Rickresource Rickenbacker Forum

Just to be different, a really stupid face.

Sheena growing her hair! you robo-babe you!!

Great to see this thread revived, so I'll revive one of my favorites, too....

This is me playing my 481 at the Grand Marais Fisherman's Picnic festival in August 2006.

It's me but it ain't mine! Paul W's handy work.
w/1997

Me today after work.

Taking the long view as usual, Scottie...

Oh yeah Paul,Looking both ways for the full spectrum

Hopefully we'll get to see you with the Weller guitar soon, Scotty!

teb wrote:Hey, get that camera out of my face - big hands on skinny necks are serious business!

say, what model is that? a 360 WB?

It's a '91 360/12WB that I added a middle pickup to. It's stereo-wired so that the bridge (converted high-gain) and neck (toaster) pickups are on a standard five-knob Rickenbacker circuit and the middle toaster pickup has it's own circuit, played with a Y-cord into two channels or two amps. The sixth knob is the volume control for the middle pickup. Then I had Mark Arnquist add the twelve-saddle bridge, new frets that go all the way out to the outer edges of the neck binding for maximum finger room and a new nut with the widest string spacing that was possible with tightly-spaced pairs. It had a plexi TRC when I got, so I built new back-painted pick guards to match. It's certainly not a guitar for a purist, but add a set of TI jazz flats and a Janglebox on one circuit and you have a hell of a nice guitar that plays great and sounds awesome.
Sound sample: http://webpages.charter.net/tbradshaw/M ... f/saw3.mp3

Cracking tune, Todd. Really nice. You've captured the Rick really well too of course.

teb wrote:It's a '91 360/12WB that I added a middle pickup to. It's stereo-wired so that the bridge (converted high-gain) and neck (toaster) pickups are on a standard five-knob Rickenbacker circuit and the middle toaster pickup has it's own circuit, played with a Y-cord into two channels or two amps. The sixth knob is the volume control for the middle pickup. Then I had Mark Arnquist add the twelve-saddle bridge, new frets that go all the way out to the outer edges of the neck binding for maximum finger room and a new nut with the widest string spacing that was possible with tightly-spaced pairs. It had a plexi TRC when I got, so I built new back-painted pick guards to match. It's certainly not a guitar for a purist, but add a set of TI jazz flats and a Janglebox on one circuit and you have a hell of a nice guitar that plays great and sounds awesome.
Sound sample: http://webpages.charter.net/tbradshaw/M ... f/saw3.mp3

awesome! thanks for explaing it all, the extra know had me confused.

do you want to sell it?

I'm planning on being buried with it (you never know, you might wake up in there and have some new tune in your head that you want to work out - plus, you're probably not going anywhere). I play it so much that I bought a 330/12 as a spare so that I wouldn't wear it out. I rigged the 330 pretty much the same way. It has spectacular figure in the wood and it sounds even better than the 360/12. I've had four Rickenbacker twelves (360/12, 660/12, 360/12WB and the 330/12) and also a 360/6 and the 330/12 has the most resonant body of any of them. I still need to get it set up for my fat fingertips, but it's going to be really good when it's done. I'm thinking about having it double-bound and fingerboard inlays installed, but I'm almost afraid to mess with it, other than to just get it playable, for fear of diminishing it's sound.

Wow! What a gorgeous guitar.

JimK