350 bridge and tail modifications

[mahatma]

I've trying to creating my own unique sound based on a Rickenbaker. To me there a too many musicians trying to emulate other artists' sound or trying to find that perfect Strat, Gibson, or Jackson sound, and by doing so they all end up sounding the same. I'm trying to find my own unique sound buy using a Rickernbacker for genres where it is not normally used e.g. Blues music. Many guitarists dismiss Rickenbacker as a one-trick pony because all they ever heard from it was the clean Jingle Jangle sound. But we Rick users know how versatile a Rick can be. I particularly love it when it is overdriven. In addition to using a Rick for genres where it is not commonly used, I want to make a few sensible modifications to a stock model to give it a more unique character. My favorite overall stock model is the 350v63, mainly because of its small, light-weight, semi-hollow body, and the three vintage toaster pickups. I'm also one of those players who finds it impossible to play the short scale of a 325, so the longer scale 350 is a must. Ideally, I'd like to get an earlier 350's, like "the Liverpool" from the '90's, because it has 24 frets, but their hard to find. One modification I'd like to make would be to change the bridge and tail piece. Many believe that the rear mounted "R" and "trapezoid" tailpiece robs the guitar of its inherent warm semi-hollow tone. Guitar makers like Gibson found this out in the late '50 and began getting rid of their rear-mounted tail pieces for stop tail pieces on both their solid and semi-hollow bodies. Likewise, I thought it would improve the tone if the 350 had a stop tail piece/bridge. This would transmit the string vibrations directly into the middle of the lower bout the way Gibson semi hollow bodies are now constructed. However, I'm just not sure if the 350 top is strong enough to support a stop tail/bridge piece mounted in place of the bridge. I know some Bigsbys have been mounted on the top, so I figure a stop tail/bridge piece would work too. Does anyone know if this would work?

[janglerocker]

There have been a few 330's modded with a stop taipiece. Paul Weller comes to mind and I think the girl in Prince's band (Wendy?) played one in "Purple Rain" although I don't claim to have a memory left from the '80's.

I would think if you could do it on a 330 you could do it on a 350. Personally, I love the tone(s) I get out of my 350V63, use it for a wide variety of musical styles, and wouldn't change a thing.

[ken_j]

If you remove the pickguard you can see the center block and estimate its width. As long as the stop bar posts are mounted into the center block I would think that you will be ok.

[mahatma]

Thanks guys, I got a PRS bridge/stop piece and determined that it would indeed fit. I was not a big fan of the combination bridge/stop piece until I read about Paul Reed Smith and Ted McCarthy joint design ventures, and began comparing several guitar models that either had separate bridges and tail pieces or whammy bars with the same model that had the combination bridge/stop bars. I found there are real differences. One very obvious difference is that the combination bridge/stop has far more sustain and a slightly warmer, more harmonically rich tone, which I believe would improve the sometimes skull-shattering treble of Ricks. The simplicity of the combination bridge/stop bar with its brute contact with the wood in the center of the guitar, would probably enhance the character of the guitar's wood and body. I think tail pieces are nostalgic hold-overs from the days when they made only hollow body electrics. Although tail pieces are still necessary for hollow bodies, for obvious reasons, they are a detriment on solid bodies or semi-hollows and serve no purpose. I have no idea how a bridge/stop piece would actually sound on a Rick, but I do know what it does on other guitars. Sure, Ricks are great, unique-sounding guitars as they are, and the reason why I love them. But they do have their flaws too, and could use some refinement. For example, the 350's (and 325's) are notorious for falling out of tune, so the combination of a bridge/stop bar and a set of high quality, stable tuners (not vintage Klusons) is not a bad idea. Also, many Rick owners are known to toy with the somewhat archaic pickup configuration/stereo/electronics, so that's something to consider redoing too. Since I prefer medium jumbo frets to the thin wires used on Ricks, a refret might be a good thing as well. However, there is one problem that is a real stickler to resolve with Rickenbacker's pickups. I think the toaster pickups really make a large contribution to the unique sound that is Rickenabcker, but the trouble is that they inherently generate severe microphonic feedback at loud volumes. So do the high gain pickups although to a lesser degree. This is the "bad" feedback that sounds like a microphone squealing. But that's another thread, as I have already more than digressed from the subject of bridge/stop bar. I have a 381v63, 12 string, Blueburst, and I wouldn't change a thing on it, because I think it is best rhythm guitar on earth. However, with a 350 platform, I intend to experiment with it until I either make it into a great, unique, and special guitar, or destroy it in the process.

[ken_j]

I would think that the string spacing on the PRS wrap around bridge would be to wide. You may want to consider bringing the strings through the body so you can control the width, as in the pic below. Keep in mind any unreversable mods will make the guitar far less desirable if you decide to sell.
As far as the picks ups you could use some Rick HB's. They have the same footprint and are potted in epoxy. They are very quiet. Another option is to wax pot your exsisting pickups. If I recall right Dale Fortune has sucessfully wax potted Rick high gain and toaster pickups. This will take care of the feedback. Note of caution though, the spools that Rick uses easily melt. I would contact Dale and have him do it since he has the experince.

[mahatma]

Hi Ken,
You're right. The PRS stop/bridge would spread the strings a little wider than the Rick bridge, however I'm not sure if it would make a critical difference in sound or string position along the neck. And you make a very interesting suggestion about routing the strings through the body. Do you know of any semi-hollows that have done this before? It would be far simpler doing it the way you suggested because the original Rick bridge could be used, thus maintaining the same string width. Through body strings is yet another technique that Fender and many Metal "Super Strats", like Schecter, use for improving sustain and tonal performance. Although, when Paul Reed Smith and Ted McCarty teamed up to build the McCarty PRSs, their research determined that the stop/bridge was the best way to enhance stain and tonal performance. Actually, it was McCarty, Les Paul, and Gibson who discover this long ago. Most of the wood's tonal qualities are generated by the string vibrations passing through the bridge and nut, while sustain performance is enhanced by the rigidity of the neck and body and the downward pressure of the strings on the bridge and nut. The long bend (almost 120 degrees)produced by the strings wrapping around a stop/bridge piece produces maximum pressure on it's bridge, the mass of it's saddles (when compare to tiny ones on a tune-o-matic-type bridge), and it's positive, bolted connection between bridge and body (when compared Rickenbacker's skinny allen screws) all combine to enhance sustain and performance. There is always a compromise, however, between sustain and tone. Rigidity produces sustain while flexibility produces wood tone. This is why Metal guitars with their rigid nut clamps, through-body necks, and Floyd-Rose whammy bars, have great sustain but are cold, steely, and have colorless tone, while Jazz guitars with their flexible hollowbody archtops are harmonically rich, warm, and woody, but have little sustain. I also thought about potting the toaster pickups. I wouldn't trust myself doing it, but would have a professionals like Lindy Fralin do it. I really like the tone of vintage Rickenbackers, but would like a more modern sustain for soaring leads. Simply using Rickenbacker humbuckers may be an easy solution. I have never heard them yet, but I can say that I like toasters much better than the high gains. Also, the Suzanna Hoff signature 350, with it's one bridge humbucker, 24 frets, long scale, and triangle markers, is a very beautiful and intriguing guitar - one that I think would be perfect. However, the limit edition makes them impossible to find and exorbitantly expensive. The quest for the perfect Rick goes on.

[ken_j]

Schaller also makes a few versions of a wrap around bridge. Unfortunately I think any versions of these would have the two E strings running off of the edge of the fretboard as you go up the neck. As you mention neck-through guitars I believe Rick introduced this type of construction in the '50s and still uses it today on their basses and the 600 series guitars. You may just want to investigate a 650 as it may do everything you want right out of the box.

[Clint]

Many believe that the rear mounted "R" and "trapezoid" tailpiece robs the guitar of its inherent warm semi-hollow tone. Guitar makers like Gibson found this out in the late '50 and began getting rid of their rear-mounted tail pieces for stop tail pieces on both their solid and semi-hollow bodies. Likewise, I thought it would improve the tone if the 350 had a stop tail piece/bridge.

I believe you will find just the opposite is true.

[ken_j]

I don't think it robs tone but it does reduce the sustain. I don't think that is a bad thing though it is just different. That is why I suggested the 650 with is neck-through and bridge/tailpiece mounted to the top surface of the guitar .