Rickresource Rickenbacker Forum

RIC_FACTORY wrote:

How big the percentage of possible buyers is that will not like it, is something that I would want to know if I were the builder of the instruments, no matter how far the backlog is... unless you actually want to reduce backlog by scaring away customers with an unappealing ramp.

The only time this has been brought up is here, amongst a few people (some of whom are actually bass players). As for the witty comment, I would expect that those folks are just gonna go hang out with the crowd that can't stand the 12 string headstocks and swear they will never purchase a new Rick until that changes back!

Ah, the 12er headstock - another lovely item where opinions and tastes (usually closely related) differ quite a bit from person to person!
The 12-er headstock looks good in either way, just because it's not like those miles of headstock other guitar brands use for their 12ers!

Anyway, Ben, of course we're all just concerned fans of the brand voicing our fantasy of what the ideal Ric should look like
Who knows, maybe if I see a new 2011 360/12 FG I will fall in love with the new ramp width, you just never know!

I think there's a very serious danger for us to become even more stereotyped in the long term if we continue to pump out instruments "just like the old ones". While true vintage reissue models will probably always be available . . . even though that's not a really big market for us . . . the evolution that goes on in the rest of the line is quite healthy, not dissimilar to what VW did with "The Bug" over the years.

I've seen this proven out a different points of time in our history, when departures from tradition have resulted in some significant increases in sales, mainly due to wider applicability to a wider audience.

We certainly don't run away from the heritage of our older instruments but I also feel it's important we are not rigidly bound by it either. I do wish we had extra factory capacity so that we could resume the introduction of entirely new models (some interesting ones of which reside in my office closet).

John: How about a quick photo of that closet with the door just open slightly.

Oh, now he's done it!

johnhall wrote:I think there's a very serious danger for us to become even more stereotyped in the long term if we continue to pump out instruments "just like the old ones". While true vintage reissue models will probably always be available . . . even though that's not a really big market for us . . . the evolution that goes on in the rest of the line is quite healthy, not dissimilar to what VW did with "The Bug" over the years

Interesting comparison, one could've opted for a Porsche 911 as well, of course.

Devil's advocate: one could say VW brought the beetle up to latest technical standards, whereas these new Ric model developments are design changes, not technical improvements.

Are those new models design drawings, or any protos been build of those? And how "new" are they? New as in never been produced, but could still be something designed in 70s or other time frame, or more recent?

John is such a tease. Of course many of us would love to see RIC's top secret developments.....................but don't hold your breath.

I'll take the 911.

ken_j wrote:I'll take the 911.

But, which one?

I think having the CNC make parts that are hand fitted and sanded is a good thing, both in keeping the cost down and maintaining consistancy. The safety factor is also a most overlooked advantage

As far as machines, your tree was cut with one, driven to the mill on one, processed at the mill by many, loaded on a truck by one, either tranferred to a train or taken by a big truck by one, and delivered to the factory by one, and probably other processes I have overlooked. My point is this, unless you cut the tree down and processed the wood all with non powered hand tools, how is this CNC machine doing anything to the wood it hasn't already had happened many times before it was turned into an instrument?

I, for one, couldn't be happier about the cut outs on my 2005 360FGVP 12 strings head stock. It makes all the difference in the world to me restringing that bad boy, and looks cool to boot. Anything that makes the maintenance quicker and easier so I can actually get out and play the darn thing is a win in my book. The fact that they are not some 5 grand plus instrument because some guy used a handsaw to cut out a blank that was delivered to him by various machine processes, is yet the greatest plus.

I'm not a "yes man" to any degree, read a few of my posts for proof if you like, so don't think I'm just drinking the "Rickenkool-aide" here. I have a guitar that is finely made and looks, plays, and sounds beautiful, all for less money than a comparably crafted, American made instrument generally goes for.

Looking forward to the new goodies in the future

johnhall wrote: I do wish we had extra factory capacity so that we could resume the introduction of entirely new models (some interesting ones of which reside in my office closet).

You're such a Rick-tease John

aceonbass wrote:

johnhall wrote: I do wish we had extra factory capacity so that we could resume the introduction of entirely new models (some interesting ones of which reside in my office closet).

You're such a Rick-tease John

I would LOVE to be the fly on that Hall closet wall right now!

bitzerguy wrote:I would LOVE to be the fly on that Hall closet wall right now!

+1!

O-o-o-o-o-h these "interesting new models" diagrams stashed in the closet are going to drive everyone's curiosity wild !!

Back on the original subject of variances of CNC processed "Cresting Wave" models ....at Saturday's "End of the World Jam" session, Louis C. and I were talking about this subject and we ended up comparing my late '90s 650 Atlantis Cresting Wave horn with his mid 60's 615(?) model and the top horns on the two were slightly different, with the Atlantis having more rounded features. We were putting the Cresting Wave horns right next to each other and then holding one over the other and comparing the slight differences. I don't know if there are any pictures from Saturday's Jam where Louis and mine Cresting Wave guitars were on stage at the same time ? ... I'll have to check. And Gary also had his Burgundy 460 model on hand at the "End of the World Jam" which would provide another comparison of the horn shape variations through the decades. Maybe someone with some photography skills will be able to splice pics of these several guitars together for comparison of horns, once we get the Jam pics posted in the Confluences section.