It should be great for Rick players of today to have info about volume pot values , tone pot values and the blend pot value. And value and type of the other components.
I have a V64 and I have been experimented with some pickups and values for getting a very open and versatile guitar for gigs
At the moment I have a mid 63 toasters from the creamery
I think they are very classics 60’s and I would like re wiring the electronic
Even thinking in avoid the blend pot for trying if the sound improves. There are no many information about this in the Rick world
I just wanted to add that the first 360 serial DJ451 made in October’64 was stolen in February of ‘65.So Ram got a second one and that’s the one he altered with compression and the third PU(Byrd wiring).
I just recently purchased DJ419 the very first round 12 string made. In the cavity it has a 6 which is probably the day it was finished in October 1964 and that was the day/year I was born!!
Andy, thanks for the much needed (by me) info on the Byrd wiring. I'm a Byrd "freak" or should I say a Jingle Jangle freak. I've had 4 different McGuinns and its definately a Sound I was chasing. I heard the term Byrd wiring and ASSumed that's what the McGuinn Special Edition had. Now I wonder how the "wiring" sounds compared to the McGuinn.
Re: "But by 1968 the Byrds’ sound had moved on. McGuinn’s rig had evolved, and fewer players were chasing the jangle. With demand all but dried up, the factory quietly stopped offering the Byrd wiring option. No announcement, it just stopped being a thing that you could do. "
They did quietly stop offering Byrd wiring, but not in 1968...
For the past 30 years, the 370/12 RM was the Rickenbacker guitar I most coveted. A buddy who was a fan of McGuinn and bought one in the 500's serial number. So I had the pleasure of playing it. But I could never afford one myself nor could I ever allow myself to buy a collectible that became so expensive. I did buy a 360/12 but realized my fat, stubby fingers were not as capable fretting chords. Enter the 1993+ and the 660/12 (plugged into a JangleBOx) and I am now able to channel my inner McGuinn.
I love too, reallly obsessed with Byrds and Mc Guinn. So special music, ambient and rock together with beautiful lines and arpegios. REM, Smiths all this alternative way for rock is so umportant for my identity. I am profesional guitar and I have been experimented with differbts guitars. I got a 370 RM in Nashville
For me it is an icon guitar
My hands are normal
After that I discover de 1993+ and the Petty model
Now I play a TP in live with the wider neck
I change the pots
All to 500
The result is I have to put down a little bit the tone in the treble pickup for not harsh sound
It is fantastic with a little bit of compresson, with overdrive ac 30 type and delays .if you play almost clean yo can add a taste of chorus with low mix
The sound is big and beautiful
In studio I always record with the 1993 plus because you can feel the wood
My advice with the regular necks, narrow is to play very oerpendicular and without stress, leave strings sound free
The problem is with the adrenaline in live you tend to do more strong playing and could sound not very open.
I also bought a 1993+ but mainly for the "f" hole. After owning a McGuinn since 1989, the 1993+ is way too wide for even my oversized hands. Also, even with the Jangl-Box, the 1993+ doesn't come close, in my humble, to the McGuinn.
I have read carefully your post
Translating well to my idiom. It is really great this information. Specially if you want to understand the sound for going with it farder
Thank you very much.
It should be great for Rick players of today to have info about volume pot values , tone pot values and the blend pot value. And value and type of the other components.
I have a V64 and I have been experimented with some pickups and values for getting a very open and versatile guitar for gigs
At the moment I have a mid 63 toasters from the creamery
I think they are very classics 60’s and I would like re wiring the electronic
Even thinking in avoid the blend pot for trying if the sound improves. There are no many information about this in the Rick world
Thank you very much . It is only a suggestion
Thanks for your efforts to bring all these detailed info. articles to us. It’s much appreciated!
I love the post. I have one of them. I need to re string the 12 chords in order to play first de high ones playing downstrokes.
I just wanted to add that the first 360 serial DJ451 made in October’64 was stolen in February of ‘65.So Ram got a second one and that’s the one he altered with compression and the third PU(Byrd wiring).
I just recently purchased DJ419 the very first round 12 string made. In the cavity it has a 6 which is probably the day it was finished in October 1964 and that was the day/year I was born!!
Andy, thanks for the much needed (by me) info on the Byrd wiring. I'm a Byrd "freak" or should I say a Jingle Jangle freak. I've had 4 different McGuinns and its definately a Sound I was chasing. I heard the term Byrd wiring and ASSumed that's what the McGuinn Special Edition had. Now I wonder how the "wiring" sounds compared to the McGuinn.
Re: "But by 1968 the Byrds’ sound had moved on. McGuinn’s rig had evolved, and fewer players were chasing the jangle. With demand all but dried up, the factory quietly stopped offering the Byrd wiring option. No announcement, it just stopped being a thing that you could do. "
They did quietly stop offering Byrd wiring, but not in 1968...
Do tell!
The 2 BYRDs that McGuinn has now are from 1970. The factory prob stopped the wiring around '72 if not later...
Well, I knew about McGuinn’s guitars but didn’t count ‘em as, you know, they were his. Didn’t know about later examples…will incorporate!
Also, I think they started using the transonic knobs on the BYRD's in 69+, so all of those are older...
For the past 30 years, the 370/12 RM was the Rickenbacker guitar I most coveted. A buddy who was a fan of McGuinn and bought one in the 500's serial number. So I had the pleasure of playing it. But I could never afford one myself nor could I ever allow myself to buy a collectible that became so expensive. I did buy a 360/12 but realized my fat, stubby fingers were not as capable fretting chords. Enter the 1993+ and the 660/12 (plugged into a JangleBOx) and I am now able to channel my inner McGuinn.
Hi Michael
I love too, reallly obsessed with Byrds and Mc Guinn. So special music, ambient and rock together with beautiful lines and arpegios. REM, Smiths all this alternative way for rock is so umportant for my identity. I am profesional guitar and I have been experimented with differbts guitars. I got a 370 RM in Nashville
For me it is an icon guitar
My hands are normal
After that I discover de 1993+ and the Petty model
Now I play a TP in live with the wider neck
I change the pots
All to 500
The result is I have to put down a little bit the tone in the treble pickup for not harsh sound
It is fantastic with a little bit of compresson, with overdrive ac 30 type and delays .if you play almost clean yo can add a taste of chorus with low mix
The sound is big and beautiful
In studio I always record with the 1993 plus because you can feel the wood
My advice with the regular necks, narrow is to play very oerpendicular and without stress, leave strings sound free
The problem is with the adrenaline in live you tend to do more strong playing and could sound not very open.
I play another guitars more conventional
If I could I should only play ricks
It is another instrument
Another level and another vibe
A pleasure read you
Thank you Juan. Great advice.
ms
I also bought a 1993+ but mainly for the "f" hole. After owning a McGuinn since 1989, the 1993+ is way too wide for even my oversized hands. Also, even with the Jangl-Box, the 1993+ doesn't come close, in my humble, to the McGuinn.
What amp do you use?
BUT, I'm almost 75, and going to need somewhere to will my RICs