Other Guitars

Rickenbacker 660-6 Midnight Blue with Brass TRU-ARC

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The Rick 660-6 has a 24.75" scale, wider 1.75" nut width and a 10" fretboard radius. As Unknown Hinson demonstrates, Rick 6's can rock pretty good.

Brian66 if you could tell us more about what was done to adapt/mod or replace the Rick bridge base to take a Tru Arc. There's no way you could drop a Tru Arc right on to a stock Rick bridge base.

– Gretschadelphia

Proteus had me take all kinds of detailed measurements of the guitar. He then made a TRU-ARC “Rock Steady” version out of brass. He then figured out how to machine a Rick base with two screw post with slanted alignmenment (to help with intonation I guess). The whole operation cost me less than a Mastery Bridge, but then again, I don’t think his motivation was profit. I think he was just curious if it could be done. Who knows, it may be the only Rickenbacker with a TRU-ARC bridge?

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By the way, Brian, it is interesting that you mention this guitar as now having the "holy grail" of tone. I own a couple of Rickenbackers -- a six-string and a 12-string -- but, I can't say that I have ever been able to define in my own mind just what the Rickenbacker tone is. Of course, the term "jangle" is often used and I think that it is a very apt description of the tone of a 12-string Rickenbacker. It really does jingle and jangle like no other guitar. However, the six-string, with its "toaster" pickups, for my ear, has no jangle that one would normally associate with high-frequency overtones. And its sonic footprint is not nearly as distinctive (again, for my ears at least) as say a Gretsch guitar, or a Jazzmaster guitar, or the like. Those have a very distinctive tone that one can very often pick out of a crowd.

Are you (or anyone else, for that matter) able to articulate just what the Rickenbacker sounds like to you?

– Ric12string

I’ll try it for 200, Bob.

I have a 660/6. On my idiot list is the ‘61 Mapleglo 450/6 that I sold off back in ‘89.

To my own ear, there’s a consistent tonal characteristic to toaster tops (I have almost no experience with the high-gains) that I’m embarrassed to admit that I don’t really know how to articulate.

The best I can do (and wow, does it suck) is that when I plug mine in and start chording, there’s a very subtle boost in a rather narrow register that automatically seats itself in my subconscious memory as being the same characteristic that I heard in some of Lennon’s brighter tones on the early records.

Through both my Vox AC-15c2 and also its speakers powered by my AC-30 head, it’s more pronounced than through either of my Fenders or Supro Saturn or JC-120. Oddly enough, it even comes across the same on recordings when I use Amplitube’s AC-30 model compared to the Fenders, for example. With a flat EQ. And to add an extra little wrinkle, I notice it the most when it’s in a mix with other instruments.

I can only describe it as vaguely reminding me of brushed aluminum. (I realize that’s waaay out there but like I said, I can’t really articulate it in a way where I KNOW someone would get it having never heard it.) Not what I’d call “jangly “, more like “shimmery”. One last thing I’ll add is that at least with toasters, there are more high-mids and highs to be had than, say, Fender single-coils, given the same EQ. I’ve never heard anyone complain about a Ric being too “boomy”.

I have noticed that I only hear that tonal characteristic on their 6-strings. A bud has both a ‘66 360/6 and a ‘66 360/12. I only hear it in his 6.

Sorry for being so abstract but it was all I could come up with.

Back to you, Bob.


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