Rickresource Rickenbacker Forum

Very nice. I do like the inlays, and whilst I'm not a big fan of natural finishes, this one has a really nice lustre to it.

Also, every set of these photos bring me one step closer to mine

Beautiful finish,and without the traditional elements (pg,R tailpiece),its quite different looking! Love the walnut!

jingle_jangle wrote: I'll start with the varnished and shaded walnut back. These were taken in early morning sunlight, so they're quite dramatic, color-wise:

That wood finish in the morning sunlight is gorgeous !!

Oh man, that's gorgeous!!!

Stunning mix of color and grain on the back.

I dunno, looks pretty fishy to me.

bassduke49 wrote:I dunno, looks pretty fishy to me.

You beat me to that one

So, bad jokes are bicontinental?

jingle_jangle wrote:So, bad jokes are bicontinental?

Depends on what constitutes a bad joke

Wildberry wrote:

jingle_jangle wrote:So, bad jokes are bicontinental?

Depends on what constitutes a bad joke

I'd say that last one is a perfect example ...

Beatutiful work, Paul!

Magnífico amigo!

The usual stunning work.

The story behind the 380 is this. I was on my way home from an Indonesian dive trip and saw the 380 L on E-Bay while staying at a friend's house in Bali. I put in a bid and then flew home. When I got home, I found I had won it. It was old, new stock from a US guitar store. I already had a 380L/P so I just had this one around for fun. Then I was in some sort of discussion about finishes and RCAs on the Rickenbacker Corp. forum and said I really liked the walnut look. CEO John Hall chimed in and said I ought to see his, that he had his 380 clearcoated. Later, I saw a photo of it and so contacted Paul about making this a 12-string and clearcoating. Paul said he could indeed do this. So I sent it to California.
About the same time, the Aqua Bass came out. I was amazed at the detail in the reef scene and fish. Paul told me the work was done by Craig Lavin. I have always wanted to get some of my favorite shots immortalized on a guitar of mine. I called Craig and found out he was in Ft. Lauderdale. I was returning through there from a dolphin shooting assignment in Bimini so I stopped and went to his shop for a visit. I was amazed at how many types of materials he uses for inlays. One simple fish can be made of dozens of pieces of varied materials. On top of it, knowing that I am marine photographer, Craig was discussing the fish work using Latin names for the creatures. Turns out both he and his wife are trained marine biologists.
Anyway, Paul shipped it to Craig. After a lot of testing of images, we settled on making the body art from a couple of my favorite shots from Micronesia... my friend Yoko swimming in Palau with bottlenose dolphins and a group of mantas passing by from Yap (see attached). The neck inlay is also a traditional sea turtle design from the Yapese meeting houses. Craig did quite a search to get the materials and the finished work was amazingly detailed. I have seen no else one who can do proper marine life as he does. Attached is what Paul got back from Craig. Still pretty plain but with potential. Then Paul started in with the magic. Aside from clearcoat and making it a 12-string, Paul refretted the neck, did tons of body work and came up with the suggestions for the beautiful shading for the body and neck. He also came up with a bridge with acoustic pick-ups to make the it a 380/12PL. This gold bridge was not an easy find and I thank Paul for his genius in coming up with this. I had the TRC and it worked well.
So now, after a few of years, we have the fruit of a collaboration of a marine photographer, an extremely talented inlay artist and a premiere luthier artist. I'm almost afraid to play it, but Paul assures me it has an amazing sound. Which is why he says he will also post audio files. And that's the story so far.

I always like a guitar with a good story! *Cliche Alert* If guitars could talk.