 cm Weight: 27.1 kg/59.7 lbs

EBS ProLine 610 Configuration: 6x10” + 2” 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

MADE IN SWEDEN

PREMIUM AMPS & CABINETS

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

EBS PREMIUM GEAR

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

EBS PREMIUM

MADE IN SWEDEN

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

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

Optional Rack cases available in 3 & 4U height. Warranty Five year limited warranty. MINI SIZE

EBS NeoLine 112 Configuration: 1x12” + 2” 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

EBS MAGAZINE – 2015

MAGNI 500 BASS COMBO AMPS

COMING SOON!

EBS MAGNI 500

GET YOUR TONE SAFE AND SOUND

EBS MAGAZINE – 2015

EBS INTRODUCES A COMPLETE NEW LINE OF BASS COMBOS BASED ON THE AWARD WINNING REIDMAR AMP DESIGN. THESE ARE GREAT SOUNDING COMBOS THAT PRESERVE THE TONE OF YOUR BASS AND YOUR PERSONALITY!

MAGNI 500 FEATURES & BENEFITS: • Based upon the award winning Reidmar amp design. • Extremely transparent to the character of your instrument. • Fast responding and easy to dial in. • High efficiency speakers for best tonal character.

ebs has a fine tradition of making bass combo

units for professional use. All previously released combo models feature an entirely analog amp design.

• Excellent power-to-weight ratio. • Available in 2x 10” and 1x 15” full range configurations with tweeters.

However, in recent years the market for high-end, analog solid state combos has been challenged by a wave of lightweight, price-worthy units that may save the backs and bucks of bass players around the world, but sometimes by paying the price of a compromized sound.

• Switchable between 120/230V. • Balanced XLR output with ground lift. • Comes with protective cover.

ebs has taken the necessary time to solve the

equation of making a professional sounding, competitive bass combo incorporating the new lightweight amp design. the ebs magni 500 is available in two configurations, the 210 (2x10” + tweeter) and the 115 (1x15” + tweeter). Both use an amp section based on the award winning Reidmar design. Etienne Mbappé. Photo by Lasse Eklöf

The name Magni stems from yet another character in Norse mythology – Magni, son of Thor (the God of Thunder). The word Magni translates to ‘Strong’ and is indeed significant for these thunderous Magni 500 bass combos!

MAGNI 500 preamp is identical with the Reidmar 470 and feature a preshape Character optional filter, adjustable Compressor/Limiter, a 4-band EQ with Notch and Bright filters. Bypass switch for the EQ and controls for input Gain and output Volume.

MAGNI 500 Back Panel feature an Effects loop, Remote connectors, Line out, Headphones output and a Balanced XLROutput (Post/Pre EQ). The Magni 500 combos feature a switch between 120/230V.

EBS MAGAZINE – 2015

LIGHTWEIGHT BASS AMPS

EBS REIDMAR LIGHT-WEIGHT AMPS WITH HEAVY-WEIGHT SOUND!

THE REIDMAR IS THE LIGHT-WEIGHT BASS AMP FROM EBS PROFESSIONAL BASS EQUIPMENT. A LIGHT-WEIGHT DESIGN THAT CHALLENGES ANY HEAVYWEIGHT BOUTIQUE AMP IN TONAL QUALITIES. THE REIDMAR TAKES FULL ADVANTAGE OF THE EBS FAMED ANALOG PREAMP TECHNIQUE COMBINED WITH A CLASS D POWER AMP. natural sound.

The EBS philosophy is to amplify the character of the instrument and the personality of the musician, to offer a natural sound. The physical aspects of a class D power amp makes that mission a real challenge. However, the award winning EBS Reidmar amp shows that anything is possible with clever engineering! Due to advanced soft-clip technology, the Reidmar does not suffer any loss of definition in the low register when the volume is turned up. The Reidmar takes maximum advantage of the power offered.

look and feel. EBS has never had the intention to

make the world´s lightest and smallest amps, but to make light bass heads that look, feel and sound like real bass amps!

ebs reidmar 470. Anyone familiar with EBS bass amps will feel at home with the Reidmar. The preamp is analog, sporting the renowned built-in compressor from EBS and a 4-band EQ section that is really intuitive. The characteristic Bright and Notch filters are there. The amp features an Effects loop, Balanced XLR-out for live and studio use (with pre/post EQ switch and Ground Lift), Line out, Headphones out and a Speakon speaker output. The amp processes the sound through the analog preamp with a D class power amp providing up to 470 W output.

The EBS Reidmar 470 matches perfectly well with a couple EBS ClassicLine mini-size 112 cabinets, or the NeoLine minisize cabinets for more clarity and punch.

new! ebs reidmar 750. The 750 will be launched in 2015. It is based on the award winning design of the original Reidmar and offers an outstanding power-to-weight ratio with an output up to 700 W RMS.

REIDMAR 470 Back Panel of the 470 model with Phones Out, Line Out, Speaker Out, Effects loop and Balanced XLR-Output (Post/Pre EQ).

Above: Both models can be switched between 230 V / 120 V

The preamp is almost identical to that of the 470 but the added Drive section adds to the palette of tools to shape your tone and make it wilder and more aggressive than its smaller companion. On the back, the new Reidmar 750 shares all features with the 470 and also features remote footswitch control inputs. Connect the EBS RM-4 footswitch to activate and/or bypass the Drive, Character filter and EQ section on the amp as well as to mute the sound.

REIDMAR 750 Back Panel of the 750 model with Speaker Out, Effects loop, Remote connectors, Line out, Phones out, Mini-tele input and Balanced XLROutput (Post/Pre EQ).

EBS MAGAZINE – 2015

The Reidmar 750 is the perfect light-weight amp to use with any full size EBS cabinet. It won’t let you down on any type of gig!

EVERYONE DESERVES A GREAT BASS SOUND

EBS Reidmar 470.

The new EBS Reidmar 750. Wilder and stronger with more power and a Drive control added.

FEATURES & BENEFITS Type Analog preamp, Class-D Power Amp with 4-band EQ Features Effects Loop. Built-in Compressor. Character Filter. Filter Bypass. Headphones Output (470 model only). Notch Filter to prevent feedback. Bright Filter. Drive (750 model only) XLR-Out with Speaker Simulation.

Dutch EBS Artist Jay-Tee Teterissa with his Reidmar and NeoLine 112 cabinet.

120 V/230V switchable Output Power 470 470 W Dynamic @ 4 ohms / 250 W RMS Output Power 750 700 W RMS @ 4 ohms

EBS MAGAZINE â&#x20AC;&#x201C; 2015

CLASSICLINE AMPS & CABINETS

THE EBS CLASSIC LINE

A CLASSY LOOK WITH A CLASSIC SOUND. vintage tone. The EBS CL500 retro-styled

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

EBS CL500 - Technical Specifications Input Impedance 1 Mohms Gain range -oo / +28 dB Character filter Shelving High/Low Pass +6 db @ 75 Hz -2.5 dB @ 800 Hz +3 dB @ 9 kHz Tone Controls Bass Shelving +/- 15 dB @ 100 Hz Low Mid Sweepable 150-900 Hz +/-15dB, Q=0.9 High Mid Sweepable 1.2-7 kHz +/-15dB, Q=1.1 Treble Shelving +/- 15 dB @ 10 kHz Drive Section Gain 0-30 dB, Low end compensation <250 Hz Other Features Balanced Output, Line Out Minimum speaker impedance 2 ohms Output Power 500 W RMS @ 2 ohms load 440 W RMS @ 4 ohms load Dimensions (W x D x H) 19.3” x 11.8” x 8.5” (49cm x 30cm x 21,5cm) Weight 14 kg / 31 lbs

EBS MAGAZINE – 2015

The thoughtfully designed EQ puts you firmly in the driving seat adding everything from subtle, vintage overdrive to a mean driving distortion, whilst maintaining a beautiful low rounded bottom end. the perfect match. The CL500 is the perfect match for ALL EBS ClassicLine cabinets, including the narrower mini size 112 cabinets, due to the new compact outfit. The EBS CL500 amp comes with a padded cover.

EBS CL500 AMP Type Solid State Unique Features 4-band EQ with Dual Mid-Range filters Character Filter. Very musical Drive. XLR-Out post/pre EQ

EVERYONE DESERVES A GREAT BASS SOUND

The 2015 ClassicLine cabinets update include: Photo by Daniel Falk.

• Improved front cloth design for better airflow. • Heavy-duty hardware. • Lock-in-place cups matching the footprint of the CL500 amp on the bigger cabinets.

the classicline cabinets make the EBS great bass sound available to every bass player. Reminiscent of the EBS ProLine cabinets, with a little warmer and rounder character that adds a vintage touch. These are powerful cabinets that will make demanding bass players satisfied. common fetures. The Classic Line cabinets are made of multi-

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

2015

update.

A new front cloth has been developed with significant improved air flow for better sound and reduced vibrations. New heavy-duty protective corners on all models and new casters for the 410 and 212 models. ‘Lock-in-place’ cups matching the footprint of the EBS CL500 amp has been added to the CL410, 212 & 810 models.

Cabinet Specifics Made of multi-laminated plywood covered with vinyl. Cloth front. Deep Dish Handles.Heavy-duty casters and lock-in-place cups for EBS CL500 on the 810, 212 and 410 models. 210, 410, 212 and 810 comes with a padded cover. Speakers & Connectors 2x Neutrik® SPEAKON connectors for input and link through. Conventional speakers selected & optimized for each model. Adjustable 2” tweeter on 410, 212 and 810. 2” tweeter with on/ off switch on the 112 mini size model. Optional Matching rack cases available in 3 & 4U height. Warranty Five year limited warranty.

MINI SIZE

EBS ClassicLine 112 Configuration: 1x12” + 2” 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: 55 -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 – 2015

SESSION BASS COMBO AMPS

EBS SESSION COMBOS GREAT SOUND, FOR EVERYONE! “A well-built, affordable and versatile bass combo. Highly recommended” 5 of 5 stars Bass Guitar Magazine, UK

EBS SESSION 120

BASS AMP OF THE YEAR IN GUITAR & BASS MAGAZINE

the session combos are all based on the EBS Classic bass heads, scaled down to serve each context the best.

stripped off of all the other features not really necessary to get a great tone, and they are made of less expensive materials.

The philosophy behind the concept is to create combo amps with all the essential features to any bass player – a great sound, professional tools to shape the tone, and a quality XLR output to make use of the great sound for recording or to front of house in a live situation. What makes the combos available in a price range within reach for everyone is that they are

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

EBS MAGAZINE – 2015

The 2015 models feature a new front cloth developed with significant improved air flow for better sound and reduced vibrations.

EVERYONE DESERVES A GREAT BASS SOUND

30 60 120

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

EBS SESSION 30 Configuration: 1 x 8” 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

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

EBS SESSION 60 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

the ebs session 60 tilt-back combo features a 10”

speaker and a tweeter. It sounds great straight from the box and offers controls for Gain, Bass, Treble and Volume to further dial in the tone. The Enhance filter turn the Treble control into a mid-sweep filter that allows further adjustments, and the Character filter adds a smile on the EQ making it easy to find a good sound in no time.

EBS SESSION 120 Configuration: 1x12” + tweeter Output: 120W RMS Freq response: 45 -18.000 Hz Cabinet Volume: 35 L Dimensions 17.1 x 17.9 x 15.8” (W x D x H): 43.5 x 45.5 x 40 cm Weight: 21 kg / 47 lbs

The balanced XLR output makes it possible to use it live on a larger stage as well as in the studio. With the monitor RCA input jacks with mix-in filter and stereo headphones out you can practice whenever you want.

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

The 2015 models include a new front cloth design for better airflow.

The EBS Classic Session 120 is a step up compared to the Session 60, although still based on the same concept. This means a tone character similar to the EBS Classic bass heads that offer a full bodied, warm bass sound with great punch and bottom. Add to that an extended EQ with Mid control, twice the power, and a 12” speaker fitted in a larger cabinet for better bass response and bigger tone.

EBS MAGAZINE – 2015

BLACK LABEL PEDALS

EBS BLACK LABEL NEW 2015 STUDIO EDITION!

EBS INTRODUCE 6 IMPROVED AND RENEWED MODELS OF THE BLACK LABEL PEDALS, CALLED THE STUDIO EDITION, IN 2015! NEW DISTINCT DESIGN, BETTER SOUND AND MORE USER FRIENDLY THAN EVER. YOUR STUDIO SOUND LIVE! ebs launched their first pedal for bass

EBS MAGAZINE – 2015

already in 1992 – the famous OctaBass. Over the years, the company has developed its Black Label line of analog and digital effects to become one of the leading makers of effects specialized for bass, producing classic units such as the MultiComp, MultiDrive and UniChorus, to mention just a few.

now introduces a new generation Black Label Pedals - the Studio Edition. While being faithful to their origins when it comes to the sonic qualities, the new generation of pedals feature several improvements and a new distinct design to be able to serve yet another generation of great bass players.

The combination of unrivaled studio quality tone and elegant simplicity in its design strike the perfect balance between professional sound and user-friendly gear that even your drummer will understand how to operate. These are like Volvos equipped with Ferrari engines.

The new pedals can be powered by a 9V DC battery or an external DC power adaptor (9-12V). Battery is no longer included, for environmental reasons, and for the same reasons we recommend powering your pedals with an adaptor such as the EBS AD-9+, that can power up to 20 EBS pedals.

ebs

THE STUDIO EDITION

NEW IMPROVEMENTS INCLUDE: • New low noise switching using signal relays for extremely low mechanical noise and improved life span.

BL ACK L A BEL

• Jumbo sized led lights for better action indication.

STUDIO EDITION

• New design handling 9 to 12V DC power. • Better protection for accidental voltage spikes. • New design for stronger individual identity. • Optimized signals for studio environment.

EBS UniChorus Analog Chorus

EBS MultiComp Analog Compressor

EBS DynaVerb Digital Stereo Reverb

The EBS MultiComp is a studio quality, analog compressor pedal. Choose between solid state, tube simulation and multi-band compression. Active/ passive switch. True Bypass. Fine-tuning options for Threshold inside.

The EBS DynaVerb provides eight different stereo digital reverb effects, from Rooms, to Plates, to Halls. This pedal uses a 24-bit digital processing circuitry for outstanding performance. True Bypass. Extended options inside to set the reverb in parallel mode.

The EBS UniChorus is a studio quality analog Chorus, Flange and Pitch Modulation effect in one. This pedal is built with the best analog processing circuitry available. Stereo output. True Bypass. The internal fine-tuning option to change the Effect mix can be used to blend in the effect with the original tone.

EBS OctaBass Analog Octaver Effect

EBS MetalDrive Analog Distortion

EBS MultiDrive Analog Overdrive

The EBS OctaBass analog octave divider adds a new dimension to your sound. It creates a single note one octave below the pitch of the played note. Control the level of the original tone and mix in the octave effect. Choose between High, Mid or Low range. True Bypass.

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

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

EBS MAGAZINE – 2015

BLACK LABEL PEDALS

THE CL ASSIC EDITION

EBS BLACK LABEL

’CLASSIC’ EDITION

THESE THREE CLASSIC EBS BLACK LABEL PEDALS WILL ADD NEW DIMENSIONS TO YOUR SOUND. DESIGNED FOR BASS PLAYERS BUT FAVOURED BY MANY GUITARISTS, THEY WORK SILENTLY WHILE PRESERVING THE LOW RANGE.

COMMON FEATURES: • Suitable both for studio and live use • Compact, robust and easy-to-use

while introducing the STUDIO EDITION in 2015, these three models

from the CLASSIC edition of the Black Label pedals series will continue to live on in their classic outfit for 2015 (at least). Color your sound with these great effects, the DPhaser will bring back classic sounds from the 70’s like no other phaser effect today, the TremoLo is a true analog stereo tremolo that works just as perfect for guitar as it does for bass and the BassIQ envelope filter simply makes playing more fun! Use it for wha-type effects, or sub notes (see Sean Hurley interview in this magazine) or in the ”Down” setting for synth-bass like sound out of your stringed instrument! Get them while they last!

EBS DPhaser Digital Phaser

EBS TremoLo Analog Stereo Tremolo

• Built for bass, great for guitar, keys etc., supremely adaptable • Fine-Tuning options on several Black Label Pedals • Preserve the low range • True bypass • 9V DC

EBS Bass IQ Analog Envelope Filter

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

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

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

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

Extended fine-tuning options inside: Gain level fine tuning.

Extended fine-tuning options inside: High-pass filter mix-in, Gain trimmer, Dynamic High-pass filter mix-in.

EBS MAGAZINE – 2015

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

RED LABEL PEDALS

EBS RED LABEL

GUITAR EDITION

OVER THE LAST YEARS, THERE HAS BEEN A GROWING DEMAND FOR EBS EFFECTS AMONG GUITARISTS. WE ARE NOW LAUNCHING EFFECTS SPECIALLY MADE FOR GUITAR – THE RED LABEL PEDALS!

FEATURES & BENEFITS: • Optimized for use with guitar. • All models have excellent full range frequency response with no roll-offs.

the first three units in the RED LABEL SERIES are guitar versions of our two most popular effects among guitarists, the MultiComp and the DynaVerb, and an improved version of the Red Twister chorus, that originally came out in very limited numbers back in 1999 (and thus now very sought after in the second hand market). All made, tweaked and twisted to benefit the electric guitar the most.

• Studio sound quality with a character that reveals the tone of the instrument.

The Red Label Pedals are developed with the collective input from our guitarist customers feedback, as well as from a selected group of some of the most busy professional guitarists in Sweden. A limited edition will be available already in the Spring of 2015, with worldwide availability in the Fall of 2015.

• Signal relays switching technique for extremely low mechanical noise and long life span.

EBS MultiComp Guitar Compressor The EBS MultiComp Guitar Edition is a studio quality, analog compressor pedal fine tuned for guitar. Choose between solid state, tube simulation and multi-band compression. Active/passive switch. True Bypass. Fine-tuning options for Threshold inside.

EBS Red Twister Guitar Chorus The EBS Red Twister is a studio quality analog Chorus and Flange effect for guitar with stereo output and true bypass. The internal fine-tuning option to change the Effect mix can be used to blend in the effect with the original tone.

• Handling 9 to 12V DC power with protection against accidental over voltage.

• True bypass.

EBS DynaVerb Guitar Stereo Reverb The EBS DynaVerb provides eight different stereo digital reverb effects, from Rooms, to Plates, to Halls. This pedal uses a 24-bit digital processing circuitry for outstanding performance. True Bypass. Extended options inside to set the reverb in parallel mode.

RED LABEL

EBS MAGAZINE – 2015

SELECTED & SIGNATURE PEDALS

SPECIAL EFFECTS

EXPAND YOUR TOOLBOX!

THE EXTENDED RANGE OF EBS EFFECTS AND PREAMPS INCLUDE EXCLUSIVE SOUND PROCESSING TOOLS FOR STAGE AND STUDIO USE AS WELL AS ARTIST CO-LABORATIONS WITH SOME OF THE GREATEST BASS PLAYERS AROUND! EXPECT MORE EFFECTS TO ARRIVE UNDER THESE ’LABELS’ IN THE NEAR FUTURE!

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

Two channel preamp Five different filters Tube simulator Balanced XLR-output with speaker simulator Effects loop with mix control Flexible drive control Headphone output Battery low indicator Four different powering modes

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

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

The new edition runs on 9 V DC power. Power supply included. The design in steel, chrome and Bakelite is based on a classic concept with an easy dial-in design.

All musical high grade tube design

Balanced XLR-Out Vintage or modern tube sound

Classic style passive filters Class A tube overdrive pedal Designed for best bass response

It’s my Number One pedal! - Sean Hurley, John Mayer

9 V DC Power Supply included True bypass

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

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

EBS MAGAZINE – 2015

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

Gain, Shape, Volume and Blend controls. Three Character modes - Flat, Mid-scoop and Maximum Mid-scoop. True Bypass. Power options 9V DC battery or EBS AD-9+ Power Supply (not included)

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

The EBS Fuzzmo is the nastiest monster you’ll find while maintaining a solid natural bass sound. Nothing else can touch it! - Jon Lawhon, Black Stone Cherry EBS Billy Sheehan Signature Drive The several times awarded Billy Sheehan Signature Drive pedal is based on the concept of mixing together a clean signal with a distorted to be able to preserve low frequencies and find balance between distortion and definition. A built-in compressor make possible to keep the note differentiation clearly audible even at heavily distorted sounds. This pedal also offers unlimited pre-post mix tone shaping, made possible by including a clean loop and a drive loop. The user can add any other effect they wish within each loop, using an insert cable (ICY-30, see picture below), to ’pimp’ the effect into your own signature effect! There are controls for Drive (gain for the overdrive engine), Tone (sets the frequency scoop for the drive), Level (sets level for drive channel post Drive Loop and pre final compressor) and Clean (sets level for the clean channel, post Clean Loop and pre final compressor).

SEE DEMO! The EBS Billy Sheehan Signature Drive is designed and developed by EBS and Billy Sheehan himself. Made for Billy Sheehan’s personal needs with features optimized to benefit all bass player’s in need of distortion/overdrive.

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

ICY-30

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

Drive, Tone, Level and Clean controls. Three Compressor Modes - High, Mid, Off Clean Loop and Drive Loop (connect an insert cable for send and return). Advanced Options By removing the bottom plate you get access to fine tuning trimmers to adjust Threshold level of compressor (THR.) and the level of Compression when mode switch is set to MID (COMP). Power options 9V DC battery or EBS AD-9+ Power Supply (not included)

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

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

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

Flexible footswitch for Wah-wah/Bypass or Wah-Wah/Volume control Low-Pass, HighPass, Band-Pass and Boosted Band-Pass modes Extended frequency range Variable band width True bypass Power options 9V DC battery or EBS AD-9+ Power Supply (not included)

EBS MAGAZINE – 2015

EBS PEDAL ACCESSORIES

PEDAL ACCESSORIES

SPACE SAVING ACCESSORIES TO MAKE EVERYTHING A LITTLE EASIER.

EBS 2ND ROW – RISE AND HIDE! Added comfort and secure switching for the pedals on your ‘second row’ is accomplished with the new 2ND ROW pedal riser. The clever design allow you to hide loose cables and make your setup neat and clean. The 2ND ROW is made of ultra light aircraft-grade anodized Aluminum with laser engraved text. Attach it to your pedal board by using velcro (included) or Dual Lock for universal use.

EBS-SR

PCF-10

PCF-18 PCF-28

PCF-58

EBS Patch Cables. Connect your pedals in the tightest possible way yet flexible with these flat patch cables with ultra low-resistance and capacitance. Available in four lenghts: 10, 18, 28 & 58 cm. Over 50’000 sold!

EBS MAGAZINE – 2015

PL-10 PL-20

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

DC-6

EBS ICY-30. Insert cable with a stereo contact at one end, split into a mono contact representing the tip and another representing the ring of the stereo contact to serve as send and return. Perfect to use with the loop functions on the Billy Sheehan Signature drive

EBS DC Split Cables. Split cables to use with a DC power supply. Available in 2, 4 and 6 split configurations. Choose between straight or angled contacts. Super slim design. Including tip end covers to protect from accidental short circuits.

ICY-30

DC-6/90

AD-9+

EBS AD-9+ â&#x20AC;&#x201C; Guaranteed clean and hum free power. Slim designed power supply that only take u p one outlet spot. It is designed for use with almost every pedal on the market, and can handle all voltages from 100-240 V. The output is short circuit protected and gives clean and hum free 9V DC power. One AD-9+ supply can power up to 20 pedals. Available with plugs for US, EU, UK or Japanese standard. Comes with 1,5 m cable. 2.1 mm Center Negative connector.

EBS MAGAZINE â&#x20AC;&#x201C; 2015

EBS PEDAL ACCESSORIES

EBS CARRYON

BRING YOUR PEDALS ONBOARD AS CABIN LUGGAGE. THE EBS CARRYONTM PEDAL CASE SYSTEM LETS YOU TRAVEL SAFE WITH YOUR PEDALS. THE REINFORCED SOFT-CASE PROTECTS THE EQUIPMENT JUST AS GOOD AS A FLIGHT CASE, BUT WITH THE BENEFIT OF BEING LIGHTER AND EASIER TO CARRY AROUND DUE TO THE EXTRA PADDED HANDLE AND WIDE, PADDED SHOULDER STRAP. THE SYSTEM INCLUDE A FLEXIBLE PEDALBOARD WITH HANDLES THAT CAN BE PLACED IN VARIOUS POSITIONS; TWO PIECES OF THE NEW 2ND ROW PEDAL RISERS TO MAKE POSSIBLE TO ATTACH PEDALS IN DIFFERENT LEVELS OR TO PUT AN ANGLE TO THE WHOLE PEDAL BOARD. VELCRO TAPE AS WELL AS 3MTM DUAL LOCK ARE INCLUDED TO OFFER FLEXIBILITY WHEN ATTACHING YOUR PEDALS TO THE BOARD.

FEATURES ’Cabin approved’ size Lockable Soft padded case Padded dual reinforced handles

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

Comfort padded, extra long shoulder strap Clean outer surface for easy stacking Net bucket on the inside for accessories 2-sided pedal board – Velcro or 3MTM dual lock

Attach the angled risers on top of the pedal board to build different levels, or underneath to tilt the whole pedal board. The risers can be attached by glue, Velcro or Dual LockTM.

Velcro pads and 3MTM dual lock included Removable pedal board handles – for interchangeable position Possibility to set complete pedalboard/or selected pedals in different angles using the included 2ND ROW pedal risers. The 2ND ROW also house loose cables for a neat and clean setup.

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

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

EBS MAGAZINE – 2015

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

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

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

EBS BASS STRINGS

EBS BASS STRINGS QUALITY STEEL & TITANIUM NICKEL STRINGS FOR YOUR BASS! EBS STAINLESS STEEL AND TITANIUM NICKEL STRINGS ARE QUALITY BASS STRINGS FOR PROFESSIONALS, AVAILABLE IN A WIDE RANGE OF GAUGES RANGING FROM MEDIUM LIGHT TO HEAVY BASS. TITANIUM NICKEL STRINGS ARE BASED ON A STEEL CORE OF US QUALITY STEEL WHILE STAINLESS STEEL USE SWEDISH QUALITY STEEL. ALL STRINGS ARE LONG SCALE TO FIT MOST BASSES.

The EBS Stainless Steel Strings offer a classic steel string sound with excellent sound quality and tuning abilities. The Stainless Steel strings are based on a hexagon core made of finest Swedish steel. The EBS Titanium Nickel Strings have a soft surface due to the tight wiring that provide extra playing comfort and durability, in combination with a high quality steel core made of American steel. All EBS strings are “Long Scale” to fit a wide range of bass guitars and to improve tuning abilities.

AVAILABLE MODELS (BOTH TYPES): MODELS

Medium Light Medium Classic Medium Heavy Bass

4-STRINGS 5TH 6TH

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

Check with your distributor for availability!

EBS MAGAZINE – 2015

EBS ONLINE MAIN WEBSITE: WWW.EBSSWEDEN.COM The main source for product info and news about EBS and our artists. Go there to sign up for EBS Newsletter!

EBS ON FACEBOOK: WWW.FACEBOOK.COM/EBSSWEDEN EBS ON TWITTER: WWW.TWITTER.COM/EBSSWEDEN EBS ON INSTAGRAM: WWW.INSTAGRAM.COM/EBSSWEDENOFFICIAL EBS ON YOUTUBE: WWW.YOUTUBE.COM/EBSSWEDEN

EBS MAGAZINE – 2015

Bombus at Sweden Rock Festival 2014. Photo by Daniel Falk.

EBS MAGAZINE â&#x20AC;&#x201C; 2015

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

EBS ARTISTS

A Alex Acanda (ES/CUBA) - Jerry Gonzalez Jan Adefelt (SWE) - Independent Alex Al (US) - Session Great Miguel Amado (PR) - Fausto Steve Anderson (UK) - Threshold Jennie Andersson (SWE) - Spitchic Johan Andreassen (SWE) - Amaranthe Nic Angileri (IT/SUI) - Independent Jim Anton (US) - Johnny Lang Marc ”Archie” Arciero (UK) - Independent Christofer Aronsson (SWE) - Intohimo Karin Axelsson (SWE) - Sonic Syndicate

B Jon Bakker (NO) - KAMPFAR Lorenzo Barriendos (ES) - Independent Sandy Beales (UK) - One Direction Alex Bedmar (ES) - Hora Zulu Stephane Beguier (FR) - AKPHAEZYA Thomas Bekkevold (NO) - Jorn Johan Bengtsson (SWE) - The Sounds Lewi Bergrud (NO) - Session Bassist Ralf Bienioschek (GE) - Bass Player/Musical Director Jonas Björler (SWE) - The Haunted/At The Gates Johan Blomquist (SWE) - Backyard Babies Andreas Blomqvist (SWE) - Seventh Wonder Stefan Bratt (SWE) - Atlas Losing Grip Aleks Brdarski (SWE) - Neighbourhood Victor Broden (SWE/US) - Independent Tommy Brown (US) - Independent Arnaud Buffon (FR) - Body Fluids C John Calabrese (CAN) - Danko Jones Juan Carlos Díaz (ES) - Fundácion Tony Manero Linus Carlsson (SWE) - Kamchatka Michael Choi (UK) - Producer/Session Bassist Jackie Clark (US) - Independent Johnny Copland (UK) - The Crystal Fighters Laurence Cottle (UK) - Session Great Joe Csibi (IRE) - Tonight with Craig Doyle D Yuri Daniel (PR) - Jan Garbarek Group Mike D’Antonio (US) - Killswitch Engage Mike Davis (US) - Halford Christoph Deckert (GE) - Jennifer Rostock Vtali Demidenco (RU) - Tracktor Bowling Steve Di Giorgio (US) - Testament / Death Dta Keith Duffy (IRE) - The Corrs, Ronan Keating E Henrik Edenhed (SWE) - Straight Frank Colin Edwin (UK) - Porcupine Tree Edvin Edvinsson (SWE) - Fibes Oh Fibes Bjarne Elvsgard (SWE) - Corroded Bjorn Englen (SWE/US) - Dio Disciples, Soul Sign Mats Mackan Englund (SWE) - Independent F Ola Flink (SWE) - Soilwork Frasse Franzen (SWE) - Festingarna Fabio Fraschini (IT) - Il Volo, etc Full (JP) - Nicotine Julia Falthin (SWE) - Independent G Jesús Gabaldón (ES) - Seguridad Social Alex García (ES) - Melendi Ronnie Garrett (US) - Tyler Perry Rinus Gerritsen (NL) - Golden Earring Iñigo Goldaracena (ES) - Manolo García, Revolver Lael Goldberg (UK) - Hurts César Gonin (SUI) - Breakdown of Insanity Mikael Redbeard Gustavsson (SWE) - Igneous Human H Rob Hakemo (SWE) - M.A.N. Patrik Hallgren (SWE) - Self Deception Peo Hallgren (SWE) - United We Stand Chris Fatty Hargreaves (UK) - Dubstep Bass Master Jonathan Harvey (UK) - Independent Mikael Hedlund (SWE) - Hypocrisy Niko Del Hierro (ES) - Saratoga Hidekazu Hinata (JP) - STRAIGHTNENR Nisse Holm (SWE) - The Ryot Bertil BasBerra Holmgren (SWE) - Independent I Omar Ibrahim (GE) - Joe Cocker Mikel Irazoki (ES) - Miguel Bosé Peter Iwers (SWE) - In Flames J Anders Janfalk(SWE) - All Ends Andreas Johansson (SWE) - Raised Fist Bengan Jonasson (SWE) - Dan Reed Pal Johnson (SWE) - Independent Anders Jonsson (SWE) - Independent Julian (GE) - aVid* Aaron Julison (US) - Kid Rock

EBS MAGAZINE – 2015

K Joakim Karlsson (SWE) - Her Bright Skies Nathaniel Kearney Jr. (US) - Taio Cruz Alison Keslow (US) - Independent Oscar Kempe (SWE) - Neverstore Eddy Khaimovich (US/ISR) - Session Bassist Jason Klein (US) - Butcher Babies L Chris Lemon (SWE) - Badmouth BJ "Berra" Laneby (SWE) - Million Niklas Lennartsson (SWE) - Ape Rape Escape Henrik Linder (SWE) - Dirty Loops Jesper Liveröd (SWE) - Nasum, Burst Kristoffer Ljung (SWE) - Kid Down Peter London (SWE) - Crashdiet Salva Lopez (ES) - Complices Freddi Lubitz (AUT) - Session Bassist M Pawel Maciwoda (PL/GE) - Scorpions Fernando Mainer (ES) - Tako Dave Marks (UK/IRE) - Session Great Mariano Martos (ES) - Chicuelo Per Mathisen (NO) - Dance With A Stranger Etienne Mbappé (FR/CAM) - John McLaughlin Swaeli Mbappé (FR) - Independent Warren J McRae (US) - Tina Turner Mikael Medin (SWE) - Marrionette Nicolas Mirande (FR) - Thomas Ottogalli Trio Rushad Mistry (IND) - Session bassist Anders Mossberg (SWE) - Independent Pascal Mulot (FR) - Independent Peter Müller (GE) - Solo artist Roberto Mårdstam (SWE) - Scotts Jesajah Mårskog (SWE) - Veronica Maggio N NDIOBA (FI) - Independent Andi Nero (SWE) - The Bones Johan Niemann (SWE) - Evergrey Ni~Ya (JP) - Nightmare Tomas Näslund (SWE) - Blindside OP Orefo Orakwue (UK) - Anastacia Carsten Pedersen (DK) - Session Bassist Lee Pomeroy (UK) - Take That, It Bites etc. R Paul Randolph (US) - Independent Antonio Maca Ramos (ES) - Ketama Bruno Ramos (FR) - Christina Goh Jonas Reingold (SWE) - Flower Kings Samir Remila (FR) - Arkan Marco Renteria (MEX) - Jaguares Lars Risberg (SWE) - Rhapsody In Rock Abbi Roth (US) - Bo Bice, Stealing Angels Simon Rowlands (UK) - MyPassion Ruben Rubio (ES) - Session Bassist Jonas Rydberg (SWE) - Bombus S Eric Sainte-Croix (FR) - Banane Métalik Peter Samuelsson (SWE) - Barbados Elin Sandberg (SWE) - Independent Henrik Sandelin (SWE) - Avatar Niklas Sandin (SWE) - Katatonia Ken Sandin (SWE) - K2/Alien Kenneth Seil (SWE) - Scar Symmetry Chyco Siméon (FR) - Independent Chuck Smith (US) - Session Great JJ Smith (US) - Mary J Blige Peter Sonntag (GE) - Final Virus Pat Splat (SWE) - F.K.Ü. Eugenie Stepanov (UKR) - Session bassist Jan Jysky Strandberg (FIN) - Independent Christer Stålbrandt (SWE) - November T Jay-Tee Teterissa (NL) - Independent Dywayne Thomas Jr. (US) - Independent Chris Tilley (US) - The Contortionist Robert Triches (SWE) - Independent Timo Tolonen (FI) - Leningrad Cowboys UVW Peter Uvén (SWE) - April Divine UFO Walter (GE) - Independent Sola Van Motman (NL) - Independent Mike Van Tine (US) - Session Player Leon Watkins (UK - The Dirty Youth Hazze Wazeen (SWE) - Independent Christian Wendt (AUT) - Taucher Wendt Trio Joey Vera (ES) - Session Great Josh Werner (US) - Helio Parallax Marcus Wesslén (SWE) - Dead By April Joel Whitley (US) - Stevie Wonder, Everlast Viktor Vidlund (SWE) - Smash Into Pieces Mikael Wildén SWE/NO) - Benea Reach Tal Wilkenfeld (AUS/US) - Session Great ZÅÄÖ Lennart Z Zethzon (SWE) - Lugnet, Clifftones Johannes Zetterberg (SWE) - Solo Artist Thomas Zurmühlen (GE) - James Last Jocke Ågren (SWE) - Hillsong Sthlm Capman Örtefors (SWE) - Freak Kitchen Erkan Özdemir (GE) - Memo Gonzales

EBS PEDAL ARTISTS, BASS PLAYERS AB Marten Andersson (SWE/US) - Lizzy Borden Patrick Andy (US) - Independent Jamareo Artis (US) - Bruno Mars Al Barrow (UK) - Magnum Adam Blackstone (US) - Kanye West, etc Malcolm Bruce (US) - Independent Sekou Bunch (US) - Independent Oliver Buxton (UK) - Session bassist CD Branden Campbell (US) - Neon Trees John Campbell (US) - Lamb Of God Oscar Cartaya (US) - Independent Al Carty (US) - T-Pain Phil Chen (US) - The Doors Stanley Clarke (US) - Bass Legend Barend Courbois (NL) - Blind Guardian Will Davies (UK) - Attack! Attack! UK Michael Devin (US) - Whitesnake EFG Robin Everhart (US) - ex-Rival Sons Francesco Gallo (IT) - Cry Excess Roger Glover (UK) - Deep Purple Pete Griffin (US) - Gryphon Labs HIJ Mr.Hardgroove (US) - Public Enemy Gustaf Hielm (SWE) - Session Bassist Georg ’Goggi’ Holm (ICE) - Sigur Rós Sean Hurley (US) - John Mayer / Session Great Anders Iwers (SWE) - Tiamat/ Avatarium Jimmy Jay (SWE) - H.E.A.T. KL Tom Kent (UK) - Independent Tim King (US) - SOiL Jonas Kjellgren (SWE) - Raubtier Fredrik Larsson (SWE) - Hammerfall Bill Laswell (US) - Bass Icon/Futurist Producer Dementerious ’Bear’ Lawrence (US) - Angie Stone Jon Lawhon (US) - Black Stone Cherry Tony Levin (UK/US) - Bass Legend James LoMenzo (US) - HAIL!, ex.Megadeth Dick Lövgren (SWE) - Meshuggah MN Sean Malone (US) - Cynic Justin Meldal-Johnsen (US) - Beck Martin Mendez (SWE) - Opeth Marco Mendoza (US) - ex.Thin Lizzy Danny Miranda (US) - Meatloaf Anders Modd (SWE) - Wolf Jonathan Noyce (UK) - ex. Jethro Tull, ex. Gary Moore OP Jerker Odelholm (SWE) - Independent Ingmar Petersen (GE) - Beehoover Rufus Philpot (US) - Planet X George Porter, Jr. (US) - The Meters QR Vivi Rama (ARG/US) - Orianthi, Will.I.Am. STU Rudy Sarzo (US) - Bass Rock Legend Fred Schneider (FR) - Independent Billy Sheehan (US) - Bass Legend Brett Simons (US) - Melissa Etheridge Chris Towning (US) - Devil Driver VXYZÅÄÖ Kevin Walker (US) - Independent Nik West (US) - Solo & Session Bassist Joel Whitley (US) - Session bass- & guitarist Chico Willcox (BR) - Independent Robin Zielhorst (NL) - Exivious Bob Zilla(US) - Hellyeah

EBS PEDAL ARTISTS, GUITARISTS Jón þor ’Jónsi’ Birgisson (ICE)- Sigur Rós Kevin Eubanks (US) - Independent Lasse Johansson (SWE) - Candlemass Jean-Christophe Maillard (FR/US) - Session Guitarist Rob Math (US) - Soul Sign, Session Guitarist Paulo Mendonca (SWE) - Guitarist / Solo Artist Matti Norlin (SWE) - Badge Jeff Pevar (US) - Session Guitarist Frank Romano (US) - Session Guitar player Mick Thomson (US) - Slipknot Reno Schnell (GE) - Final Virus Mike Scott (US) - Prince, Justin Timberlake John Wesley (US) - gtr, Porcupine Tree/Solo Artist Roy Z (US) - Halford, Bruce Dickinson

EBS PEDAL ARTISTS, KEYBOARDISTS Tomas Bodin (SWE) - Flower Kings (pedals & amps) Richard Barbieri (UK) - Porcupine Tree

SCORPION’s bass player Pawel Maciwoda with EBS amps on the Scorpions 50th Anniversary tour. Photo: Alfred Nitsch

EBS MAGAZINE – 2015

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

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