EKO was founded in 1960 by Oliviero Pigini in Recanati, Italy. Like many of the era’s instrument manufacturers, Pigini came from an accordion-manufacturing background. He began by importing Yugoslavian guitars but soon moved into manufacturing his own models. After a few refinements from earlier instruments, EKO introduced its 955/2 bass, which was made from 1966 to 1969. Unfortunately, Oliviero died unexpectedly in 1967 and the company began to suffer from his absence, eventually going out of business. In 1987 the existing stock was liquidated and a number of people, including London-based Roberto Brandoni, began offering EKO models built from parts and “new/old” stock wood. These EKOs began appearing on the market, especially in Europe, bringing the brand back to life.
The EKO’s most distinctive feature is the protruding headstock. It’s quite a visual statement, as if to say, “No, I am not a copy!” EKO violin basses of this era were made with an arched spruce top, maple sides, and an arched flame-maple back. The four-position pickup switch provides the unfortunate option of muting yourself (accidentally or otherwise). Most manufacturers soon stopped including the “kill switch” option—good call!
For those of us who have gotten used to long-scale basses, violin basses feel relatively tiny and fragile. Sound-wise they can be somewhat hit-or-miss, perhaps because of the lightweight construction. Dead spots can show up in unpredictable places all over the neck, the sustain may vary dramatically from note to note, and the intonation can be less than perfect. Having said all that, once you lighten up your touch, that “Beatle sound” is within your reach. It can bring out a different side of your playing once you get into the right mindset.
So, on to the differences and similarities between the EKO and the Hofner. Though they share the same 30" scale, the EKO is considerably bigger-bodied—actually about 1w" wider. The size and the addition of ƒ-holes (which the Hofner lacks) make it acoustically louder, which translates to a slightly more “open” amplified sound. The neck pickup’s sound on both basses is amazingly similar. Due to the “way back” placement of the Hofner’s bridge pickup (which Sir Paul seldom or never used), the neck pickup is by far the preferred sound. With both pickups on, I actually preferred the EKO’s tone. Its neck is a little chunkier, which felt good to me. Overall, the EKO felt a bit more solid than the Hofner.
The collector’s market has driven up Hofner prices considerably over the years, but this EKO is a good example of a less expensive alternative that can work just as well, if you can live without the prestige of a owning a “real” Beatle Bass. Les Claypool is one such player. He has been photographed with an EKO violin bass, which considerably raised the bass’s cool factor. Bear in mind that “violin” basses are all different, and you should check out anything you invest in as carefully as possible. Slap on some flatwounds and grab a pick, and it can take you back in time—you certainly can’t argue with the Beatle Bass’s track record!