Since this topic section is to discuss issues of Rickenbacker restoration and finishing (and, to some extent, technical stuff as it pertains to this topic), and only secondarily a showcase for our pet projects, I have a question:

What would our members want to know, specifically, about Rickenbacker construction, restoration and finishing?

Dale and I both have connections to the factory, He worked there in the '70s before he started his luthiery business, and I am in frequent communication with the factory, and make several visits per year, along with attending NAMM every year and spending lots of time in the RIC booth talking to Rick owners and enthusiasts (not to mention hassling John, Ben, Kenny, and their spouses and girlfriends...). Between Dale and me, we've pretty much seen it all, and are ready to answer your questions.

So, if you've got an issue that's burning a hole in the back of your brain, oor are just curious why something is done like it is, this is a good area to air it.

...So, anyone want to start? 'Cause if you hesitate, I'll pick one of my own ideas...

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Rickenbackers: I love to play them. I enjoy the challenge of working on them. I love the way they sound.

OK, Paul, you're on.

Here's my question: I own a few 60's Rick 12 string guitars. As you know, the bridge on these guitars is made of 6 adjustable metal pieces, each of which has 2 grooves in it for the main and octave (or dual) strings. Now, only for the "D" string pair, the metal bridge piece is "staggered" -- that is, it is split so one string is rests on a piece that is a few millimeters closer to the nut than the other string. On two of my 12s, the bridge is cut so that it is the main "D" string that is closer to the nut, with the octave string slightly back; on another bridge, it is the reverse.

Is one of my bridges an aberration? Or was this randomly done? And why was it done at all?

For the information of dunces like me, you cannot correct this by removing the D bridge insert and flipping it -- it yields the same result in terms of nut distance,except the width of the string grooves is reversed.

Paul, have at it . . .

With advances in paint technology, is it possible to produce a White or Blue Boy finish without incurring much of the yellowing with the former, or "greening" with the latter?

Libratune 1st:
In the 60s the string guage was heavier and affected the intonation differently. With newer strings made by todays standards here is what I offer:
I rebuild the original 60s 12 string bridge by replacing the E,A,D,and G saddle with wider compensated ones that are hand cut and fit the original bridge plate and screws. They must be intonated at preset spacing. This is a simple but time envolved procedure. The high E and B are the same size string and the original bridge saddles don't need replacing.

Paul:SaddleSore
There is a poly finish that will not yellow..It's non-photo chemically reactive. I've used it on various white finish work in the past. Sherwin Williams supplies this from their plant in Portland Oregon. The EPA air quality regulations may be different in Calif. and this product may not be available.

Dale, if it's non-yellowing, it has significant UV inhibitors. That's the tradeoff and our concern: we can go with longevity and toughness over a wide range of environmental extremes or we can keep it from yellowing. We just can't do both currently.

I thought I read something on the forums a while ago saying you guys had changed the finish so it wouldn't yellow anymore? Do I remember correctly or not?

For non-yellowing clearcoat, I use a PPG automotive product, 2042 Urethane Clear, which is an extremely tough catalyzing clear. It will withstand temperature extremes over a 200+ degree range.

One drawback, and it's in the application: sanding and buffing this stuff is very tough. But I'm set up to do it. It gives a gloss unlike any other clear that I've tried.

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Rickenbackers: I love to play them. I enjoy the challenge of working on them. I love the way they sound.

I have a question if I may. I have a 330 with the high gain pickups. Correct me if I'm wrong, but I'm under the impression that Rickenbacker uses the same wind for both the bridge and neck pickups. If so why is this? If so it does make for a hard time trying to get a good balance when going from one pickup to the other. Seems like it would be much easier to get more of a balance if the bridge pickup was wound a bit hotter and the neck pickup a bit weaker. That's how it is on my other two pickup guitars and I have no balance issues with those. As far as the blend knob goes it really didn't work to the effect that I wanted it to, so I turned it into a bass cut knob. It helped but again, not to the degree that I wanted.

Kinda like Dupont Imron(.aircraft paint.) Once it sets and cures, forget about sanding it. One of the most durable paints available.
One major problem with hard finishes on wood..The harder they are, the easier they are subject to cracking/checking. Nice finish if all you are going to do is look at your instrument and drool.

Actually, Dale, about as similar to Imron as the Sherwin-Williams is. And quite suitable for guitars. I used to do Rolls-Royce dashes and sills with the same stuff.

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Rickenbackers: I love to play them. I enjoy the challenge of working on them. I love the way they sound.