I thought it time to have a reference post for this .Thought it would be easiest to refer every one to.
To install this bridge ,you will need ;
1-patience
2-new set of your favorite strings
3-a tuner (I use a Peterson Stobe tuner)
4-files to notch the saddles(I use Round edge joint files -they are pricey,but a set of jeweler files can work)
5-some kind of minute measuring device(I use Dial Calipers)
6-a utility knife blade (this is for scoring the saddles )
7- a vice or something to hold the bridge while you lay out the string notches (it makes it easier if you don't have to hold it and layout this)
8-The hex wrenches for height and length adjustment for the bridge
Installing a 12 saddle bridge
Moderator: jingle_jangle
Installing a 12 saddle bridge
So you too want yours "ALAPWOB"?!?!
To start this ,I clamp the bridge in a nylon jawed vice ...it sure is easier this way.You can do without this but I think it to be easier .
I then set my Dial Calipers to .045 and using a utility knife blade (NOT a kitchen tool) I score the tops of the saddles .You may have to score the line twice ,but on aluminum it is fairly easy to do .
Next I switch to a Japanese 'Feather' file .This is a knife edged file and it starts the slot nicely .You can use a set of Jeweler files to do this job as well and they come in sets .
To maintain center ,I start with a .016 round edged joint file set and widen the notches for corresponding string sizes.
ALL the slots get cut using the .016 ,then I switch to a .026 for the G,D,A,low E standards and the A and low E octaves.
Next the .032 file gets used to slot the D ,A and low E standard and the low E octave
Using the files this way KEEPS the slots on center.
I switch to a .038 and widen the A standard and the low E standard and the low E octave .
The last cut to widen the slots uses a .048 file for the low E standard .
This gives you a perfectly spaced saddle notching .Now time for the fun part.
Just because you have a perfectly centered spacing of saddles ...does NOT mean that the original bridge is on center on the guitar!
In fact ....I have to fix this all the time ,it is not uncommon for it to be off to one side .
As a six saddle bridge ,it was not necessary for it to be perfectly centered ...the slots made the strings made up for the alignment error.
I then set my Dial Calipers to .045 and using a utility knife blade (NOT a kitchen tool) I score the tops of the saddles .You may have to score the line twice ,but on aluminum it is fairly easy to do .
Next I switch to a Japanese 'Feather' file .This is a knife edged file and it starts the slot nicely .You can use a set of Jeweler files to do this job as well and they come in sets .
To maintain center ,I start with a .016 round edged joint file set and widen the notches for corresponding string sizes.
ALL the slots get cut using the .016 ,then I switch to a .026 for the G,D,A,low E standards and the A and low E octaves.
Next the .032 file gets used to slot the D ,A and low E standard and the low E octave
Using the files this way KEEPS the slots on center.
I switch to a .038 and widen the A standard and the low E standard and the low E octave .
The last cut to widen the slots uses a .048 file for the low E standard .
This gives you a perfectly spaced saddle notching .Now time for the fun part.
Just because you have a perfectly centered spacing of saddles ...does NOT mean that the original bridge is on center on the guitar!
In fact ....I have to fix this all the time ,it is not uncommon for it to be off to one side .
As a six saddle bridge ,it was not necessary for it to be perfectly centered ...the slots made the strings made up for the alignment error.
So you too want yours "ALAPWOB"?!?!
Now comes the fun part .
If you have an older guitar (pre 1985) then you have the old tooling .
The bridge plates are NOT mirror image in the hole drills in it and the feet holes for the bridge ....use the new plate that came with the bridge.
Mark on the bottom using a felt marker ,Bass and treble on the corresponding sides.This you will thank me for later .I also do this on ALL vintage plates ....I have had to return to them later and figuring out which side is which is a pain .If you have an engraving tool use that!
Next ....is the bridge in the correct location.
This has been flogged to death and I will not go into the theory here ,but if you have an older under the plate you will find a black grease pencil line.This is the location without any compensation .This needs to be lengthened to correct intonation.
To locate the new line place a piece of masking tape on the face (you might stick this tape on your pants to remove some of the stickiness of it so you won't remove any of the old finish) in the are where the bridge goes.
Use a straight edge to lay out the out side edges of the neck .I hold a straight edge on the side of the neck and draw a line on the tape .Do both sides.
Then I measure the distance from the edge of the nut to the center of the 12 fret.I double this and add 1/8" to the length to get the center of the bridge line.Mark this measurement on the tape on both the bass and the treble side.
You may have to plug the original holes .Use round toothpick and some wood workers glue .I also use the Tape deck cleaning swabs from 'Radio Shack' for this hole .They are a wooden 'Q' tip with cotton ends .They are a terrific source for this size hole .
Lay the plate with the bridge on the face and lay the outside low E in it's notch and the outside high E in it's notch .Center the bridge and plate on the masking tape and draw a line on the outside edge.
If you have an older guitar (pre 1985) then you have the old tooling .
The bridge plates are NOT mirror image in the hole drills in it and the feet holes for the bridge ....use the new plate that came with the bridge.
Mark on the bottom using a felt marker ,Bass and treble on the corresponding sides.This you will thank me for later .I also do this on ALL vintage plates ....I have had to return to them later and figuring out which side is which is a pain .If you have an engraving tool use that!
Next ....is the bridge in the correct location.
This has been flogged to death and I will not go into the theory here ,but if you have an older under the plate you will find a black grease pencil line.This is the location without any compensation .This needs to be lengthened to correct intonation.
To locate the new line place a piece of masking tape on the face (you might stick this tape on your pants to remove some of the stickiness of it so you won't remove any of the old finish) in the are where the bridge goes.
Use a straight edge to lay out the out side edges of the neck .I hold a straight edge on the side of the neck and draw a line on the tape .Do both sides.
Then I measure the distance from the edge of the nut to the center of the 12 fret.I double this and add 1/8" to the length to get the center of the bridge line.Mark this measurement on the tape on both the bass and the treble side.
You may have to plug the original holes .Use round toothpick and some wood workers glue .I also use the Tape deck cleaning swabs from 'Radio Shack' for this hole .They are a wooden 'Q' tip with cotton ends .They are a terrific source for this size hole .
Lay the plate with the bridge on the face and lay the outside low E in it's notch and the outside high E in it's notch .Center the bridge and plate on the masking tape and draw a line on the outside edge.
So you too want yours "ALAPWOB"?!?!
With the plate and bridge in correct location ,remove them and get your drill ready to drill the mounting holes.
Okay ....so now lay the plate back on the face (Check to make sure the bass side is on the bass side!)And drill the new holes.
Remove and gently remove the masking tape.
Screw down the plate .
Install the new bridge and lay the outside strings on the new bridge to make sure it is on center .
It should be .So now remove all the old strings.
Take ALL of them off .This will NOT hurt the neck ,on new guitars or old Vintage guitars .
I load the tailpiece with all the strings and lay a piece of tape over the ends to hold them in place .This is something we did in the assembly area ...every day and it works so good that I do it to this day.
Start with the Low E string then switch to the outside high E string .String the guitar going back and forth ,from the bass side to the treble side .
Tip...the slot strings need to be wound to the outside of the headstock and the length of the stings need to be cut two tuners past the one they are going to .This gives you a neat look and keeps the strings snug and in tune .Bend a 3/8" section at the end of the string before you insert it into the tuner .This will make it easier .DON'T over lap the windings as this will cause slipping .Wind them evenly .
Okay ....so now lay the plate back on the face (Check to make sure the bass side is on the bass side!)And drill the new holes.
Remove and gently remove the masking tape.
Screw down the plate .
Install the new bridge and lay the outside strings on the new bridge to make sure it is on center .
It should be .So now remove all the old strings.
Take ALL of them off .This will NOT hurt the neck ,on new guitars or old Vintage guitars .
I load the tailpiece with all the strings and lay a piece of tape over the ends to hold them in place .This is something we did in the assembly area ...every day and it works so good that I do it to this day.
Start with the Low E string then switch to the outside high E string .String the guitar going back and forth ,from the bass side to the treble side .
Tip...the slot strings need to be wound to the outside of the headstock and the length of the stings need to be cut two tuners past the one they are going to .This gives you a neat look and keeps the strings snug and in tune .Bend a 3/8" section at the end of the string before you insert it into the tuner .This will make it easier .DON'T over lap the windings as this will cause slipping .Wind them evenly .
So you too want yours "ALAPWOB"?!?!
After stringing ,tune to pitch all the string EXCEPT the G octave ,this will be saved for last .It is prone to breakage in set up and I tune it to the same pitch as the G standard .
Here is how I finalize the string saddle notches .
It is nice to have a template to check for correct radius .I use a section of poster board or similar heavy paper .
I then draw a 10" radius on this paper stock and cut it out with a utility knife blade.Hey..I just happened to have one from the saddle scoring!
The strings should have the tops of them in the 10" radius .This gives for a clean picking motion .It is not done this way at the factory .
The factory uses the bottom of the strings (for the most part) that works too ,but I think this way is superior and is just a fine tuning thing that is from years of doing this for customers .I get immediate feed back from them loving this.
The template can now be set on top of the strings at the bridge .Do this just in front of the saddles .You can now see which slots need to be filed to lower the strings into this radius.Do this now .Remember to angle the slots slightly toward the tailpiece .This will eliminate sitar /buzzing noises.
When you finish that ,intonating is next .
Tune the guitar and start with the high E's they should be the same length ...they are the same size of string !
Then strobe the B strings .
Now the Standards ,leave the octaves till the end.
Set the G ,D and A standards first .Then the low E .
Think in terms of a six string guitar .I'll bet you have one of those around .Ever notice that the larger the string ,the further it is away from the neck? This should always be the case .
If you end up with the low E out of this pattern it is due to the Magnet(s) of the pickup (typical of poor intonating on Fender guitars)
If that is the case ,you may have to remove the neck (and middle if you have one ) pickup to get a clear 'picture/image' in your tuner.I tape them to the sharkfin guard temporarily.
To also get a clearer image I turn the bridge pickup tone control all the way off.This eliminates more signal and narrows the field of sound .
Here is how I finalize the string saddle notches .
It is nice to have a template to check for correct radius .I use a section of poster board or similar heavy paper .
I then draw a 10" radius on this paper stock and cut it out with a utility knife blade.Hey..I just happened to have one from the saddle scoring!
The strings should have the tops of them in the 10" radius .This gives for a clean picking motion .It is not done this way at the factory .
The factory uses the bottom of the strings (for the most part) that works too ,but I think this way is superior and is just a fine tuning thing that is from years of doing this for customers .I get immediate feed back from them loving this.
The template can now be set on top of the strings at the bridge .Do this just in front of the saddles .You can now see which slots need to be filed to lower the strings into this radius.Do this now .Remember to angle the slots slightly toward the tailpiece .This will eliminate sitar /buzzing noises.
When you finish that ,intonating is next .
Tune the guitar and start with the high E's they should be the same length ...they are the same size of string !
Then strobe the B strings .
Now the Standards ,leave the octaves till the end.
Set the G ,D and A standards first .Then the low E .
Think in terms of a six string guitar .I'll bet you have one of those around .Ever notice that the larger the string ,the further it is away from the neck? This should always be the case .
If you end up with the low E out of this pattern it is due to the Magnet(s) of the pickup (typical of poor intonating on Fender guitars)
If that is the case ,you may have to remove the neck (and middle if you have one ) pickup to get a clear 'picture/image' in your tuner.I tape them to the sharkfin guard temporarily.
To also get a clearer image I turn the bridge pickup tone control all the way off.This eliminates more signal and narrows the field of sound .
So you too want yours "ALAPWOB"?!?!
Next the octave strings .
A tip here on strobing ...Set the strings closer to the neck than they need to be ,it is easier to pull the string back to the tailpiece than to move towards the neck .
You need to think of the stings in terms of size and how the standard strings in their size laid out .
The smaller the string the closer to the neck they will be .This is true in the type of string .Meaning all plain strings or all wound strings .As there are two types of strings on 12 strings ...you will see that the low E octave is closely aligned in length to the G Standard (that is if you use a wound G standard) .
Start the octaves with the low E and then the A .The A octave is very close in length to the A standard but just in front of it .
The D and the G octaves are about 3/32" closer to the neck than the standards.This is just a rough idea of the pattern you will end up with .
When you finish with all the strings play away .
One thing I for got to mention ...after the notches are nut to the 10" radius ...this is the time where you set the bridge height.
Then continue with the rest of the installation.
I hope that this long narrative isn't boring and is helpful to everyone .It should also give you an idea of what we go through and why it costs what it does.
A tip here on strobing ...Set the strings closer to the neck than they need to be ,it is easier to pull the string back to the tailpiece than to move towards the neck .
You need to think of the stings in terms of size and how the standard strings in their size laid out .
The smaller the string the closer to the neck they will be .This is true in the type of string .Meaning all plain strings or all wound strings .As there are two types of strings on 12 strings ...you will see that the low E octave is closely aligned in length to the G Standard (that is if you use a wound G standard) .
Start the octaves with the low E and then the A .The A octave is very close in length to the A standard but just in front of it .
The D and the G octaves are about 3/32" closer to the neck than the standards.This is just a rough idea of the pattern you will end up with .
When you finish with all the strings play away .
One thing I for got to mention ...after the notches are nut to the 10" radius ...this is the time where you set the bridge height.
Then continue with the rest of the installation.
I hope that this long narrative isn't boring and is helpful to everyone .It should also give you an idea of what we go through and why it costs what it does.
So you too want yours "ALAPWOB"?!?!
-
rickplayer
- Veteran RRF member
- Posts: 88
- Joined: Wed May 30, 2001 7:14 am
Thanks for the info! I have a 36012v64 that i want a 12 bridge put on. I have ordered the bridge. A few questions. Does the new bridge have the notches in it or does Rickenbacker send them blank? Also, I live in Tacoma, so I could have you do the work if neccisary. What do you charge for this? It is a 97'.
they come with no notches ,that is why section TWO talks about how to do this .
Why do they need to be notched out side of the factory? Personal preference.
Plus you can get it perfect.Of course if you go to someone that has NEVER done anything like this ...then you get a lame job.
If you want me to do this for you ...glad to .
Let me know .
Why do they need to be notched out side of the factory? Personal preference.
Plus you can get it perfect.Of course if you go to someone that has NEVER done anything like this ...then you get a lame job.
If you want me to do this for you ...glad to .
Let me know .
So you too want yours "ALAPWOB"?!?!
-
rickplayer
- Veteran RRF member
- Posts: 88
- Joined: Wed May 30, 2001 7:14 am
I think it is beyond my skill level. It is important to me that this guitar is playable. I have some concerns about new holes being drilled in the body, but if it is necessary so be it. How do I contact you for an appointment when the bridge comes in? My e-mail is [email protected]. Also, approximately what am I looking at for a fee?
Jon
Jon
New holes are covered by the plate .
Is this to be looked at or played /used as a tool?
If you want the tool to work ....make it do it's job to the best of it's ability.
Most of the Gibson guitars that I have owned from the 1960's had bridges in the WRONG place.
The saddle on my D-35 CF Martin was in the wrong place .
The saddle on my Takamine 12 string was way off and then I compensated it so that ALL the strings are correct .
Is this to be looked at or played /used as a tool?
If you want the tool to work ....make it do it's job to the best of it's ability.
Most of the Gibson guitars that I have owned from the 1960's had bridges in the WRONG place.
The saddle on my D-35 CF Martin was in the wrong place .
The saddle on my Takamine 12 string was way off and then I compensated it so that ALL the strings are correct .
So you too want yours "ALAPWOB"?!?!
-
JimD
I'm in the process of changing the bridge on my 360/12v64 to a 12 saddle. I used a straight edge along both sides of the neck, and center marks on the neck and tailpiece. The new bridge is off center by 1/8" when laid on the base plate. The base plate needs to be relocated for centering and intonation compensation.
By doing this, the high e string is at the lower (painted black) radius of the bridge pu. I'll have to relocate the bridge pu 1/8"+ to center it with the strings. The neck pu is about 1/16" off but not noticable. I haven't read any threads of anyone encountering this?
If I don't move the pu, any thoughts on the tonal effect of the high strings not being within the range of the pole pieces? The pu's now produce bass tones that are more pronounced than the treble tones. I'm not sure if this is typical of the re-issue pu's, or part of my alignment problem? I will be removing the windings off the pu's and soldering in a .47uF capacitor, per Ted Breaux's suggestion.
If the pu's are moved, the upper screw holes will be noticeable I thought I could put a small rubber washer below the rubber pu grommets to conceal them?
I need a bit more space to cleanly finger chords at the first few frets. I decided to replace the nut and change the string spacing. I wanted to tighten up the spacing between the string pairs (.065") and maximize the width between the outer E/e strings. This should help increase the spacing for chording. I went with bone for appearance, I like the way it looks.
All thoughts and suggestions are appreciated.
By doing this, the high e string is at the lower (painted black) radius of the bridge pu. I'll have to relocate the bridge pu 1/8"+ to center it with the strings. The neck pu is about 1/16" off but not noticable. I haven't read any threads of anyone encountering this?
If I don't move the pu, any thoughts on the tonal effect of the high strings not being within the range of the pole pieces? The pu's now produce bass tones that are more pronounced than the treble tones. I'm not sure if this is typical of the re-issue pu's, or part of my alignment problem? I will be removing the windings off the pu's and soldering in a .47uF capacitor, per Ted Breaux's suggestion.
If the pu's are moved, the upper screw holes will be noticeable I thought I could put a small rubber washer below the rubber pu grommets to conceal them?
I need a bit more space to cleanly finger chords at the first few frets. I decided to replace the nut and change the string spacing. I wanted to tighten up the spacing between the string pairs (.065") and maximize the width between the outer E/e strings. This should help increase the spacing for chording. I went with bone for appearance, I like the way it looks.
All thoughts and suggestions are appreciated.
I use dial calipers to notch the saddles and I do this off the guitar .
As the center of the pairs is a given measurement,I spread the strings to .090 .I set my calipers to .045 and use a utility blade to scribe the saddles.The caliper edge is used to press the blade against .This gives a really accurate spacing.
The plate may not be mirror imaged .I scribe the bottom .This makes certain that I align it correctly .The saddles are in fact on center!
By using the scribed saddles and two strings or a piece of elastic cord ,you can physically align them and check it from on top.
I am not sure about what you mean by moving the bridge pickup !
The polepieces are so wide that it may not make a difference.The length should be fine .These pickups were installed by eye to align them when I worked there .I'll bet some things never changed.
The bridge is critical .The low E string sits at just about 25" when intoned .This is with any brand of string.Especially quality strings like -GHS,D'Addario,Rickenbacker and S.I.T. brands.
As the center of the pairs is a given measurement,I spread the strings to .090 .I set my calipers to .045 and use a utility blade to scribe the saddles.The caliper edge is used to press the blade against .This gives a really accurate spacing.
The plate may not be mirror imaged .I scribe the bottom .This makes certain that I align it correctly .The saddles are in fact on center!
By using the scribed saddles and two strings or a piece of elastic cord ,you can physically align them and check it from on top.
I am not sure about what you mean by moving the bridge pickup !
The polepieces are so wide that it may not make a difference.The length should be fine .These pickups were installed by eye to align them when I worked there .I'll bet some things never changed.
The bridge is critical .The low E string sits at just about 25" when intoned .This is with any brand of string.Especially quality strings like -GHS,D'Addario,Rickenbacker and S.I.T. brands.
So you too want yours "ALAPWOB"?!?!
Jim
Mark was great moral support for me when I did this same procedure a couple of weeks ago.
I certainly wouldn't have fooled with the nut. Maybe you should have gone with the TP 12 string with a wider neck?
I did however deviate from Mark's saddle notch location slightly as I felt that having the same space between the string pairs was more important than having the same string center to center distance.
I was quite pleased when all done.
You may want to look at my thread "Progress So Far"...
Good luck.
Mark was great moral support for me when I did this same procedure a couple of weeks ago.
I certainly wouldn't have fooled with the nut. Maybe you should have gone with the TP 12 string with a wider neck?
I did however deviate from Mark's saddle notch location slightly as I felt that having the same space between the string pairs was more important than having the same string center to center distance.
I was quite pleased when all done.
You may want to look at my thread "Progress So Far"...
Good luck.
-
JimD
Mark
Thanks for the saddle pics. I see that the high e strings in the 12 saddle pic crosses the bridge pu the same as mine, off center. You may be right that the pole pieces being wide enough may not make any difference. I'll hold off on moving the pu until I try out the new saddle setup. But looking at the guitar now, the pu looks off center in relation to the strings.
Also to remove the heavy bass tones, I'm planning to take the windings on both pu's down to 7400ohms. Now, my handy dandy RS volt meter reads 10,100ohms on the bridge pu, and 10,200ohms on the neck pu.
The nut is just roughed in and lightly notched for the outer e strings. I just found your post under "Widening the Playing Area on a CW". You used .80 for the string pairs. I'll take another look at my string spacing. At .65 on DGbe,and 73 at EA, mine may be too close.
I reviewed the "Progress So Far" threads and found the pics to be very helpful. If I can produce decent photos, I'll also post.
Thanks for the saddle pics. I see that the high e strings in the 12 saddle pic crosses the bridge pu the same as mine, off center. You may be right that the pole pieces being wide enough may not make any difference. I'll hold off on moving the pu until I try out the new saddle setup. But looking at the guitar now, the pu looks off center in relation to the strings.
Also to remove the heavy bass tones, I'm planning to take the windings on both pu's down to 7400ohms. Now, my handy dandy RS volt meter reads 10,100ohms on the bridge pu, and 10,200ohms on the neck pu.
The nut is just roughed in and lightly notched for the outer e strings. I just found your post under "Widening the Playing Area on a CW". You used .80 for the string pairs. I'll take another look at my string spacing. At .65 on DGbe,and 73 at EA, mine may be too close.
I reviewed the "Progress So Far" threads and found the pics to be very helpful. If I can produce decent photos, I'll also post.
-
rickplayer
- Veteran RRF member
- Posts: 88
- Joined: Wed May 30, 2001 7:14 am
Mark,
I wanted to give you feedback on my guitar. I own a 36012V64 that had a stock six bridge. I had previously owned a Tom Petty 12 that always had intonation problems. I struggled with this guitar for 10 years before letting another poor soul carry on the fight. After recording a song using a Ric copy (OUCH!) I got the fever again. I found a beautiful 36012V64 on Ebay. I paid a reasonable price and received a guitar 3 years old with the factory strings still installed. What a piece of S**t! It was a piece of art crafted from wood and metal, but completely unplayable and useless to me. I started looking into a 12 saddle bridge and e-mailed you few times. You had theories of moving the bridge and filing saddles and WHOA! way out of my skill level. Plus drilling two holes in my guitar was as welcome as a fart in a spacesuit. Reluctantly, I brought my guitar to you since I live 1.5 hours away. You did the work overnight. I play in an all original pop band, so my first night of practice with the "NEW" guitar was a test of open struming, capoed picking, and continuous fills using all strings in all positions. It not only sounded great, it was comfortable to play. I use stock RIC strings so it is like playing butter! It was amazing to hit notes above the third fret on the low E and have them be in tune. Not only with themselves, but the rest of the band. Especially the other guitar player. I feel I now own one of the nicest Rickenbacker 12 strings on the planet! I am not concerned whether George Harrison used the same rubber gromets as mine, or if Roger Mcguinn had this model stolen, I know it looks, plays, and sounds great! I want to reccomend to anyone owning a Ric 12, that they contact Mark for an appointment. For less than a weekend bar tab, I got my slice of heaven that only Rickenbacker players know! And by the way, I also sit at home and play Beatles, Byrds, and REM songs! Who can resist?
Thanks so much...now about the frets on my accoustic?????
Jon
I wanted to give you feedback on my guitar. I own a 36012V64 that had a stock six bridge. I had previously owned a Tom Petty 12 that always had intonation problems. I struggled with this guitar for 10 years before letting another poor soul carry on the fight. After recording a song using a Ric copy (OUCH!) I got the fever again. I found a beautiful 36012V64 on Ebay. I paid a reasonable price and received a guitar 3 years old with the factory strings still installed. What a piece of S**t! It was a piece of art crafted from wood and metal, but completely unplayable and useless to me. I started looking into a 12 saddle bridge and e-mailed you few times. You had theories of moving the bridge and filing saddles and WHOA! way out of my skill level. Plus drilling two holes in my guitar was as welcome as a fart in a spacesuit. Reluctantly, I brought my guitar to you since I live 1.5 hours away. You did the work overnight. I play in an all original pop band, so my first night of practice with the "NEW" guitar was a test of open struming, capoed picking, and continuous fills using all strings in all positions. It not only sounded great, it was comfortable to play. I use stock RIC strings so it is like playing butter! It was amazing to hit notes above the third fret on the low E and have them be in tune. Not only with themselves, but the rest of the band. Especially the other guitar player. I feel I now own one of the nicest Rickenbacker 12 strings on the planet! I am not concerned whether George Harrison used the same rubber gromets as mine, or if Roger Mcguinn had this model stolen, I know it looks, plays, and sounds great! I want to reccomend to anyone owning a Ric 12, that they contact Mark for an appointment. For less than a weekend bar tab, I got my slice of heaven that only Rickenbacker players know! And by the way, I also sit at home and play Beatles, Byrds, and REM songs! Who can resist?
Thanks so much...now about the frets on my accoustic?????
Jon