What would your own Signature-Edition look like?
Moderators: rickenbrother, ajish4
Yes, come to think of it a piezo has to be properly attached to some portion of the instrument that resonates, so floating wouldn't work. I don't think it has to be under the bridge, although that may be the best location for most guitars. There's one company here in Canada that does a kind of "stick-on" piezo for violins, cellos, and the like, and the photos I've seen just have it stuck to the body of the instrument. It's designed for quick installation and removal with no fuss.
In the meantime, I'll settle for a good old floating humbucker.
In the meantime, I'll settle for a good old floating humbucker.
I'd like a special version of a 4005 in FG... with THREE pickups and some kind of switching system that would allow combining the middle pickup with any of the other two, or having it on by itself. And I'd make sure to have all three pickups placed in the proper harmonic "sweet spots".
Oh, and finally... no back-side body binding, because I've always thought that a completely rounded-off 4005 would look KILLER!
Oh, and finally... no back-side body binding, because I've always thought that a completely rounded-off 4005 would look KILLER!
My first bass was a Rickenbacker...
My best bass is a Rickenbacker...
My last bass may very well be a Rickenbacker
My best bass is a Rickenbacker...
My last bass may very well be a Rickenbacker
It's hard to say, but my wish for this evening might be something like this:
21 fret 1997 with third pickup and Ac'cent vibrato
SPALTED MAPLE top/side (not even sure if you can have a piece that thick, but this is a fantasy...). Lots or detail and figure in the wood. The two-tier scratchplate could be made of EBONY, possibly with Maple-capped ebony knobs.
Binding/purfling should be wood, either a light ivory-hued wood or ebony to match the other parts.
Neck should be same as a Mapleglo Ric with Rosewood fingerboard, but with TIGER'S EYE inlay (or position markers) -maiow.
Electronics wired so as to permit any pickup combination including series (!).
Or maybe an Art Deco appointed 360F done in Cobalt Blue................
Cheers, Noel
21 fret 1997 with third pickup and Ac'cent vibrato
SPALTED MAPLE top/side (not even sure if you can have a piece that thick, but this is a fantasy...). Lots or detail and figure in the wood. The two-tier scratchplate could be made of EBONY, possibly with Maple-capped ebony knobs.
Binding/purfling should be wood, either a light ivory-hued wood or ebony to match the other parts.
Neck should be same as a Mapleglo Ric with Rosewood fingerboard, but with TIGER'S EYE inlay (or position markers) -maiow.
Electronics wired so as to permit any pickup combination including series (!).
Or maybe an Art Deco appointed 360F done in Cobalt Blue................
Cheers, Noel
Shaking the floor of Heaven
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mortivan
A FireGlo 4001V63, but with checkered binding, lucite finger rest, new style tuners, raised letter TRC, and bridge pick-up capacitor.
And what the heck - throw in piezo saddles with a piezo/standard pickups blend control replacing one volume control, and a neck/bridge blend control replacing the other. It'll still keep the 4 knob appearance.
And what the heck - throw in piezo saddles with a piezo/standard pickups blend control replacing one volume control, and a neck/bridge blend control replacing the other. It'll still keep the 4 knob appearance.
FireGlo 4001 ala mid-late sixties would be the starting point.
Checkered binding, full sparkle inlays, Reverse open gear tuners, THIN neck, walnut ends on headstock.
Now for the final touches:
Highly flamed maple bookmatched body pieces and toner with an aged effect (slightly yellowed).
Toaster front and horseshoe style bridge pickup without the horseshoe magnets in the way. Instead it would be mounted on a metal (not plastic) base with with removable metal cover. It would come stock with TI flats.
Checkered binding, full sparkle inlays, Reverse open gear tuners, THIN neck, walnut ends on headstock.
Now for the final touches:
Highly flamed maple bookmatched body pieces and toner with an aged effect (slightly yellowed).
Toaster front and horseshoe style bridge pickup without the horseshoe magnets in the way. Instead it would be mounted on a metal (not plastic) base with with removable metal cover. It would come stock with TI flats.
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fury
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pablo_mago
Mine would be a doubleneck with a mandolin neck on top and a 12 string neck on the bottom. The body would be like a 360 (semi hollow) and the color would be aqua blue or maple glow. The mandolin neck would have a piezo pickup on the bridge as well as the magnetic pickup.
The other one would be a 60's style 360-12 with a 12 saddle bridge and high quality tuners. I'd want it in aqua blue also. I'd love to have a RIC that color.
The other one would be a 60's style 360-12 with a 12 saddle bridge and high quality tuners. I'd want it in aqua blue also. I'd love to have a RIC that color.
A 650 in Fireglo, Jetglo or Oiled Walnut finish (customer gets a choice in color) with humbuckers, locking nut and Floyd Rose vibrato. Where the forearm rests would be shaped like a Strat and it would have a similar scallop where the guitar rests against the player's body as well. The fretboard would be highly figured birdseye maple with black pearl dot inlays. The logo plate would be steel like the mounting plate for the control knobs, and with black lettering in a carved relief. The control knobs, pickup selector switch lever, and thumb wheels on the tuning keys would be black chrome and all other metal parts in chrome finish. There would be an extra special collector's model in Blue Moonglo finish (available on my signature guitar only) that I personally set up myself (for an additional fee, of course) and would be photographed using in a live performance, with a signed and framed photograph of me using the guitar in the performance. The guitar would come with a patented DADS truss rod (dual action, dual section) that allowed the upper and lower sections of the maple/walnut laminated neck to be adjusted independently of each other for absolute precision control of neck curvature. Unlike any other signature guitar that I know of, it would also come with a matching Traynor YCV40 combo amp that had been modified to my specifications to include a Celestion Vintage 30 speaker, genuine Tung-Sol 5881 tubes, and Texas rattlesnake skin covering with an included amp cover made from a genuine Indian blanket. The vintage style guitar case would also be covered in Texas rattlesnake skin.
Hey Philco...
I'll try to remember to let you know when the next Rattlesnake Roundup happens in Freer, Texas!
Maybe you can visit 'em and start stocking up on future amp/case coverings!

I'll try to remember to let you know when the next Rattlesnake Roundup happens in Freer, Texas!
Maybe you can visit 'em and start stocking up on future amp/case coverings!

My first bass was a Rickenbacker...
My best bass is a Rickenbacker...
My last bass may very well be a Rickenbacker
My best bass is a Rickenbacker...
My last bass may very well be a Rickenbacker
Well, Alvaro, a lot of snakes would have to give their lives for the cause, as my signature 4004L bass would also come with a vintage case covered in rattlesnakes skins. It would be the original version of the 4004L with the neck humbucker really up against the neck. It would come in Jetglo with a birdseye maple fretboard and black pearl dot inlays. The logo plate would also be in chrome steel with carved relief lettering in black. It would have a separate tone and volume control for each pickup like a 4003 bass. All hardware would be in hichly polished chrome. It would include dual graphite reinforcement bars in the maple neck with a single DADS truss rod between them, for a bass neck that was superior to any pure wood or graphite neck. The sculpted body would be lightweight basswood capped with maple on all sides. After an initial precision setup, the bass would be stored for a month then have a subsequent precision setup, then the process would be repeated again for another month before delivering the bass by rush Federal Express service to the customer in an insulated container.
For driving any length of instrument cable, a unity gain buffer amp of extremely high quality with very low output impedance wound be included that would mount on the guitar strap or belt of the player and allow low impedance balanced microphone cable with XLR connectors to be used, with an included adapter for an unbalanced instrument input. Standard unbalanced passive outputs would thus be retained on the bass for situations where electrical noise was not a prolem and short cables were allowed.
For driving any length of instrument cable, a unity gain buffer amp of extremely high quality with very low output impedance wound be included that would mount on the guitar strap or belt of the player and allow low impedance balanced microphone cable with XLR connectors to be used, with an included adapter for an unbalanced instrument input. Standard unbalanced passive outputs would thus be retained on the bass for situations where electrical noise was not a prolem and short cables were allowed.

