Rickenbacker

I use this Rickenbaker 620 with an ibanez TSA30H tube amp (a very good small amp that I can only recommend), and I mainly play rock. Excellently built: solid maple, neck-through construction. Quality can be felt. After a time to adapt to its thinness and short length, the neck appears comfortable and pleasant. I still had to have the string height set as it was a bit high to my taste. It features TWO truss rods, allowing for a very precise setting (my repairman particularly appreciates this feature). The guitar stays in tune very well thanks to excellent closed tuners. The sound is incredibly homogeneous when you get from one string to another, with the whole greatly balanced. As for its cons, I noticed the second string sounded approximately 1/10th of a tone out à tune (especially noticeable when you get from a G to an A), something my repairman an I more or less solved by slightly trimming the slots in the nut. I believe however this problem to be a side effect of the guitar’s extreme sensibility to position change (sitting, up, neck positioning…). No vibrato needed, merely distorting the neck pressing the body works very well for that. Compared with the other guitars I’ve tried (I own a Gibson SG, a strat, a cheap Gretch), you even get more of a tremolo effect when shaking the neck. In the end, it’s not a real problem provided you manage to keep a stable position while playing, it’s even a quality in that it makes the guitar an extension of your own body, sensible to all nuances and ready to react to all intentions. On another note, setting the saddles is a real nightmare with a standard key (which comes with the guitar) due to how close the bridge is (yeah, it’s a beautiful R and still…). Perhaps there’s a way around this, but if so I haven’t found it yet (neither did my repairman). Now, let’s get to the SOUND! I’m really pleased with it. It can sound aggressive, bite with the bridge pickup but also round and soft with its neck counterpart. The important distance between them certainly accounts for such a contrast. Both hi-gain single coil pickups are a real pleasure – how punchy! The aforementioned homogeneity really reveals when the guitar is plugged in, with a full sound, crystal-clear (yet not aggressive-sounding) trebles (the clean neck pickup with a good reverb on a split chord on the fourth trebly strings around the 12th fret just sounds… wow!). As for the sustain, it’s just huge! The attack’s “soundgrain” is not bad, either. The setting knobs (two for volume, two for tones and an extra knob that acts like a sort of EQ allowing extra control over the sound) are very efficient and allow for a wide array of sound. It’s been the first time I’ve actually used tone knobs… Is you also consider the contrast between both pickups, the intermediate pickup selector position becomes most interesting. Please note: it’s also possible to plug a stereo jack on a second, specific jack out. I haven’t used it but if I’m not mistaken, I understood it was meant to get the separate outgoing sounds of each pickup for two different amps. Finally, its look is quite original, and I love its curves! Of course, that’s quite subjective. Caution though: the guitar is really small. The neck has one less fret and seems buried into the guitar’s body, unlike, say, an SG. I first found it quite disturbing. Considering this, I wonder if it would be fit for a large sized guitarist (which ain’t my case). In a nutshell, Pros: - perfect manufacture with quality components - homogeneous sound - crazy sustain - awesome playability (only for experienced guitarists – not a guitar to be put in anyone’s hands…) - very good pickups, precise-sounding and powerful - it has a real personality - its look Cons : the original string height was a bit high to my taste, an important sensitivity to position change, and even an almost out-of-tune sound in the very first frets (but believe me, this guitar takes -and deserves- being tamed), plus the saddles which aren’t easy to access. Also, it’s a rather rare models and it takes some time to manage to get one. Clean sound : just like heaven. Overdrive: you’d love yo eat it whole! Distortion (with an original Sans Amp and a Proco Rat): raving! OK, this review is quite ecstatic, but I still claim a certain level of objectivity: I had a very good and experienced guitarist friend of mine play this guitar, and not only does he share my advice but he now also wants a Rickenbacker (but he’s after a hollow body model). As to my favourite guitar repairman who usually never says a thing, he went “hey, nice guitar, and the sustain… wow!”. So, i’m a happy guitarist. Pdate a few months after: still happy with it, I finally got used to the neck and I can no longer live without this guitar! Totally satisfied for live use too: I bought a Vox Nightrain head and they work wonder with each other. A real love story between a Rick and a Vox...

There are bass guitars, and then there is THIS bass guitar. This is an icon in the world of music, for many reason. Firstly, I'll list some of the features of the bass, then I'll give my opinion about it. The bass is a neck through, with a maple body and neck, 2 truss rods, and a rosewood fretboard. The fretboard has Rickenbacker's signature triangle inlays and 20 frets. The bass has 2 single coil pickups, a 3 way toggle switch, and 2 volume and 2 tone controls. It also features stereo output, for a huge sound! UTILIZATION This bass transcends all other 4 string models. It is a masterpiece, it is an island, it is a religion. The 4003 is so darned cool that it will make even the snobbiest bassist smile. The neck has a very positive, solid feel, and it wants to be played with a pick. The playability is out of this world, and very inspiring. SOUNDS Cliff Burton! Lemmy Kilmeister! Chris Squire! There are all sorts of bassists in the classic rock realm that play a 4003, but the one think they all have in common is that their tone is enormous! Is this a coincidence? NO - IT'S THIS BASS. The pickups have an incredible growl to them, and the dual outputs aid in obtaining a huge sound. One thing I've experimented with is plugging one side into a clean amp rig and the other side into a fuzz pedal into an amp, and blending them. It sounds positively elephantine! OVERALL OPINION This might be the most enthusiastically glowing review I ever write about any instrument, but it is deservedly so. The 4003 has been around a long time, and is an icon in the world of the electric bass. It doesn't do everything, but what it does it does better than anything else out there. This bass absolutely rules.

It was my 55th birthday. I'd been playing guitar at that point for 45 years. Thought I'd buy myself a good guitar to mark the occasion. Cost was not a major factor but vibe, sound and pedigree were. I plumped for the six-string version of Rickenbacker's Tom Petty signature model, the 660. I live in Singapore, where there's no Rickenbacker agent, so I went surfing and discovered Dave's Guitars in Wisconsin. They answered my e-mail enquiries and the whole deal was done without any fuss or drama. I sent a banker's order and a week later UPS delivered the fireglo beauty to my home. The cost of the guitar was US$1250, shipping was another US$150. Three things really appeal about this guitar - its sound, its looks and its build quality. The 660 is built along the same lines as Rickenbacker's early "tulip" models from the 50s in that it is a one-piece, neck-thru-body construction with "wings" added to give the body shape. It's made entirely of rock maple, which in the case of my instrument is beautifully flamed and figued on the sides, body and top, and is a cresting wave shape - very retro, very cool. The toaster pick ups (bridge and neck)are the new vintage-specs alternative Rickenbacker has been offering for a couple of years now. Output is around the 5.0K mark in terms of resistance and they deliver THAT jangle as only a Ric can. More significant to me, being British, is the fact that the guitar sounds quintessentially American. Plug it in, turn it up and it couldn't be anything other than a Ric even though it's a solid-body construction and only six strings, the sound is all there. And so are the looks - Ric's traditional fireglo finish (this model is also available in turquoise) is set off beautifully by chequered binding on the top edge of the body, a bound neck and a gold, two-tier pickguard. Vintage-style (but not oven style) control knobs and Kluson-style tuners complete the look along with those (crucial to real Ric fans) shark's tooth diagonal position markers on the deep red rosewood fretboard. Talk about eye-candy! The build quality is quite flawless and, apart from one truss-rod adjustment after the guitar had been in Singapore's humid climate for six weeks, the action was spot on straight out of the box. The "box" by the way is a gorgeous silver case made by the same people as make Fender's tweed cases. It has a discreet Rickenbacker badge near the handle, a blue plush lining and is built to last. The thing that sets this Ric apart - like its 12-string TP big brother - is the extra width of the neck compared to standard models. TP himself asked for this so his fingers didn't get all confused on a thin neck with 12 strings. Translate that into six-string territory and you have a neck that's not unlike a clubby-style '56 goldtop Les Paul or an ES-175D. Very playable and great if you like beefy necks. I also am of the opinion that such necks do wonders for a guitar's tone and when you hear it, you'll know just what I'm talking about. OK, the downside to my best-ever birthday present falls into three categories, namely weight, neck finish and power. First up, it may be a small guitar but, as I say, the neck is beefy and the weight of all that lovely rock maple is too much for an ageing hippy with a bad back to tote for too long. Shame, I was expecting it to be lighter because the body is small compared to, say, a Strat or a 335. The finish on the neck is Ric's standard high-gloss nitro-cellulose - not normally a problem but in these humid climes it can get pretty sticky, pretty quickly. I manage the problem by polishing it with a premium resin-based NOT WAX-based auto polish about once a month. And power - those toaster pick ups will not push your average Marshall, AC30 or Fender Deluxe into overdrive territory. If you use a lot of effects, it's probably OK but I'm a tone freak which means I like a guitar, an amp and a cable and not much else thank you. Make no mistake, the 660 is probably the best rhythm guitar on the planet. It's capable of delivering Lennon-esque sounds, Petty-esque drive or McGuinn-esque jangle but put it this way, SRV would not have used it in a blue fit and neither would the likes of Page, Clapton or Beck. Not only do the pick ups stay firmly in rhythm territory - and that's not a criticism, the sound is full and rich - the feel of the neck at the dusty end doesn't lend itself to bends and vibratos the way a Gibson or Fender does. That's not a problem for me but it could be for those of you who want to be Joe Strummer and Brian May all at the same time. I believe I've said enough about the build and quality of the guitar in my opening remarks but here just let me say that little things, such as the trapeze tailpiece and the strap buttons, are unique to Rickenbacker and give the instrument a real touch of class. So too does the subtle shaping of the back edges of the body. It looks great and makes the guitar more comfortable to carry. The bottom line is that the 660 is a superb instrument that to my mind is actually under-priced by comparison with similar up-market Fenders, Gibsons and Gretschs. I've lived with it now for more than four months, playing it at home through a small tweed Fender and onstage through a 4 x 10 Fender De Ville. It has been utterly reliable, holds its tuning very well and has delighted my fellow band members and audiences with its look and its sound. Everybody who sees it ooohs and aaahs and makes mistakes guessing the model number. Only 1,000 TP signature 12-strings were made. I suspect there are not many more six-string versions in existence either but Rickenbacker themselves can give you the score on that. The guitar has "collectable" written all over it but I don't think I'll be around 30 years from now when someone, somewhere will be paying big bucks for this beauty. It's not a guitar for all seasons, it's something of an acquired taste but hey, if you like Guinness and oysters you like Guinness and oysters. Me? I'm a Guinness and oysters man and this is American guitar building at its very finest. You won't find anything better coming out of Corona, Montana or Nashville and the only way to go from here is into the esoteric realms of the boutique builder. I might do that for a Strat or a Tele - both can be improved on - but a Ric is a Ric. It just doesn't get any better. This review was originally published on http://www.musicgearreview.com

(Originally written by Psib/translated from Audiofanzine FR) See previous descriptions and the Rickenbacker website. Mine is a lefty amber fireglo model. UTILIZATION Flat and very slim neck... Very easy to play for those with thin fingers. Good access to upper frets, the heel begins at the 22nd fret. The guitar is very light due to the partially hollow body. The sound is good unplugged, it vibrates through the whole guitar which can lead to unwanted noise from the bridge. Once the guitar is plugged, the sound is wonderful, clear and crystal-clear for arpeggios and cutting rhythm parts. The sound is versatile and everything is possible, except for hard rock and other violent music styles because the guitar has only single coil pickups. SOUNDS Its sound ranges from the 60's to today's music. I play it with a Fender Blues Junior tube amp that fits this guitar perfectly. I think a tube amp is necessary to get the right SOUND!!! The settings are simple but the knob that adjusts the balance between both pickups is very sensitive so you'll need some time to learn to use it well. I like 60's and 70's music so it's the perfect guitar for me. OVERALL OPINION I've owned this guitar for one month. It was not easy to find because I needed a lefty. Its only weak point is the unwanted noise generated by the beautiful bridge (I guess). I own several Fender and Gibson guitars and this one is the most beautiful. The price is ok considering similar instruments. I wouldn't hesitate to buy it again.

The Rickenbacker 4001 -- no longer in production, though distinct from its replacement the 4003, so they say, only in its slimmer neck profile -- is really the classic non-Fender bass. It has two pickups, a three position selector switch, volume and tone knobs for each pickup, a foam mute for making it sound like an upright, and neck-thru-body construction that gives you tons of woody-sounding sustain. It was not a perfect design to begin with, and even the least-old 4001s are getting up towards thirty years now, so most of these are starting to show their age. Mine, a 1974, was in rough shape when I got it. I replaced the tuners and pickups and put a new pick guard on it and now its all I could dream of, except for the fact that the bridge is kind of wonky and has a habit of sliding a little bit, messing up intonation. With the new tuners, though, the thing stays in tune for hours of playing, which it certainly did not do before. If anybody has one of these and it won't stay in tune I highly recommend the Hipshot tuners, which will not require any drilling. The difference in tuning stability is night and day. UTILIZATION It is the best feeling and easiest playing bass for rock, period. The neck is too good to be true. It's true that there are minor tuning issues, but these can be overcome if you know what you're doing. The trade-off for sound quality and playability makes it totally worth it. SOUNDS First of all, go listen to "A Little Help From My Friends." If you like that bass tone this is the bass for you. A few things to consider, though: First of all, I think this bass sounds a lot better with flatwound strings. Not everybody likes flats, so if you don't like the feel you may be better off with a Fender. Second of all, the bass has a very up-front sound, very crisp and detailed (like most Rickenbacker products) and if you're running a solid state rig it may end up sounding a little too thin. I used to play through a solid state combo and didn't see what the fuss was about with this bass, but when I started playing bass more seriously (I used to be just a guitar player) I invested in an Ampeg tube head. Again, the difference is incredible. This bass was designed when tubes were the norm, and a good tube amp will really round off the edges of the tone while emphasizing what makes the bass so special. OVERALL OPINION I should say a few things about my setup. I have a seventies Ampeg V4B head and a new (made in USA) 8X10 Ampeg cab. The pickups in the bass are Bartolinis, though I used to have the original 1974 stock pickups in there. The Bartolinis sound the same except louder and clearer -- less muddy and less noise but the same tonal balance. My theory on this bass is that the sound is in the wood, anyway. The stock pickups sound great, and basically everything I've said about the instrument would still be true with the stock pickups. Running this thing through an Ampeg tube amp will give you the best possible bass tone for any style of 1960s or 1970s rock.

Rickenbacker made a great name for themselves back in the day, and this bass is a good example of why. American made, it has a single pickup. It has a standard RIc neck-thru design and two pickups, as well as 22 frets. It has a standard volume and tone knob configuration as well. UTILIZATION One of the defining features of most Rickenbackers, and this bass in particular, is its ability to be played easily. The thing is so smooth to play you can't even believe it. The neck-thru design offers an incredible sustain for a bass, and it sounds amazing. Getting a good sound is not difficult at all. The neck thru design does make it feel a little different from those guitars with snap on necks, but it's nothing a player can't get comfortable with. SOUNDS I tend to use this amp with a Crate bass amp. The amp isn't particularly impressive but i'm still getting a great sound regardless. I don't tend to play with effects on bass as much, so I tend to keep it pretty clean, although sometimes I'll allow a thick natural distortion that colors the sound really nicely. I can get some great John Entwistle-like tones out of it when I set the amp like this. OVERALL OPINION I like the playability and the sound of this amp most about it, along with the sustain. I didn't have as great a time playing bass before I started playing one of these, and it's not hard for me to see why. The bass sets you free to hold down the low end with a thunderous groove, as well as play a smooth, bright lead lines at the higher end. If you can get it for a decent price, it would be a good investment. You'll probably have to end up getting a reissue or something, but I'd still highly recommend getting one.

This guitar is a beauty. It is definitely a eye catcher, and you can count on a superstar effect playing it on stage. As many otehr review rightfully state, this is the perfect tool to play George Harrisson's stuff live. I insist on "Stage" and "Live" on purpose. Better use a clean sound, in any amp you like (I have tried with my AC15, Reverb Deluxes (with different sets of tubes), and even a GA 42. All works quite well as long as do not crank them. Stay as clean as possible. The 360/12 rings nicely. But The level of noise that this pickups is not compatible with any boost, be it treble boost, OD, distortion or Fuzz (although I must say in the latter one might like to play around the sonic Armageddon it creates. Well, I did). It barely tolerates modulation, because the rotating sound of residual noise can be overwhelming at times. No question of recording with this baby, because the level of noise is such that the remedying noise gate level kills all dynamics and some of the tonal ringing mentioned in the first paragraph above. Or one has to really like roots recordings... Of course, I returned it to the shop, tried two others, but was it a bad batch or else, all were bringing the same level of noise Not being an unconditional fan of the Beatles, I ended up buying a PRS 12 strings, much more versatile and better sonically and craftsmanship-wise. In conclusion, my experience with the 360/12 did not serve well the reputation of Rickenbacker, and it is kind of a shame. I also own a vintage 1958 6-strings, and I wanted to feel again the same magic. The 360 is beautiful and has this Beatles Magic. Just not the sonic and tonal quality of its ancestors.

This is a Rickenbacker 360 electric 6-string, semi-hollow guitar in midnight blue, the standard two-pickup version. It has been upgraded to vintage-style "toaster top" Rickenbacker pickups. It came with very useful straplocks and a very heavy Rickenbacker case. I bought this guitar second-hand. I won't say how much I paid for it, because I got a very impressive deal, especially given the pickup upgrades. Suffice to say this guitar goes for about $2400 when it's new. Until I got this guitar, I was unable to achieve one of the "holy grails" of electric-guitar tone I've been hunting for years -- the bassy yet cutting, hi-fi, sustaining "power pop" tone on Taste of Joy's Trigger Fables, my favourite album of all time. It wasn't a Telecaster (not enough bass) and it wasn't a Gretsch (not enough sustain). When I ran the Rickenbacker 360 through a slightly overdriven amp, that's when it dawned on me that this was one of those classic tones (The Byrds, Tom Petty, The Beatles...) you simply could not get with any other guitar. The pickup upgrades installed by the previous owner must have had an impact, because I've played other Rickenbackers at music stores before, and none of them had the precisely right sound this one had. It is now one of my mainstay guitars and I used it liberally on my last record. The guitar is even loud enough acoustically that I've been using it a great deal as a comfortable acoustic guitar for transcribing cover songs with. Another reviewer in here has blasted the Rickenbacker's design. Unlike him, I don't believe it's a "fundamental flaw", but it's worth mentioning. The Rickenbacker's neck is higher than the body, and the strings are quite far from the pickups. If you like playing with your right hand's little finger planted on the top, this guitar will probably bug you. I believe that this design has something to do with the unique sound of Rickenbackers, but it does come with a price: It's nearly impossible to bend the strings on the Rickenbacker 360, and you have to get used to having that much space underneath your strings. However, this does *not* necessarily translated into high action on the left hand; my 360 plays just fine on the left hand -- and the famously narrow Rickenbacker neck isn't a problem on the 360 6-string. I also find the sound controls somewhat fiddly. Not only is there a "Ric-O-Sound" output jack (which is only wired to the bridge, so along with the regular jack it allows you to send pickup signals to different amps), but it also has a fifth (!) knob control, which apparently slowly fades out the neck pickup. What I don't get is how that's different from either using the pickup selector switch to go to the bridge only, or to go into dual-pickup mode and then use the volume knob to control how much the neck pickup is in the mix! I couldn't find the difference, and since the volume knob gives me so much more control, I just always leave the fifth knob at full, which basically means it's just another thing in the way, another thing that could be set wrong when playing. And yes, if you turn the fifth knob down all the way and flip the pickup selector switch to neck, your guitar will go silent. While we're on the subject of the control knobs, the neck and bridge control knobs are backwards from the classic Gibson layout (ie. tone knobs closer to the player, volume knobs farther). Really not that player-friendly; no other guitar design I know of does this. Luckily, the Rickenbacker isn't a jazzy guitar and I almost always leave the tone controls at full anyway. I'd also have to nitpick at the case provided. It's a monster, extremely heavy, with two storage compartments inside, and it's also very long. I suppose extra protection is good for a guitar investment this high, but I almost feel like if you're going to have such a heavy case, might as well go with a heavy-duty flight case. One more thing: Rickenbackers are some of the rarest big-name guitars in stores. On average every music store I've visited would only have one or two in stock, usually used, and the 360 is even rare (the pointy-horned, less expensive 330 is more common). Consequently, it can also be hard finding a good Rickenbacker because the choices are so few -- most RIckenbackers I've tried at music stores have something wrong with them, such as a malfunctioning pickup, worn-out strings or physical damage. And I've been told by multiple sources that ordering a new Rickenbacker can take months. The only thing I can advise is to be patient: It was about four years in between my first picking up a Rickenbacker and finally finding one second-hand, and the wait was worth it, both for the price I got and the quality of the instrument I ended up with. Wonderful. No flaws. The finish is beautifully applied (be careful -- online photos often show the midnight blue finish as almost black. It is actually more of a metallic blue, similar to the blue burst on Taylor T5s). The previous owner also kept it quite well, with no buckle rash, chips, or real damage of any kind, and I intend to keep it that way. The posh Rickenbacker hardware, unique "stacked" pickguard, bridge tailpiece and headstock all convey a European chic that makes it stand out visually, just like a Gretsch archtop. Rickenbacker guitars are pretty quirky. They have some design features which can be a little dubious, and not all guitar players will be inclined to make a Rickenbacker his only guitar. However, they have one of the classic pop/rock sounds that you simply won't get anywhere else. Rickenbacker advertisements say that they "burn through the mix", and I'd have to say they're not exaggerating. That uniquely cutting, yet full and bassy sound that almost sounds like a cello is what I'd consider the greatest rhythm sound in that area between clean and overdrive, and if you ever play leads that don't come from the bluesy mode (again, string-bending is nigh impossible on this guitar), you'll also get a great, very melodic, very commanding tone. The fullness of this tone is great for playing little but sounding like a lot, or if you're playing parts that sit between rhythm and lead. It's a classic sound, and it belongs solely to Rickenbackers. This review was originally published on http://www.musicgearreview.com

This Holy Grail of 60s axedom was bought new from a guitar studio in Clayton Missouri nearly three years ago. Complete with Ric custom case, Schaller strap locks, strap, polish cloth and tools, two sets of Ernie Ball lights and power cable...$1100.00 US. Natural Mapleglo finish, full stereo deluxe model. It was purchased with a personal loan through the wife's credit union...(This woman should be a canidate for sainthood.) A Ric is a Ric is a Ric. These guitars drip class. Nothing has the tone of a Ric. Too bright for some...but any rhythm player will appreiciate the wave of tone these axes have. Fast necks and low action. Just touch and ye shall recieve...all the tone you can drone. Strings are a little close for a wild fingered lead player. I play leads with it...but I admit to being somewhat mediocre in this department. I play leads much better on my SG...but the Gibson can't match the tone or sustain of the Ric. Switch down and the bridge Pickup has the crisp clean scratch of the classic Fender sound...switch up and you've got the open but bloody tone of the classic semi-electric, the ES etc...and in the middle, nothing but pure Rickenbacker...nothing touches that sound. Not for everyone, but unmistakable to 60s fans and fans of the folk rock of the earlier 70s. Oh yea...Tom Petty freaks too. Dirty isn't in this guitar's range. You want the muddy ball busting blues sound? Not gonna get it here. Wrong tool for the wrong job. That's what I have the Gibson SG for. When I wanna make the nieghbor's dogs howl I have to pull out the Batwing. I find the SG nearly useless as a rhythm instrument...the Ric is indespensable. Quality control is one of the things Ric is famous for. Any production line axe they make is on par with any custom shop item you can find. The 300 series are semi-hollows...they weren't meant to be used as clubs or fire axes...but they are tough enough. The workmanship on any Ric is as close to perfection as it can get, and mine is no exception. The common line model Gibsons come nowhere near it. I've only seen a few earlier PRSs...and they could match the Ric in this aspect...but a couple of the more recent made ones didn't. As far as actual finish goes, Rickenbacker IS the finest...period. No two Rics will look exactly alike. Any two Rics will feel and play exactly the same...production model guitar speaking, it just doesn't get any better than that. Guitars are tools. Some are specialist's tools and some will do more things in general than others. The Rickenbacker semis are both. The jangle and clarity is in a class all its own, but the axe does a lot more. Its a rhythm players dream both soundwise and in its playabilty. It can't do it all, but it does most of it and does it all well. The reason these guitars are classics is obvious to anyone who loves and appreciates his instrument. Pick one up in a shop and fart around with it awhile. It may not fit your style of playing or the sound you chase, but if you love guitar, you'll probably want one...just because it's so perfect for what it is. A beautiful first rate example of the guitar makers art. This review was originally published on http://www.musicgearreview.com

This is a bass manufactured in the USA, Los Angeles to be more specific. It has a maple body and neck with a rosewood fingerboard. There are 20 frets and it has a long scale. There is only one humbucking pickup, and there are three knobs (volume, bass, and treble). There is thus no switch to select pickups. UTILIZATION This bass is actually a pretty easy play. It's got a great tone all around so there shouldn't be any reason you can't get a good sound out of it, as long as you're using a good enough amp of course. There is one thing that I will say about this bass, and that is that it's HEAVY. Really need to make sure you don't wear your back out using this bass! It is most definitely a possibility. I used one that was dated from the late seventies when I was recording an album on a rare occasion that I get commissioned to play bass, and I was amazed at how well it played, stayed in tune, and felt, which means that with the proper care this bass should be in great shape regardless of its age. SOUNDS The sound of a Rickenbacker bass is classic, and loved by many, dating all the way back to Paul McCartney and others from the classic rock era. This bass follows in that tradition. It has a lot of power and resonance, and can really put some oomph into your music with the right amp. I personally wouldn't play anything but rock music with this, and that can go anywhere from 60s style psychedelic to punk. The bass and treble knobs give you a lot of variety out of one pickup, which is surprisingly versatile. You can go from a warm, fat tone to a brighter, more intense rock tone. This will be great at balancing out the tone for different types of guitar and drum sounds, giving this a surprising amount of diversity. I really can't emphasize enough how great this thing sounds. It's not that good for jazz or country, probably (unless it's the newer pop-country that is becoming more and more ubiquitous, unfortunately). OVERALL OPINION This is a great bass. I don't know how many are around nowadays, and since it's not one of the most popular Rickenbacker models the demand isn't really all that high for it. If you can get one used it's definitely worth it though, it's got a dynamite sound. I couldn't believe how (relatively) cheap the studio owner had bought it for, considering its age, but I guess that's because it's not as celebrated or well known as it's other models (it also had scratches in it, which to a studio owner is irrelevant but might not appeal to a collector). This is definitely worth checking out.

This is a really old, but really great, lap steel guitar. It has a lot of similar qualities to their electric guitar Rickenbacker counterparts. It is a US company. The controls on it include a volume knob and tone knob. This is one horseshoe magnet pickup, which is really old-school. There are 23 visible frets, but if you're good, you can go almost as high as you want with the slide (at least as far as the pickup). UTILIZATION This is sort of irrelevant on this guitar, as it's a lap steel, but there are 23 visible frets and it's easier to go at least 4 notes higher than that if you have great intonation and intuition. Getting a good sound out of this is great, just make sure you have amps that are senstive to it's needs. It is great for playing a lot of different styles, I've seen blues players use these and really wail, I've seen country players get smooth, great tones out of it. I've also seen guys really rock out with some awesome solo performances. SOUNDS With even a light overdrive, you can get a tone pretty close to David Lindley's on Jackson Browne's album Running on Empty. If you aren't familiar, that is a pretty incredible sound. Granted, you won't sound exactly like David but you get the idea. There's a ton of great sounds to be had here, the pickup is so hot that you won't really want for much. Even clean you can bring the house down. With a lot of restraint and lowering of volume you can get great country tones, and with the right reverb Hawaiian tones are easy. I haven't found anything I don't like the sound of with this guitar. OVERALL OPINION I love this lap steel, probably the best one I've ever played. I think most people would agree. It's going to run you a lot for a vintage one, but there are decent newer ones that aren't too hard to find. They aren't exactly the same but they still sound great. Highly recommended.