The Epiphone Grabber, first introduced in the 1970s, emerged alongside the Gibson Ripper and G3 as part of Gibson’s attempt to offer a distinct alternative to the more common Fender designs of the era. Each of these basses catered to rock players, sharing a modern, flat, and contoured body shape that departed from the more traditional, rounded designs Gibson was known for, like the Les Paul or SG models. These basses were meant to be ergonomic and comfortable for long sessions, while also having an aggressive visual and tonal appeal suited for heavier genres.
Despite their shared design language, the Grabber, Ripper, and G3 each had unique features that set them apart. The Gibson Grabber, introduced in 1973, was notable for its sliding humbucker pickup. This allowed players to physically move the pickup between the neck and bridge positions, radically altering the tonal output in real time. Sliding it towards the bridge gave the Grabber a sharp, aggressive bite perfect for cutting through dense rock mixes, while moving it closer to the neck produced a warmer, bassier tone. The Grabber’s bolt-on neck was also a departure from Gibson’s traditional set-neck designs, contributing to its bright, snappy sound, but also reducing some of the perceived “premium” feel associated with set-neck or neck-through constructions.
The Gibson Ripper, also from the early 70s, took a different approach. Rather than a sliding pickup, it featured two fixed humbuckers—one near the neck and one at the bridge—with a four-way rotary switch for selecting various configurations, including out-of-phase settings. This allowed the Ripper to produce a broader tonal range, with a deeper low end than the Grabber, but it retained some midrange character, especially in the unique out-of-phase mode, which created a nasal, almost honking tone. The Ripper also used a set-neck construction, contributing to its more resonant, traditional Gibson feel.
The G3, introduced slightly later, opted for three single-coil pickups arranged in a unique wiring configuration. This setup provided a brighter, cleaner tone compared to the humbucker-driven Grabber and Ripper. The G3’s pickups could be used in various combinations to offer different tonal options. Like the Grabber, it had a bolt-on neck, making it a more affordable entry-level option for bassists who still wanted the signature Gibson rock sound, but with a tighter, more focused output.
The Epiphone Grabber reissue maintains the same body shape and overall aesthetic as the original 70s models. However, the biggest drawback of the reissue is the absence of the original’s sliding pickup system.
Fast forward to the present day, and the Epiphone Grabber reissue is a part of the brand’s “Inspired by Gibson” series. It maintains the same body shape and overall aesthetic as the original 70s models, with contoured edges and a three-piece alder body paired with a three-piece maple neck. The bolt-on construction is still there, which might disappoint players who expected a more premium feel at the current price point. This reissue continues the 34-inch scale with a maple fingerboard and 20 frets, offering the same playability that drew bassists to the original.
However, the biggest drawback of the reissue is the absence of the original’s sliding pickup system. This was the Grabber’s most innovative feature, allowing for quick, on-the-fly tonal changes. Instead, the reissue features a fixed Epiphone Bass Humbucker with a coil-splitting mini-toggle switch. While this offers some tonal versatility, it pales in comparison to the original’s dynamic sliding pickup. The fixed pickup delivers a punchy midrange with deep lows, but lacks the flexibility and character that made the vintage Grabber stand out. The controls are straightforward—just a master volume and tone knob—offering basic sound shaping, but again, it’s hard not to feel like the absence of the sliding mechanism is a significant loss for those seeking a faithful reproduction of the original.
While Epiphone typically excels at offering budget-friendly alternatives to Gibson models, this reissue seems to stretch beyond what many players would expect for an Epiphone instrument.
Another issue is the price. At £929, the Epiphone Grabber reissue feels overpriced, especially given its bolt-on neck construction and the loss of the sliding pickup. While Epiphone typically excels at offering budget-friendly alternatives to Gibson models, this reissue seems to stretch beyond what many players would expect for an Epiphone instrument. For that price, players might reasonably expect a more premium set-neck design or additional features that better justify the cost.
That being said, the Grabber still plays well. The C-shaped maple neck is comfortable, and the bass is well-balanced, making it a solid option for a variety of styles. The coil-splitting feature provides some tonal flexibility, allowing for deep lows and articulate highs, and the craftsmanship is solid throughout. The bass also looks fantastic, whether in Ebony or Natural finishes, capturing the sharp, minimalist silhouette of the 70s original.
Ultimately, while the reissue captures the aesthetic and basic functionality of the 70s Grabber, it lacks some of the signature elements that made the original so distinctive. It’s a beautiful, well-playing instrument, but those expecting a faithful tribute to the original might find it falls short of the mark.