Rickresource Rickenbacker Forum

It's an Alembic thing - if you're going to charge that much for a bass, you have to make the buyer think he needs a Ph.D. to run the thing...

jingle_jangle wrote:Russ Rubman's Aquabass was done with pale aqua, deep aqua, and cobalt blue over aqua, for a very nice effect.

This is one of the nicest finishes I've sever seen on a guitar. I'd love to have one done like this.

How gorgeous is that bass? Spray gun on stun.

admin wrote:How gorgeous is that bass? Spray gun on stun.

No kidding Peter. That is a stunner!

Yeah, that's one of the ones that really starts pulling me away from MapleGlo. I just might have to do something like that to the new 4003MG I have on order...

Re: the XLR on that Hobbit bass:

You're correct, Ryan...never saw one of these thangs in person, even though their Hobbit cave factory is a relative stone's throw from my house.

I use the same XLR fitting on my latest Light Show Conversions, to carry signal and current to the circuits from the stomp box/converter. DUH.

jingle_jangle wrote:Thanks for explaining about those nine, randomly-placed knobs, Jeff. Then there's the tenth, mounted on its own panel with two exposed screws...

As explained, the XLR out is a stereo out that would go into an Alembic rackmount power supply and signal splitter. As to what each control does, Dave Pascoe would be the better authority, as the ones I used to own were far simpler. I can say that the pots are for the usual things like volume and tone filters, which work in different ways depending on the setting of the rotary switches; as typical treble roll-offs or as high Q roll-off filters, possibly even as bandpass filters. Wal uses something similar in it's EQ package.

paologregorio wrote:
What finish is that? Is it Cherry burst? It's not Monte Brown is it? Geez is my colorblindness operating here? I actually find it appealing, and I'm not much of a "burst" lover.

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Mid-'60s Autumnglo.

Well, have you decided, Peter? Or, after ten pages of suggestions, are you more confused than ever?

beatlefreak wrote:Well, have you decided, Peter? Or, after ten pages of suggestions, are you more confused than ever?

I think Peter should use ALL the color suggestions and make his guitar a sampler of Rick colors.

Kris: Whether I am confused or not depends on who you ask.

I have, however, benefited greatly from all of the great suggestions here. I especially like the rationale that has been given by so many in their recommendations regarding a particular finish. There are many strong arguments that have opened my eyes to possibilities that I may never have ruled in or out without this support.

At the same time, this exercise has been fun. While not touching on all of the views expressed, so many factors were sensitively considered including: the finish of other instruments I own; the benefit of showcasing the grain; the matching with the existing colour of the guard and truss rod cover; pushing the envelope by using a less traveled finish; appreciating the instrument within an historical context; considering finishes that have never been used before; deciding whether the finish is representative of a car or furniture; borrowing colours from nature or materials crafted from human hands; and best of all all wrapped up with encouragement and caring.

We now enter phase two of this thread. Based on my comments and the summary of the recommendations thus far, what finish do you consider I have chosen?

jps wrote:I think Peter should use ALL the color suggestions and make his guitar a sampler of Rick colors.

The Rickenbacker quilt guitar!

admin wrote:

admin wrote:We now enter phase two of this thread. Based on my comments and the summary of the recommendations thus far, what finish do you consider I have chosen?

1. At this time a solid colour is not in the cards for me as I would like to take advantage of the grain. My 350 is certainly not flamed or quilted but it does have a nice grain.

2. As I already have a Montezuma Brown Rickenbacker, I would like to move away from the very dark brown tones in this refinish.

3. Aquaglo, Mink, Orangeglo, and a Deep Red and several others have all been used as custom colours recently and as such I would not feel right moving in this direction as superb as each of them turned out.

4. I will stay away from the traditional fireglo, not because I don't like it but because it is readily available in new and used instruments for those who are patient.

5. The field I am currently exploring has narrowed to include brown tones that are lighter than montezuma at the same time slightly darker than mapleglo. I prefer the warmer tones and for this reason have moved away from the blues and greens.

So I am in agreement with the majority of suggestions made here when it comes to going for a burst and something that showcases the grain.

It looks like you're going for a transparent burst that would include light browns and possibly yellows.

Kris: A very nice analysis and I guess I provided you with sufficient information to narrow things down.

If you get a mock up done, post it so we can see, please.