Rickresource Rickenbacker Forum

It doesn't appear to be a big issue with Gibson due to the fact that they used some form of ABS plastic for their bindings which we call today, "vintage cream" and at the same time, they would use celluloid fingerboard binding which was an off-white color. Their thick tortoise colored pickguards on the top of the line guitars were prone to crystallizing and gassing off, sometimes leaving the outer pickguard binding intact!

The process does not really stop altogether, it can lesson to a degree, but it will eventually win out. Another thought about the "why" certain years are more prone could be the glue used to adhere the binding to the wood. If it has different solvents, they could be the very catalyst which starts the process. In the past, factories would take scrap celluloid and cut it into small pieces, place it in a jar of acetone to melt and use it for the glue for bindings and such. Cheap, easy, and plentiful...

Jim

Kopfjaeger wrote: A nice period correct Autumnglo...

Unfortunately, there are no period-correct autumn glos for this bass. I know this because I have a Dec '72 Paul W. refin in matte autumn glo that is gorgeous, but based on the register, it doesn't appear that RIC made any autumn glos until mid-'73 at the earliest. As far as I know, there are no checkerboard-bound autumn glos (from '72 or '73, that is). And yours looks to be a '71 or early '72(?). But, you're not too far off; it doesn't bother me any with mine; it's too fantastic!

Here she is, BTW. I'm not sure that this type of finish would completely cover your glue situation:

John,

That is a lovely bass!! I love a good Autumnglo finish!! Unfortunately, negotiations have broken off. I offered my best and he turned it down. We were $300 apart but I thought I offered a high, top of the margin, offer.

Here is the thing, this bass may be the best playing/sounding bass RIC ever made but, it's never going to be taken too seriously with that staining. I've seen a few with much less staining and this one has to be the worst I've seen. The longer he keeps that binding on her the more she will break down and possibly stain more. The owner said he's in no hurry to sell her and believes he'll get what he feels is a fair price. He's dealing with a small pool that can look past her issues and who are willing to put $1,100 into fixing her correctly.

I'd love to rescue this bass but I'm not cutting my arm off to pay for it.

Sepp

That's too bad, but you've got to have a tipping point.

As usual, and for the record, I had my facts wrong. What trips me up is that the finish on mine is matte, which makes it somewhat like a walnut. But walnut is generally a single-tone finish and not a burst like my autumn glo. So, autumn glos were from about '56-'70 and walnuts started in mid-'73. However, some walnuts tend to look more like autumn glos than other walnuts do. This is all so very confusing.

Um, my 1969 4001 21r is Autumnglo.
So, there is indeed a "period correct" variant. It is a little redder than what it became in the later '70's.

The story of Autumnglo and Walnut is complicated and best explained in the colors section of my book. For a while in the late '70s and early '80s, Autumnglo was further described on price sheets as being "matte brown" and examples documented appear to have a satin clear coat. Walnut was supposedly glossy at this time, and the overall Walnut (no burst) examples seem to be concentrated in the 1974-76 period.

chefothefuture wrote:Um, my 1969 4001 21r is Autumnglo.
So, there is indeed a "period correct" variant.

As I had already indicated in my subsequent post.

I actually don't mind Glue-Burst….

I can't remember seeing this on anything other than a mapleglo.
Anyone?

Kevin,

Me neither. I think the seller is trying to minimize the damage to the instrument by claiming the "Glueglo" phenomenon is much more widespread than it actually is. Regardless of what he feels or how well the instrument plays and sounds, it's appearance it affecting its ability to sell.

Normally I would have forgotten about it and moved on, like I did with the "68 Brodie bass" I was negotiating for this past summer. For some reason I keep coming back to this one and thinking about it. I moved on and a few weeks later, the 65 4001 fell into my hands.

I got to remain strong!!

Sepp

Given how deep those cracks go into the body I'd be concerned about the integrity of the maple as to long term stability. If I were you, Sepp, I'd pass on this, unless you want to get into replacing both body wings, and maybe more.

jps wrote:Given how deep those cracks go into the body I'd be concerned about the integrity of the maple as to long term stability. If I were you, Sepp, I'd pass on this, unless you want to get into replacing both body wings, and maybe more.

I agree. I could live with staining, but the cracks would concern me deeply.

This is one of the fotos he sent to me. As you can see, the "damage is occurring tot he wood, not the finish. the finish looks flawless while it looks like the wood is being damaged. The crack to the face of the instrument lines up with the crack in the binding. Not so sure the cracks line up with the end grain crack. It's like the moisture has been sucked out of the wood and allowed the wood to crack.

It's a shame since the finish is as smooth as glass and actually quite nice!
On this one, look at how far the corner of the paper slides into the crevasse! That is a deep one.

Sepp

PASS. Grab yourself a nice Stingray or something.

Ya, it's not like this is the only one out there. Be patient, something nicer will come along.