Rickenbacker UK Brochure
RICKENBACKER HISTORY The Rickenbacker International Corporation (RIC) grew out of the first company founded for the sole purpose of creating and manufacturing fully electric musical instruments and amplifiers-the Los Angeles-based Electro String Instrument Corporation. Founded in 1931 by Adolph Rickenbacker and George D. Beauchamp, this pioneering firm produced “Rickenbacker Electro Instruments”, the first modern electric guitars. RIC’s history now spans 88 years in business on the leading edge of music trends that have changed popular culture forever. Played by Hawaiian musicians of the 1930s to jazz bassists of the 1990s, by the Beatles and Byrds to the most-current rock groups on MTV, the ringing sound of Rickenbacker instruments has helped define music as we know it. Never resting on its laurels, RIC continues to ignite and propel the electric guitar’s transformation of music by providing today’s musicians with the finest instruments available.
It all began in 1920s Los Angeles, a city fast becoming the entertainment capital of the world. Like many of his contemporaries, steel player George Beauchamp (pronounced Beechum) sought a louder, improved guitar. Several inventors had already tried to build louder stringed instruments by adding megaphone-like amplifying horns to them. Beauchamp saw one of these and went looking for someone to build him one, too. His search led to John Dopyera, a violin repairman with a shop fairly close to Beauchamp’s L.A. home.
George Beauchamp
Dopyera and his brother Rudy’s first attempt for George sat on a stand; a Victrola horn attached to the bottom and pointed towards the audience. It was a failure, so the Dopyeras then started experiments with thin, cone-like aluminium resonators attached to a guitar bridge and placed inside a metal body. A successful prototype (soon dubbed “the tri-cone”) used three of these resonators. Beauchamp, so pleased with the results, suggested forming a manufacturing company with the
Dopyeras, who had already started making more guitars in their shop. Setting out to find investors, he took the tri-cone prototype and the Sol Hoopii Trio (a world-famous Hawaiian group) to a lavish party held by his millionaire cousin-in-law, Ted Kleinmeyer. He was so excited about the guitar and the prospects for a new company that he gave Beauchamp a check for $12,000 that night. Substantial production of the metal-body guitars began almost immediately. Beauchamp, acting as general manager, hired some of the most experienced and competent craftsmen available, including several members of his own family and the Dopyeras. He purchased equipment and located the new factory near Adolph Rickenbacker’s tool and die shop. Rickenbacker (known to his friends as Rick) was a highly skilled production engineer with experience in a wide variety of manufacturing techniques. Swiss-born, he was also a relative of WWI flying ace Eddie Rickenbacker. Well equipped to manufacture metal bodies for the Nationals, Adolph owned one of the largest deep-drawing presses on the West Coast and soon carried the title of engineer in the National Company. Unfortunately, the seeds for an internal dispute within National were planted in the very beginning. By late 1928 the Dopyeras became very disgruntled with the management of company and resources. John Dopyera, who rightfully considered himself an inventor, ironically thought that Beauchamp wasted time experimenting with new ideas. Dopyera and Beauchamp lived in two different worlds and apparently were at odds on every level of personal, business and social interaction. That they could not work together successfully was a foregone conclusion. Another problem was Ted Kleinmeyer, who had inherited a million dollars at 21 and was trying to spend it all before turning 30 (when he would inherit another million). A Roaring ‘20s party animal, successful losing money faster than he could make it, he started hounding Beauchamp for cash advances from National’s till. George’s fault was that he could not turn people down, especially his friends and the company’s president. John Dopyera quit and formed the Dobro Corporation, but maintained National stock. The Dopyera brothers would eventually win more in a court settlement. Then Ted Kleinmeyer, nearly broke (and a few years away from the rest of his inheritance), sold his controlling interest in the concern to another Dopyera, brother Louis. In a shakeup that followed, Beauchamp and several other employees were fired. Now George needed a new project and a new company, fast. Along with others of his day, he had thought about the possibility of an electric guitar for several years and, though not schooled in electronics, had started experimenting as early as 1925 with PA systems and microphones. Early on he made a single-string test guitar out of a 2x4 board and a pickup from a Brunswick electric phonograph. This experiment shaped his thinking and put him on the right path. After leaving National, he began his home experiments in earnest and attended night-school classes in electronics. By 1930 many people familiar with electricity knew that metal moving through a magnetic field caused a disturbance that in turn could be translated into an electric current by a nearby coil of wire. Electrical generators and phonograph pickups utilised different applications of this principle. The problem of building a guitar pickup was creating a practical way of translating the strings’ vibration directly into a current. After many months of trial and error, George developed a pickup that consisted of two horseshoe magnets. The strings passed through these and over a coil, which had six pole pieces concentrating the magnetic field under each string. (Conducting work on his dining room table, he used the motor out of the family washing machine to wind the coil. Paul Barth, who helped Beauchamp, said that they eventually used a sewing machine motor.) When the pickup seemed to be doing its job, Beauchamp called on Harry Watson, a skilled craftsman who had been National’s factory superintendent, to make a wooden neck and body for it. In several hours, carving with small hand tools, a rasp, and a file, the first fully electric guitar took form. It was nicknamed the “Frying Pan,” for obvious reasons. Anxious to manufacture it, Beauchamp enlisted his friend Adolph Rickenbacker. With Adolph’s help, know-how, ideas, and capital were abundant. The first name of the company was Ro-Pat-In Corporation but was soon changed to Electro String. Adolph became president and George secretary-treasurer. They called the instruments Rickenbackers because it was a famous name (thanks to cousin Eddie) and easier than Beauchamp to pronounce. Paul Barth and Billy Lane, who helped with an early preamplifier design, both had small financial interests in the company as production began in a small rented shop at 6071 S. Western Ave., next to Rickenbacker’s tool and die plant. (Rick’s other company still made metal parts for National and Dobro guitars and Bakelite plastic products such as Klee-B-Tween toothbrushes, fountain pens, and candle holders.)
Adolph Rickenbacker
Electro String had several obstacles. The timing could not have been worse - 1931 heralded the lowest depths of the Great Depression and few people had money to spend on guitars. Musicians resisted at first; they had no experience with electrics and only the most farsighted saw their potential. The Patent Office did not know if the Frying Pan was an electrical device or a musical instrument.
What’s more, no patent category included both. Many competing companies rushed to get an electric guitar onto the market, too. By 1935 it seemed futile to maintain a legal battle against all of these potential patent infringements. Hawaiian guitars (lap steels) would be the best known and most accepted 1930s Rickenbackers. Early literature illustrates both 6- and 7-string versions of the Frying Pan. Both had the same cast aluminium construction, compared with the prototype’s wood. Over the years (this guitar would be available into the 1950s) two scale lengths would be offered: 22 1/2 inch and 25 inch. Workers stuffed the bodies and necks with newspapers, which today can provide a clue as to the guitar’s date of manufacture. Soon after the Frying Pan, several additional steel models were offered, the most popular being the hard-plastic Bakelite Model B, later named Model BD. The earliest examples had a volume control and five decorative chrome cover plates on top. By the late 1930s they had both tone and volume controls and white-enamelled metal cover plates. In the 1970s, David Lindley used a Bakelite steel on many recordings with Jackson Browne, proving the integrity of the original design in a modern context. Many players consider these lap steels the finest ever produced. Electro String’s first Spanish (standard) guitar had a flattop hollow body with small F-holes and a slotted-peghead. A bound neck joined at the 14th fret. By the mid-1930s, the concert-sized Ken Roberts Model (named after one of Beauchamp’s guitar-playing friends) came out. It had a bound neck that joined the body at the 17th fret, a shaded 2-tone brown top with F-holes, and a Kauffman vibrato tailpiece. In the 1930s and 1940s there were at least two electric arch top models. The SP had a maple body, shaded spruce top, bound rosewood neck with large position markers, and a built-in horseshoe pickup. The Model S-59 sported a blonde finish and a narrow, detachable horseshoe pickup. This so-called “Rickenbacker Electro peerless adjustable pickup unit” was also available as a separate accessory and would attach to most F-hole style arch tops. Despite the popularity of arch tops, the 1935 Bakelite Model B Spanish guitar made the most history for Rickenbacker. Though not entirely solid (it had thick plastic walls and a detachable Spanish neck), it achieved the desired result-virtual elimination of the acoustic feedback that plagued big-box electrics of the day. It set the stage for all solid body guitars to follow, even though it was difficult to play sitting down on the bandstand. (A Bakelite Spanish the size most guitarists were accustomed to would have been as heavy, literally, as a sack of bowling balls.) A variation of the Bakelite Spanish invented by Doc Kauffman (who would later become Leo Fender’s first partner) was the Vibrola Spanish Guitar, an ungainly thing equipped with a motorised vibrato tailpiece. So heavy, it required a stand to hold it up. From the very beginning, Electro String developed and sold amplifiers. After all, the instruments worked only in conjunction with them. The first production-model amp was designed and built by a Mr Van Nest at his L.A. radio shop. Shortly thereafter, Beauchamp and Rickenbacker hired design engineer Ralph Robertson to work on amplifiers. He developed the new circuitry for a line that by 1941 included at least four models. The speaker in the Professional Model was designed by James B. Lansing. Early Rickenbacker amps influenced, among others, Leo Fender who by the early 1940s repaired them at his radio shop in nearby Fullerton, California. How did Rickenbacker guitars shape the 1930s music industry? Beauchamp had many friends and contacts in the entertainment community and as a result many stars used his instruments. Sol Hoopii and Dick McIntyre, to name just two popular Hawaiian steel guitarists, played Rickenbackers on countless influential recordings. Perry Botkin, who did many recording sessions with Bing Crosby and other Hollywood stars, used one of the few Vibrola Spanish Models. Les Paul owned a Rickenbacker. Electro String even made Harpo Marx an electric harp. A family of Rickenbacker Electro String Instruments was born, all using some variation of the horseshoe-magnet pickup. Besides guitars and mandolins, the company invented fully electric bass viols, violins, cellos and violas. An electric piano prototype sat in the firm’s front office for years. Most of these instruments totally disregarded traditional styling. Rickenbacker realised that a fully electric instrument did not have to retain the appearance of its acoustical counterpart. This conceptual jump-the first of several Rickenbacker revolutions-liberated the thinking of designers to come. By 1940, after fifteen years in the fast lane, Beauchamp became frustrated and disenchanted with the instrument business, partly due to his deteriorating health. His second passion, fishing and designing fishing lures, captured his attention. He patented one that he sought to manufacture; to raise the necessary capital he sold his shares in Electro String to Harold Kinney, Rickenbacker’s bookkeeper. Soon after this, Beauchamp went deep sea fishing and had a fatal heart attack. His funeral procession was over two miles long. A true pioneer of electric instruments, he unfortunately did not live to see the electric guitar reach its full potential. Adolph Rickenbacker had maintained other interests throughout Electro String’s short history; he never had as much faith in the guitar business as his partners. Nevertheless, he continued instrument making until 1953 when he sold the company to F.C. Hall, a leading figure in the post-WWII Southern California music business. That sale marked the end of one era and the beginning of another, the dawn of modern Rickenbacker guitars.
Today the manufacturing and distribution of Rickenbacker guitars and basses are combined into RIC, the name used since F.C. Hall retired in September 1984 and John Hall, along with his wife Cindalee, became the sole owners of the company. RIC retains the spirit of first-class pre-1965 electric guitar manufacturing and craftsmanship. In addition to newly designed guitars and basses, the company offers faithful reissues of the classics played by the Beatles and other famous artists. RIC has offered highly successful, limited-edition signature models endorsed by such diverse players as Roger McGuinn, Pete Townshend, Tom Petty, Carl Wilson, and John Kay. Improvements in construction and quality control have carried Rickenbackers into the modern era, one that respects the company’s early history and at the same time sets out to write new chapters. Groups like Oasis, Pearl Jam, Radiohead, U2, and other of today’s top acts include Rickenbacker guitars in their musical arsenal. A DJ once asked George Harrison if he liked a guitar he doodled on during a radio interview. Harrison is said to have quickly replied, “Of course, it’s a Rickenbacker!” Asked the same question 65 years after the invention of modern electrics, thousands of satisfied guitar players would say exactly the same thing.
Rickenbacker® , the “R” Design, Triangular Name Crescent Design, RIC, Hamburg, Atlantis, Colorado, Dakota, Frisco, Sierra, Liverpool, Shasta, Comstock, Shiloh, Cheyenne, Laramie, Jazz-bo, Laredo, Miami, Jetglo, Fireglo, Mapleglo, Autumnglo, Toaster, Toaster-Top, Horseshoe, Astron, Kauffman and logotypes are among the trademarks and service marks in the United States and other countries of Rickenbacker International Corporation. This is not a comprehensive list of all trademarks and service marks of RIC. RIC reserves the right to discontinue models, parts and accessories, and other items or change specifications at any time without prior notice.
RICKENBACKER 300 SERIES The 300 Series encapsulates the essence of the ‘Rickenbacker’ sound - the achievement of absolute clarity and precision of tone. One of the finest compliments bestowed on this series is their continuous use over the decades by some of the most influential artists spanning a wide variety of styles. Their success in crossing such musical boundaries attests to the supreme adaptability, range and scope of their performance.
Semi-Acoustic with Walnut Body 24 Fret Set Maple Neck Maple Fretboard (10” Crown Radius) 24.75” Scale Length & 1.63” Nut Dot Style Fret Marker 6 Saddle Bridge & ‘R’ Tailpiece 2x Hi-gain Single Coil Pickups Mono Output Schaller Machine Heads Rickenbacker Hardcase Walnut
Rickenbacker 330W Walnut
Rickenbacker 330 Semi-Acoustic with Maple Body 24 Fret Set Maple Neck Caribbean Rosewood Fretboard (10” Radius) 24.75” Scale Length & 1.63” Nut Dot Style Fret Marker 6 Saddle Bridge & ‘R’ Tailpiece 2x Hi-gain Single Coil Pickups Mono Output Schaller Machine Heads Rickenbacker Hardcase Mapleglo, Fireglo, Jetglo or Matte Black
Semi-Acoustic with Walnut Body 24 Fret Set Maple Neck Maple Fretboard (10” Crown Radius) 24.75” Scale Length & 1.63” Nut Dot Style Fret Marker 6 Saddle Bridge & ‘R’ Tailpiece 2x Hi-gain Single Coil Pickups Mono Output Schaller Machine Heads Rickenbacker Hardcase Walnut
Rickenbacker 330/12W Walnut
Rickenbacker 330/12 Semi-Acoustic with Maple Body 24 Fret Set Maple Neck Caribbean Rosewood Fretboard (10” Radius) 24.75” Scale Length & 1.63” Nut Dot Style Fret Marker 6 Saddle Bridge & ‘R’ Tailpiece 2x Hi-gain Single Coil Pickups Mono Output Schaller Machine Heads Rickenbacker Hardcase Fireglo, Mapleglo, Jetglo or Matte Black
Semi-Acoustic with Walnut Body 24 Fret Set Maple Neck Maple Fretboard (10” Crown Radius) 24.75” Scale Length & 1.63” Nut Triangle Style Fret Marker 6 Saddle Bridge & ‘R’ Tailpiece 2x Hi-gain Single Coil Pickups Mono & Stereo Output Schaller Machine Heads Rickenbacker Hardcase Walnut
Rickenbacker 360W Walnut
Rickenbacker 360 Semi-Acoustic with Maple Body 24 Fret Set Maple Neck Caribbean Rosewood Fretboard (10” Radius) 24.75” Scale Length & 1.63” Nut Triangle Style Fret Marker 6 Saddle Bridge & ‘R’ Tailpiece 2x Hi-gain Single Coil Pickups Mono & Stereo Output Schaller Machine Heads Rickenbacker Hardcase Fireglo, Mapleglo or Jetglo
Semi-Acoustic with Walnut Body 24 Fret Set Maple Neck Maple Fretboard (10” Crown Radius) 24.75” Scale Length & 1.63” Nut Triangle Style Fret Marker 6 Saddle Bridge & ‘R’ Tailpiece 2x Hi-gain Single Coil Pickups Mono & Stereo Output Schaller Machine Heads Rickenbacker Hardcase Walnut
Rickenbacker 360/12W Walnut
Rickenbacker 360/12 Semi-Acoustic with Maple Body 24 Fret Set Maple Neck Caribbean Rosewood Fretboard (10” Radius) 24.75” Scale Length & 1.63” Nut Triangle Style Fret Marker 6 Saddle Bridge & ‘R’ Tailpiece 2x Hi-gain Single Coil Pickups Mono & Stereo Output Schaller Machine Heads Rickenbacker Hardcase Jetglo, Fireglo or Mapleglo
Semi-Acoustic with Maple Body 21 Fret Set Maple Neck Caribbean Rosewood Fretboard (10” Radius) 24.75” Scale Length & 1.63” Nut Triangle Style Fret Marker 6-Way Split Saddle Bridge & Trapeze Tailpiece 2x Vintage ‘Toaster Top’ Single Coil Pickups Parallel Mono Output Deluxe Vintage Repro Machine Heads Rickenbacker Hardcase Fireglo
Rickenbacker 360/12C63
Rickenbacker 1993Plus Semi-Acoustic with Maple Body 21 Fret Set Maple Neck Caribbean Rosewood Fretboard (10” Radius) 24.75” Scale Length & 1.75” Nut Triangle Style Fret Marker 6-Way Split Saddle Bridge & Trapeze Tailpiece 3x Vintage ‘Toaster Top’ Single Coil Pickups Mono & Stereo Output Deluxe Vintage Repro Machine Heads Rickenbacker Hardcase Fireglo, Mapleglo or Jetglo
Semi-Hollow Maple Body 21 Fret Set Maple Neck Caribbean Rosewood Fretboard (10” Radius) 24.75” Scale Length & 1.63” Nut Dot Style Fret Marker 6 Saddle Bridge & Trapeze Tailpiece 2x Vintage ‘Toaster Top’ Single Coil Pickups Mono Output Deluxe Vintage Machine Heads Rickenbacker Hardcase Fireglo or Jetglo
Rickenbacker 350V63
Rickenbacker 325C64 Semi-Hollow Maple Body 21 Fret Set Maple Neck Caribbean Rosewood Fretboard (10” Radius) 21” Scale Length & 1.63” Nut Dot Style Fret Marker Roller Bridge & Accent Vibrato 3x Vintage ‘Toaster Top’ Single Coil Pickups Mono Output Deluxe Vintage Repro Machine Heads Rickenbacker Hardcase Jetglo
Semi-Acoustic with Charactered Maple Body 21 Fret Set Maple Neck Caribbean Rosewood Fretboard (10” Radius) 24.75” Scale Length & 1.63” Nut Triangle Style Fret Marker 6 Saddle Bridge & ‘R’ Tailpiece 2x Vintage ‘Toaster Top’ Single Coil Pickups Stereo & Mono Output Deluxe Vintage Machine Heads Rickenbacker Hardcase Mapleglo
Rickenbacker 381/12V69
Rickenbacker 381V69 Semi-Acoustic with Charactered Maple Body 21 Fret Set Maple Neck Caribbean Rosewood Fretboard (10” Radius) 24.75” Scale Length & 1.63” Nut Triangle Style Fret Marker 6 Saddle Bridge & ‘R’ Tailpiece 2x Vintage ‘Toaster Top’ Single Coil Pickups Stereo & Mono Output Deluxe Vintage Machine Heads Rickenbacker Hardcase Fireglo, Jetglo or Mapleglo
RICKENBACKER 600 SERIES First produced in 1958 from a design by Roger Rossmeisl, the continuous subtle modernisation has managed to retain the balance between the original design and today’s requirements. Instantly recognisable by it’s famous ‘cresting wave’ cutaway body, this enduring range of solid body guitars is ideal for lead guitar. The interaction between neck and body combines with the hardware and pickup characteristics to achieve a harmonic honesty and superior sustain and ring.
Solid Maple Body 21 Fret Through Body Maple Neck Caribbean Rosewood Fretboard (10” Radius) 24.75” Scale Length & 1.63” Nut Triangle Style Fret Marker 6 Saddle Bridge & ‘R’ Tailpiece 2x Hi-gain Single Coil Pickups Mono & Stereo Output Schaller Machine Heads Rickenbacker Hardcase Mapleglo, Fireglo or Jetglo
Rickenbacker 620/12
Rickenbacker 620 Solid Maple Body 21 Fret Through Body Maple Neck Caribbean Rosewood Fretboard (10” Radius) 24.75” Scale Length & 1.63” Nut Triangle Style Fret Marker 6 Saddle Bridge & ‘R’ Tailpiece 2x Hi-gain Single Coil Pickups Mono & Stereo Output Schaller Machine Heads Rickenbacker Hardcase Jetglo, Fireglo or Mapleglo
Solid Charactered Maple Body 21 Fret Through Body Charactered Maple Neck Caribbean Rosewood Fretboard (10” Radius) 24.75” Scale Length & 1.75” Nut Triangle Style Fret Marker 6 Saddle Bridge & Trapeze Tailpiece 2x Vintage Reissue Pickups Mono Output Gotoh Vintage Type Machine Heads Rickenbacker Hardcase Fireglo, Jetglo or Mapleglo
Rickenbacker 660/12
Rickenbacker 660 Solid Charactered Maple Body 21 Fret Through Body Charactered Maple Neck Caribbean Rosewood Fretboard (10” Radius) 24.75” Scale Length & 1.75” Nut Triangle Style Fret Marker 6 Saddle Bridge & Trapeze Tailpiece 2x Vintage Reissue Pickups Mono Output Gotoh Vintage Type Machine Heads Rickenbacker Hardcase Fireglo, Jetglo or Mapleglo
Rickenbacker Basses
RICKENBACKER BASSES Very few basses have earned the accolade necessary to genuinely call themselves ‘classics’. Even less can claim the title of ‘industry standard’ - but no one can dispute the fact that the Rickenbacker 4000 series deserves both titles. The piano string-like ring, punch and sustain brought the bass player out of the shadows and into the spotlight. New for 2019 Rickenbacker is pleased to announce the return of the 4003S/5 bass. This bass features a new single coil pickup design, wider string spacing and Schaller 3D-5 bridge.
Solid Walnut Body 20 Fret Through Body Maple Neck Maple Fretboard (10” cm Crown Radius) 33.25” Scale Length & 1.6875” Nut Triangle Style Fret Marker 4 Saddle RIC Bridge/Tailpiece 2x Single Coil Pickups Mono & Stereo Output Schaller Deluxe Machine Heads Rickenbacker Hardcase Walnut
Rickenbacker 4003W Walnut
Rickenbacker 4003 Solid Maple Body 20 Fret Through Body Maple Neck Caribbean Rosewood Fretboard (10” Radius) 33.25” Scale Length & 1.6875” Nut Triangle Style Fret Marker 4 Saddle RIC Bridge/Tailpiece 2x Single Coil Pickups Mono & Stereo Output Schaller Deluxe Machine Heads Rickenbacker Hardcase Fireglo, Jetglo, Mapleglo or Matte Black
Solid Walnut Body 20 Fret Through Body Maple Neck Maple Fretboard (10” cm Crown Radius) 33.25” Scale Length & 1.6875” Nut Dot Style Fret Marker 4 Saddle RIC Bridge/Tailpiece 2x Single Coil Pickups Mono Output Schaller Deluxe Machine Heads Rickenbacker Hardcase Walnut
Rickenbacker 4003SW Walnut
Rickenbacker 4003S Solid Maple Body 20 Fret Through Body Maple Neck Caribbean Rosewood Fretboard (10” Radius) 33.25” Scale Length & 1.6875” Nut Dot Style Fret Marker 4 Saddle RIC Bridge/Tailpiece 2x Single Coil Pickups Mono Output Schaller Deluxe Machine Heads Rickenbacker Hardcase Matte Black, Fireglo, Jetglo or Mapleglo
Solid Walnut Body 20 Fret Through Body Maple Neck Maple Fretboard (10” cm Crown Radius) 33.25” Scale Length & 1.796” Nut Dot Style Fret Marker Schaller Deluxe 3D-5 Bridge/Tailpiece 2x Single Coil Pickups Mono Output Schaller Deluxe Machine Heads Rickenbacker Hardcase Walnut
Rickenbacker 4003S5W Walnut
Rickenbacker 4003S5 Solid Maple Body 20 Fret Through Body Maple Neck Caribbean Rosewood Fretboard (10” Radius) 33.25” Scale Length & 1.796” Nut Dot Style Fret Marker Schaller Deluxe 3D-5 Bridge/Tailpiece 2x Single Coil Pickups Mono Output Schaller Deluxe Machine Heads Rickenbacker Hardcase Fireglo, Jetglo, Mapleglo or Matte Black
RICKENBACKER ACCESSORIES Rickenbacker also supplies an official range of accessories to accompany your Rickenbacker instrument. Official replacement parts can also be ordered on request through your local Rickenbacker dealer.
Rickenbacker Truss Rod Wrench
Rickenbacker Polish Cloth
Rickenbacker Vintage Guitar Strap Black, Blonde or Maroon
Rickenbacker Cases
300 Series, 600/350 Series, Bass Series
Rickenbacker Vintage Cases
300 Series, 600/350 Series, Bass Series, 325 Series, 381 Series
Rickenbacker Standard 10/46 Nickel Round Wound 10p, 13p, 17p, 26w, 36w, 46w
Rickenbacker 12-String Nickel Round Wound
10p, 13p, 20w, 26w, 36w, 46w 10p, 13p, 10p, 13p, 20w, 26w
Rickenbacker Heavy or Short Scale Nickel Round Wound 12p, 16p, 20w, 32w, 42w, 54w
Rickenbacker Standard Bass Nickel Round Wound 45w, 55w, 75w, 105w
Rickenbacker Guitar T-Shirt Medium, Large or Extra Large
Rickenbacker Bass T-Shirt Medium, Large or Extra Large