Carl Wilson six string

steverok · Post by **steverok** » Mon Jun 06, 2005 8:24 am

Then why doesn't the top part of the guitar body have the same thing ?

ken_j · Post by **ken_j** » Mon Jun 06, 2005 8:27 am

Isn't it for the jackplate?

jingle_jangle · Post by **jingle_jangle** » Mon Jun 06, 2005 8:30 am

There's the answer. Mine was a supposition and was well off. Steve asked THE question and Ken provided THE answer.

And the truth shall make us free...

leftybass · Post by **leftybass** » Tue Jun 07, 2005 4:07 am

Yes that had to be done so that the jackplate would fit properly on the round-top guitars.

There is one round-top guitar(a 365) that's believed to be a prototype or a sample from April 1964 doesn't have that flat section for the jackplate, or the body is not as rounded as we know it today; The body looks like it was hand-shaped....John Williams owns this guitar.

http://www.homestead.com/aurs/64365.html

jcreasy · Post by **jcreasy** » Tue Jun 07, 2005 4:31 am

That question got me looking at my modern 360's... Same thing... But look at the lower edge on that CW! Really cool. Somebody needs to take that sticker off though.

JKC

patrickkelly · Post by **patrickkelly** » Tue Jun 07, 2005 4:46 am

John (S or W), did they just move the jackplate towards the back on that guitar?

Looking at my 360/12, it looks like you could keep the front of the guitar rounded if you were willing to move the jackplate back, though the back edge of the plate would cover the back binding.

And I agree with Jim: Take off those stickers! Yikes!

randyz · Post by **randyz** » Tue Jun 07, 2005 5:16 am

Yep, the sticker has gotta go. It's like playing a new guitar with the protective film still on the pickguard or the hang tag still on the tuner!

No disrespect to Carl Wilson or any other Rick signature artists, but I'd rather buy guitars without signatures. Rickenbacker makes the nicest vintage reissue guitars in the industry (just look at that Carl Wilson!), but then feel the need to put an artist's name on the guitar.

These guitars are beautiful classics and should be able to stand on their own as iconic designs without a celebrity tie-in.

That's my humble opinion...

leftybass · Post by **leftybass** » Tue Jun 07, 2005 5:20 am

Pat, I know what you're getting at, but I don't think there's enough room. Even on the double-bound guitars you've got minimal room; the jackplate overlaps onto the body binding on the double-bound models. The guitars with thinner tops, like Orny's old 370/12Byrd model use all available space when the jackplates are fitted. The double bounds got thinner in the mid-to-late 60's so then it was even tighter...

steverok · Post by **steverok** » Tue Jun 07, 2005 5:38 am

Randy, I agree, great guitar, but I could care less about the Beach Boys. If I had one, the first thing I would do is replace the pick guard ! On the Beatles' re-issues, they don't feel the need to stamp the signatures on there, thank God.

patrickkelly · Post by **patrickkelly** » Tue Jun 07, 2005 5:58 am

Thanks for the info, John. I guess it's a combination of a pretty large radius on the top and a thin body--no room for the jackplate.

Steve/Randy: Mike Parks sells CW "plain" guards for $15. Badda-bing.

jingle_jangle · Post by **jingle_jangle** » Tue Jun 07, 2005 6:53 am

It's not about need. It's about marketing and the availability of the license. Beatles signatures cost megabucks and would add little to the marketability of the guitar--people know what they are buying without the signature. With the CW, it was worth dong a mid-60s reissue, but with Carl's name, it gained some affordable cachet.

Could care less about the Beach Boys? Carl was a good person and major talent. Dennis was a genius in his own right, and we all know about the power of Brian's musical vision.

Mike Love I could care less about. And Al Jardine was along for the ride. Without Brian, Mike would be pumping gas, and Al would be a dentist in Ohio.

wayang · Post by **wayang** » Tue Jun 07, 2005 7:13 am

You can say that again...I saw an episode of a late night music talk show in the seventies (can't remember the name) hosted by Chip Monk (of Woodstock stage announcing fame). His first two guests were John McLaughlin, who played a piece with his acoustic band Shakti, and Peter Gabriel, who appeared with his head shaved up the middle for the Genesis 'Selling England...' tour. It was great to hear these guys speak about life and music for way too short a time...then out comes Mike Love and his cohort, Charles Lloyd, the mediocre jazz flautist who had piled on the Transcendental Meditation bandwagon to 'broaden his appeal'. Lloyd played a completely forgettable tune, and he and Love hijacked the discussion and veered into pimping TM. It was awful...then Mike has the big idea for all of them to cluster around the piano and sing California Girls together. Needless to say, he didn't get a lot of help from John and Peter, who looked pretty desperate to get back to their home worlds.

If you ask me, Mike's been 'pumping gas' all along.

jingle_jangle · Post by **jingle_jangle** » Tue Jun 07, 2005 7:19 am

Iremember the same show, was in May '79, don't remember the show's name either.

Then, on American Bandstand the next day, up pops Mike Love again with Mr. Lloyd, "performing" a couple of cuts and hyping the soundtrack from an otherwise-forgettable film "Almost Summer". The soundtrack DOES have several excellent in-the-groove Beach Boys type songs written by Love, which, though formulaic, extend the classic mid-'60s BB stuff into 1979. The title track, "Almost Summer", is the most hummable.

Good thing Mike discovered TM, or America would have had another mass murderer on Death Row (not the record company!).

And he would have had a really irritating tenor. As Brian Wilson once said, "Mike's voice is like a gravel train with square wheels."

wayang · Post by **wayang** » Tue Jun 07, 2005 8:02 am

God only knows what he'd be without Brian.