The Rickenbacker Finish
Moderator: jingle_jangle
The Rickenbacker Finish
Paul: What is the qualitative difference between the finish used by Rickenbacker and that of other guitar manufacturers?
Life, as with music, often requires one to let go of the melody and listen to the rhythm
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jingle_jangle
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Day and night.
OK, any other topics?
Seriously, we need to clarify a bit here, as I'm sure it is more productive to talk about so-called "major" manufacturers, than to try to cover and compare the hundreds of boutique shops producing handbuilt instruments around the world.
And, it ain't just the finish, but the whole philosophy of craft and business of which the finish represents merely the surface.
Rickenbacker guitars have a unique position in the firmament of quality instruments. They are built by a small company with a major presence. The company has always operated from a position of tradition and conservatism in design, management, and fiscal responsibility. They are loathe to change anything in their successful formula, and for good reason.
But this does not mean that they are stick-in-the-mud, either.
To my eye, their point of difference lies in their focus on quality (instead of the usual adman's yadayadayada lip service to same) and their absolute adherence to an ethic that says: produce a quality instrument, price it reasonably, and take an honest profit.
Rickenbackers were once 100% handbuilt. Not to say that no machine tools were used, but to emphasize that human hands and craft were involved in every single operation.
Since John Hall has purchased and consolidated the various entities, and engaged in a very well-planned modernization of processes (which, BTW, is ongoing), the initial stages of manufacture--the roughing and shaping of the body and neck blanks--are being done by computer-controlled machine tools.
Once the guitar components leave this area of the plant, each and every operation is done by hand by craftspeople most of whom have many years with the company.
Chief among these operations which see pieces of elegantly-shaped hardwood turned into the instruments which we know and love, and the surfacing, finishing and painting stages, which require great skill and attention to detail.
It is this handwork which distinguishes Rickenbacker from most other "major" manufacturers.
The technologies are similar, processes are equivalent, but as it's said, "God lies in the details."
And Rickenbacker gets the details correct, not once or twice as a handbuilder who completes an instrument or two a month might do, but several hundred times a month, for seven and a half decades. And, not to put too fine a point on it, quality has been steadily improving all this time.
Other majors (with the possible exceptions of Martin, the most traditional of manufacturers, and Ovation and Taylor, Johnny-come-latelies) produce great quantities of guitars with various percentages of handbuilding involved in the processes. Others try to act as if handbuilding is part and parcel of a tradition, although they have largely abandoned the tradition. Others send their stuff offshore, where hand labor is less expensive and the existence of craftsmen is still a reality. Rickenbacker does it in this century, in this economy, in an ecological climate that is most unfriendly to this sort of enterprise.
As time goes on and this column matures (hopefully), we will address this issue of how, why, how much, and why not, in greater detail.
OK, any other topics?
Seriously, we need to clarify a bit here, as I'm sure it is more productive to talk about so-called "major" manufacturers, than to try to cover and compare the hundreds of boutique shops producing handbuilt instruments around the world.
And, it ain't just the finish, but the whole philosophy of craft and business of which the finish represents merely the surface.
Rickenbacker guitars have a unique position in the firmament of quality instruments. They are built by a small company with a major presence. The company has always operated from a position of tradition and conservatism in design, management, and fiscal responsibility. They are loathe to change anything in their successful formula, and for good reason.
But this does not mean that they are stick-in-the-mud, either.
To my eye, their point of difference lies in their focus on quality (instead of the usual adman's yadayadayada lip service to same) and their absolute adherence to an ethic that says: produce a quality instrument, price it reasonably, and take an honest profit.
Rickenbackers were once 100% handbuilt. Not to say that no machine tools were used, but to emphasize that human hands and craft were involved in every single operation.
Since John Hall has purchased and consolidated the various entities, and engaged in a very well-planned modernization of processes (which, BTW, is ongoing), the initial stages of manufacture--the roughing and shaping of the body and neck blanks--are being done by computer-controlled machine tools.
Once the guitar components leave this area of the plant, each and every operation is done by hand by craftspeople most of whom have many years with the company.
Chief among these operations which see pieces of elegantly-shaped hardwood turned into the instruments which we know and love, and the surfacing, finishing and painting stages, which require great skill and attention to detail.
It is this handwork which distinguishes Rickenbacker from most other "major" manufacturers.
The technologies are similar, processes are equivalent, but as it's said, "God lies in the details."
And Rickenbacker gets the details correct, not once or twice as a handbuilder who completes an instrument or two a month might do, but several hundred times a month, for seven and a half decades. And, not to put too fine a point on it, quality has been steadily improving all this time.
Other majors (with the possible exceptions of Martin, the most traditional of manufacturers, and Ovation and Taylor, Johnny-come-latelies) produce great quantities of guitars with various percentages of handbuilding involved in the processes. Others try to act as if handbuilding is part and parcel of a tradition, although they have largely abandoned the tradition. Others send their stuff offshore, where hand labor is less expensive and the existence of craftsmen is still a reality. Rickenbacker does it in this century, in this economy, in an ecological climate that is most unfriendly to this sort of enterprise.
As time goes on and this column matures (hopefully), we will address this issue of how, why, how much, and why not, in greater detail.
“I say in speeches that a plausible mission of artists is to make people appreciate being alive at least a little bit. I am then asked if I know of any artists who pulled that off. I reply, 'The Beatles did.”
― Kurt Vonnegut
― Kurt Vonnegut
Nice section!
Paul: in another thread there was some discussion about whether the (assumed) heavier finish of a Jetglo (or other darker painted guitar) has an effect on the sound compared to a Mapleglo. Apparently McGuinn thougth so, and I've experienced a difference in sound between a 1980 fireglo and an '88 Mapleglo (which originally was a tuxedo), with the Mapleglo winning hands-down.... (although there certainly could be some other differnces in the two guitars that I'm not aware of).
What say you?
Paul: in another thread there was some discussion about whether the (assumed) heavier finish of a Jetglo (or other darker painted guitar) has an effect on the sound compared to a Mapleglo. Apparently McGuinn thougth so, and I've experienced a difference in sound between a 1980 fireglo and an '88 Mapleglo (which originally was a tuxedo), with the Mapleglo winning hands-down.... (although there certainly could be some other differnces in the two guitars that I'm not aware of).
What say you?
“The urge to save humanity is always a false front for the urge to rule it.” ....H. L. Mencken
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jingle_jangle
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Among paint finishes in current use which cure by evaporation of the solvents and oxidation (that it to say, non-catalyzing urethanes and lacquers used by the majority of manufacturers out there in their basecoat/clearcoat systems), black paint is generally the thinnest of colors, followed by whites, solid pastels, and then high-intensity solids like reds and yellows, and then pearlescents, micas and metallics.
Phew. Diagram that sentence...(as my third grade nun, Sister Mary Perplexia, used to say...)
In other words, black paint covered with conversion varnish is only a thousandth or two thicker than wood covered with the varnish alone.
Any sort of coating, especially a relatively thick coat like conversion varnish or clearcoat, is going to make a difference in the sound of a musical instrument, from one with no finish whatsoever or a thinly-oiled finish.
But to hear the difference between colors? You'd have to be Superman.
It is possible, however, that the greater density of the more figured maple in a MG guitar has sonic advantages that Mr. McGuinn can hear.
There is little doubt in my mind that there are measuring devices that can record the difference between any two guitars. But whether or not any given person can hear those differences, or even care, for that matter, is up for discussion.
Phew. Diagram that sentence...(as my third grade nun, Sister Mary Perplexia, used to say...)
In other words, black paint covered with conversion varnish is only a thousandth or two thicker than wood covered with the varnish alone.
Any sort of coating, especially a relatively thick coat like conversion varnish or clearcoat, is going to make a difference in the sound of a musical instrument, from one with no finish whatsoever or a thinly-oiled finish.
But to hear the difference between colors? You'd have to be Superman.
It is possible, however, that the greater density of the more figured maple in a MG guitar has sonic advantages that Mr. McGuinn can hear.
There is little doubt in my mind that there are measuring devices that can record the difference between any two guitars. But whether or not any given person can hear those differences, or even care, for that matter, is up for discussion.
“I say in speeches that a plausible mission of artists is to make people appreciate being alive at least a little bit. I am then asked if I know of any artists who pulled that off. I reply, 'The Beatles did.”
― Kurt Vonnegut
― Kurt Vonnegut
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jingle_jangle
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No color; just sealer and conversion varnish, which are both transparent.
Ultraviolet rays from sunlight act to age both the maple from which the guitar is made, and the varnish itself, turning both the nice amber tint which we see on older instruments.
Ultraviolet rays from sunlight act to age both the maple from which the guitar is made, and the varnish itself, turning both the nice amber tint which we see on older instruments.
“I say in speeches that a plausible mission of artists is to make people appreciate being alive at least a little bit. I am then asked if I know of any artists who pulled that off. I reply, 'The Beatles did.”
― Kurt Vonnegut
― Kurt Vonnegut
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jingle_jangle
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Yep, it's a visual thing. As to who selects the wood, it seems to be a very personalized thing, with John or Ben having a look when time permits or delegating someone on staff who they trust, when other fun tasks intervene...
“I say in speeches that a plausible mission of artists is to make people appreciate being alive at least a little bit. I am then asked if I know of any artists who pulled that off. I reply, 'The Beatles did.”
― Kurt Vonnegut
― Kurt Vonnegut
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jingle_jangle
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Ben is John Hall's son. The fruit doesn't fall far from the tree, as I've mentioned once before. Ben is a likeable and quite capable member of RIC's management. I believe his title is Production Manager.
As you've seen from his posts--he uses the confusing screen name "Ben Hall"--he has good sense, both of self and of humor.
As you've seen from his posts--he uses the confusing screen name "Ben Hall"--he has good sense, both of self and of humor.
“I say in speeches that a plausible mission of artists is to make people appreciate being alive at least a little bit. I am then asked if I know of any artists who pulled that off. I reply, 'The Beatles did.”
― Kurt Vonnegut
― Kurt Vonnegut
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jingle_jangle
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I began as a Senior Designer at Playskool in Chicago, in 1977. I designed two Top Ten Toys for them (Major Morgan and Bigfoot), and moved to Los Angeles in 1979 to start my own studio.
I worked as a consultant, and designed a toy which many of you will recall if you're 30-35 years of age. It was called "Wrist Racers", and was a smash hit worldwide, selling about 10 million units between 1981 and 1985. The patents were mine on this one, and the licensing agreement paid royalties which gave me a good income for nearly a decade.
I also designed another couple of hundred toys for various companies, at one time doing Kids' Meal toys for a number of fast food chains, too.
I then became a vehicle consultant, working for Mattel's Hot Wheels and Boys' Toys divisions, and building full-sized concept cars for Mazda, Honda, Ford, ad other companies. I also taught Toy Design at university level in Los Angeles for a couple of years. I worked for a short time for a huge auto accessories company, as their Director of International Design, before relocating to Brasil in the wake of 9/11, which was tough my business. And now I'm back in SF, enjoying myself more than ever.
Short answer, huh?
Ask me what time it is, and I'll tell you how to build a clock...
I worked as a consultant, and designed a toy which many of you will recall if you're 30-35 years of age. It was called "Wrist Racers", and was a smash hit worldwide, selling about 10 million units between 1981 and 1985. The patents were mine on this one, and the licensing agreement paid royalties which gave me a good income for nearly a decade.
I also designed another couple of hundred toys for various companies, at one time doing Kids' Meal toys for a number of fast food chains, too.
I then became a vehicle consultant, working for Mattel's Hot Wheels and Boys' Toys divisions, and building full-sized concept cars for Mazda, Honda, Ford, ad other companies. I also taught Toy Design at university level in Los Angeles for a couple of years. I worked for a short time for a huge auto accessories company, as their Director of International Design, before relocating to Brasil in the wake of 9/11, which was tough my business. And now I'm back in SF, enjoying myself more than ever.
Short answer, huh?
Ask me what time it is, and I'll tell you how to build a clock...
“I say in speeches that a plausible mission of artists is to make people appreciate being alive at least a little bit. I am then asked if I know of any artists who pulled that off. I reply, 'The Beatles did.”
― Kurt Vonnegut
― Kurt Vonnegut
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jingle_jangle
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Well Paul, I'm 40 years old. And as a matter of fact, as I write this response I would be the EXACT age of John Lennon literally minutes before he was murdered. I can look back and honestly say he died too young. Nice to be in contact with the guy that made so many kids' wrists happy even before puberty.
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jingle_jangle
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I was 32 when I heard the news the night John was killed. It hit me like a brick. I had been in Los Angeles for 18 months; I lived in Beverly Hills, and everything was going right for me. I had just begun to receive some nice royalty checks for some toy ideas I had sold, and had been hearing that John was once more being creative. I was looking forward to hearing his new visions.
I was eight years and four days younger than him. It was a substantial gap in February 1964, but this age gap had narrowed over the years until in 1980 it was comfortable as we drew closer in experience and philosophy. Then he was suddenly taken before his time by a crazy loser with a copy of Catcher in the Rye in his left hand and a pistol in his right. Grandiose nut...
I realize as I write this that I have a daughter, Juliana, eight years old, named after a Mike Nesmith song, who allows me to understand how John felt about Sean when he wrote "Beautiful Boy". Juliana was born in April, as was John's son Julian.
It's a tough world and our loved ones (especially our children) give us the strength and depth to prevail against life's anonymous chaos.
Here's to the kids, in us and with us!
I was eight years and four days younger than him. It was a substantial gap in February 1964, but this age gap had narrowed over the years until in 1980 it was comfortable as we drew closer in experience and philosophy. Then he was suddenly taken before his time by a crazy loser with a copy of Catcher in the Rye in his left hand and a pistol in his right. Grandiose nut...
I realize as I write this that I have a daughter, Juliana, eight years old, named after a Mike Nesmith song, who allows me to understand how John felt about Sean when he wrote "Beautiful Boy". Juliana was born in April, as was John's son Julian.
It's a tough world and our loved ones (especially our children) give us the strength and depth to prevail against life's anonymous chaos.
Here's to the kids, in us and with us!
“I say in speeches that a plausible mission of artists is to make people appreciate being alive at least a little bit. I am then asked if I know of any artists who pulled that off. I reply, 'The Beatles did.”
― Kurt Vonnegut
― Kurt Vonnegut