1972 Gibson EB-3 bass

• Solid mahogany body • unbound rosewood fingerboard • 3 piece maple neck • 30 1/2 inch scale • two humbucking pickups

When the EB3 was redesigned for 1972, Gibson were careful to make a less fragile bass. Some of the 1960s EB basses cracked easily when dropped, or knocked about a bit. The easily-broken mahogany neck had been replaced with a thicker three-piece maple one. It was given a thicker body, and a bigger headstock. It had a volute for neck strength; much more durable. But it still had the characteristic EB humbucker, moved away from the neck, and a varitone/tone choke.

The first two years of this remodelling (1972 and 1973) saw acceptable sales of EB3 (including long scale versions 1350 and 2400 instruments shipped respectively) and because of their durability, most are still in existence today. As well as the thousands of instrument produced in cherry and walnut finishes (like the instrument featured above), a small number were available in ebony (10), natural (49) and towards the mid-late seventies, white (69).

This is a typical early seventies Gibson. It is unusual to find a snapped neck post-1972 EB3. Maple, though less brittle than mahogany does warp more easily, and whilst you won't find many warp-necked sixties models, you will sometimes with these maple-necked versions. Notice the volute (on the back of the headstock), and the two two point bar bridge with cover. Three point bridges were not in use until mid-1973. The machine heads are Schaller M4-S, as fitted on all solid headstock EB basses 1971-73 (until the introduction of the Schaller BM). This style of pickguard was used on all EB models from 1972 until they were last produced in 1979. This is one of 354 walnut (compared to 530 cherry) EB-3 basses shipped in 1972.

The 1972 EB-3 had series 2 circuitry

The post-1972 EB3 basses were changed to some extent from the previous EB3 incarnation (see a 1971 slotted headstock EB3). Aswell as being studier, more weighty basses, the neck pickup position changed, moving away from the neck. Gone is the mute, but the bridge and cover remain the same. The scratchplate is a completely different shape, the shape it would remain for the rest of the period of production.

Changes on the reverse of the bass included a realignment of the control cavity: the top edge is now parallel with the major axis of the bass body and neck - and notice the deeply contoured top edge of the body - a significant change from the previous years bass. Compare with a 1971 EB3 with significantly more subtle sculpting.

This EB humbucker has a black plastic surround that allows height adjustment. Note the revealed edge of the scratchplate: the EB3 scratchplate was five-ply black-white-black-white-black. Compare this to the 1972 EBO that is three play black-white-black.

Output jack. Witch-hat control knobs, marked "vol." and "tone", with position markers. Four varitone positions are labelled, with a chicken head switch as a pointer.

This was one of the first EB3s with the modified series 2 circuitry.

This bass is fitted with a two-point tune-o-matic bridge, and chrome bridge cover. The pickup shown is the EB mini-humbucker. There is no under bridge mute had been phased out in 1971, but some early 1970s EB basses had a strip of foam under bridge cover that could be used to dampen the strings.

Two-point tune-o-matic bridge, with bridge cover removed - note the two screw holes to either side of the bridge. The saddles at this time are metal, a change from the plastic (Delrin) ones that accompanied this bridge previously (see a 1971 EB3). .

The walnut brown stain is a classic early seventies Gibson look, and one that ages well. Cherry finish tends to fade, and darken over mahogany - but retain far more vibrancy over maple - the result, in a guitar like this can be different colour necks to bodies. The Walnut finish does not suffer in the same way, and 70s Walnut Gibson's tend to look more uniform.

Serial number on the back of the headstock, above Schaller M4S tuning keys. As was standard practice for all Gibson guitars produced from 1970, it is marked "MADE IN U.S.A."

The preceding incarnation of the EB3, had the slotted headstock - from 1972, the headstock was larger, solid, and with a simple silk-screened logo rather than pearl. It was finished in black, unlike the body-coloured slotted headstock EB3s. Being maple and having a volute on the back of the neck made for a more headstock. Tuning Keys are Schaller M4S. See the headstock of a 1971 Gibson EB3.

Three-piece maple neck and solid headstock. A considerable change from the all-mahogany slotted headstock of the 1971 EB3. Tuning keys are Schaller M-4-S widely used at this time. The neck changed considerably for '72. Not only was the neck made of different wood, it also had a volute for the first time. This gave extra strength to the well-known fragile spot, where the neck meets the headstock.

Gibson EB3 sound clips

Each clip features the introductory 4 bars of rescue me (Fontella Bass) played on a 1972 EB3.

Have a look at these other EB basses in the 1972 line up: the one pickup EBO, and it's longscale equivalent the EB0L; plus a longscale EB3, the EB3L.

Gibson EB3 bass for sale

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