RICKENBACHER BAKELITES....the model B

Alan Berdoulay · Posted 20 Mar 2015 2:33 pm

After perusing the many threads concerning the bakelite rics....I never came across a "show us yours" type of post......so here's one.

Let's see some guitars....B models only, please.

Here's mine. I bought it from a fellow in Colorado who inherited it from his great aunt....who, he said, bought it new. An early model 7 string....serial number C163.

Included with the guitar was a booklet from 1949 that contains a photo of the original owner playing for the guys at a VA.

Also.....a forum member stated that this was the definitive thread on bakelite models...
http://steelguitarforum.com/Forum2/HTML/002123.html
containing this by J. D. Sauser.........

THE RICKENBACHER "B"-MODEL TIME LINE (As I see it):
Note: I have posted similar information on this Forum before. This is my latest review on these instruments and while there still might be some "bugs", I think and hope it will help you identify better your instrument or any guitar you might consider for sale or purchase. However, I do not guarantee the information below (don't you come sue me! )
GENERAL INFORMATION:
B-models where introduced in 1933/4. They where the company's second steel guitar model after the legendary "A"-model (aka. the "Fry-pan"). A Standard guitar version was also issued but with much less success.
As on the "Fry-pan" they all featured an electromagnetic "Horse-shoe-magnet"-pick-up, invented not by Mr. A. Rickenbacher, but his partner, Mr. Beauchamp. The company was issued a patent on the pick-up in 1937.
The body was entirely made of the world's first plastic; Urea-Formaldehyde (aka. "Bakelite"), black in color (much like the old telephones), a concept for which the company immediately filed and received a patent.
The neck was bolted onto the body. This was the first electric solid body instrument with this feature ever (a feature they seem to have forgotten to file a patent for... Oooops).

"PRE-WAR" MODELS (The first generation):
All pre-1940 (aka. pre-war) models have all of the following characteristics:

1-1/2" wide pick-up plates/No frame around the pick-up (until 1944/45).
Bridge integrated in the body molding (until 1944/45)
Five cover plates are chrome plated brass (non-magnetic), not white nor celluloid.
No cover over key head.
Frets are not out lined by recessed white lines.
1 or 2 controls: If two, they're located on opposite plates, not both on the treble side plate. If one (volume), chances are the knob will be of an octagonal shape (first two years). Starting 1940 (second genreation, see below) both controls on the treble side.
String through the body attach (until 1944/45 and again in the 1950's)
Small horizontal "Rickenbacher Electro (RF) Los Angeles" logo on key head (Note the spelling: it's Rickenbacher).
1/4" plug on facing the player. (Starting 1940 it's on the other side, facing the audience).
Edges of the body (corpus) are not rounded but some have a slight 45 degree bevel finish (seems hand made).
Earliest models may have no mention of any US-patent of metallic parts. (PAT. NO. 1881229 on the bakelite body on all "B"-models).
Later and until August 10th 1937, the little tabs or "ears" on each side of the pick-up will bear a "PAT PEND.".
From 08/10/'37 on a patent number replaces the "PAT PEND." stamping.
"WAR TIME" MODELS (The second generation):
From 1940 to 1944/45, war time material shortages as well as economical considerations may have forced Rickenbacher to painting the 5 cover plates (however some have been sold with the plated finish):

White body plates. Most are enameled steel and others are of white celluloid:
Tone and Volume controls on treble side, stacked vertically.
The body style changed; the body's edges are now rounded (from the molding).
The neck is a little thicker and re-inforced (an invisible feature) and has white outlined frets (paint filled grooves on each side of each fret).
Most importantly probably, the formula of the bakelite was changed as the early one was so brittle that bodies would pop, chip and/or break during the manufacturing process.
The 1/4" jack now faces the audience.
These are still quite desirable guitars, as they still feature the much acclaimed 1-1/2" wide magnet plate pick-up (original design).

"POST-WAR" MODELS (The last generation):

Starting 1945 a smaller pick-up was introduced (1-1/4" wide).
Pick-up mounted with a metal frame (plated) surrounding all of the pick-up. This frame came into the way or the originally integrated bridge, so bridges are now a separate "screw-on" part. (The dumbest change IMHO).
It has always been said that the pick-up with the 1-1/4" wide magnet plates did not have the sound.
(While I think that the new pick-up it's still a very decent sounding one, I agree, it's not the real deal.It lost much that characteristic Rick-sound. However, I don't think that it's the size of the magnet plates that really made the difference but the much smaller winding of the bobbin and the "screw-on" bridge.)
Probably in order to reduce the risk of body breakage, Rickenbacker also quit the string-thru attach design and introduced a plated metal tail piece (much like on semi-acoustic Jazz-guitars or Dobro's). You have to understand that bakelite is a very hard and abrasive to machine material, requiring tool to be re-sharpened very, very often.

Soon thereafter the logo changed to a "T"-shaped one, bearing the new spelling of the company RICKENBACKER, vertically.
The word is, that the company wanted to set itself apart from it's "German" roots of the name (funny however is, that ol' Adolph Rickenbacher and Beauchamp were both of Swiss background...).

In the 1950's the logo changed again, to a vertically mounted and spelled arrow shaped logo.
Some of these latest models had a little cover over the head stock... they were called BD-models... the "D" standing for "Deluxe" (whoaw!).
But most interestingly, on it's last models, the company returned to the much preferred "string thru the body attach" approach.

There have also been some brownish bakelite models made for a third party company. They had all the features of a BD-model, just in a different color, much similar to some old bakelite radio cabinets of that time. The plates were painted in a gold tone. These were called the BRONSON model and sold without the Rickenbacker label.

On a final note:
In all generations, 7 string models are rarer than 6 string and also considered the most desirable for their versatility and playability. 7 string models are built out of a 6 string body and neck, Thus the string spacing on 7 string models is narrower, which makes slants a little more difficult.
Rickenbacker has even used 6 string necks for some of their 8 string models, which are really "no-slanters" (IMNSHO) as the string spacing becomes very narrow.
10 string models were built on special order only. The company says to have no records of any of these. Still, they do exist. The neck was solid cast aluminum and the string spacing similar as on a B7.

When evaluating an instrument, please keep in mind that the early Rickenbacher company was a young enterprise in a brand new industry. Parts as control knobs, screws and especially tuning machines seem to have been put on these guitars as they came available... Also they did use some old parts on early newer generation guitars. Some of this, I suspect, at the personal request of pro-players too.
So, don't be blended by a shiny set of plated body cover plates. Look at the body first; check the edges, the frets and the orientation of the plug, then the pick-up size and style and any patent information. Second generation and up models tend to have a glossier black. That's probably because of the changed bakelite formula. Check the string attach, but remember that the late 1950's models had "string-thru-the-body" attach too (but won't have the integrated bridge). Even some late post-war model may have left the factory with an impressive 1-1/5" pu (I haven't seen one yet, but after all I have seen, it wouldn't surprise me).

I am in the process of collecting digital photos of B and A series Rickenbacher lap steels and all information (catalog copies) possible. If you can take pictures of your guitar(s) please e-mail them to me together with serial number info.
All this information shall help me help you better.

Thanks! ... J-D.

Doug Beaumier · From: Northampton, MA

My Model B Electro Spanish Guitar, 1938-39

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Scott Thomas · Posted 20 Mar 2015 3:55 pm

Nice idea, Alan. Those are a couple of rare beauties posted already!

Here is my near-mint single knob B6:

Scott Thomas · Posted 20 Mar 2015 5:40 pm **Re: RICKENBACHER BAKELITES....the model B**

Oh, and....

Tom Wolverton · From: Carpinteria, CA

My two amigos:

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Jack Hanson · From: San Luis Valley, USA

Purchased at Island Guitars, Honolulu, mid-1980's. Faintly scratched into the bottom rear of the headstock is the name "JUDY KILLIAN." Does anyone know (or know of) that person?

Alan Berdoulay · Posted 22 Mar 2015 4:37 am

Thanks for the replies to this post.

Doug....electro spanish guitar.....great......your thread... http://bb.steelguitarforum.com/viewtopic.php?t=280316
Scott....very nice......with a rectangular case.
Tom.....another early 7 stringer....cool.....note the round knob.
Jack......somethin about those T style logos.

In JD's summation of the model I see no mention of the end pins.

Cartwright Thompson · Posted 22 Mar 2015 4:47 am

My very bored son, about 15 years ago, and my stash of pre-war B-6's(and one B-7). Alas, I have just two now...but they're the best of the best.

Noah Miller · From: Rocky Hill, CT

Here's my B7. It's sort of an odd duck, and I suspect it was actually cobbled together from leftover parts. The logo was used briefly around 1949, but the pots and serial number date to 1960. The knobs are also unusual for a B, but given the date I think they could be original.

There are also eight holes in the tailpiece that seem to serve no purpose, but I believe they're factory-original because there's chrome plate inside them.

Alan Berdoulay · Posted 22 Mar 2015 5:46 am

Cartwright.....nice collection. And thanks..... Karen saw that and said "wow, I guess your not so bad".
Another cool logo Noah. Note the 4 tuning keys on the left side.

Alan Berdoulay · Posted 22 Mar 2015 5:58 am

A couple more bits about mine.
In that picture of the original owner.....you can see her bracing the fingers of her right hand on the guitar.......where she wore the chrome off one of the plates. Well used....and cared for.
Also in that picture is the amp she played through....an early rickenbacher.
When I was buying the guitar the nephew told me he had the amp but it was left to fall apart in his basement.

Alan Berdoulay · Posted 22 Mar 2015 6:07 am

Here's some pics of a "1940 B8" from google images.
There's even a key to the case......

Rick Barnhart · From: Arizona, USA

Thank you for starting this thread, Alan. I'm sure it's been discussed before, but I've always wondered about the worn looking / disappearing frets in the high register.
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Alan Berdoulay · Posted 22 Mar 2015 6:41 am

Yeah rick.....why is that? Later guitars don't have it.

Cartwright Thompson · Posted 22 Mar 2015 9:20 am

I never liked the string spacing on the B-8s, too close. The six and the seven had the same spacing.
Maybe the fingerboard is made that way to keep your picks from hitting?

Ron Simpson · From: Illinois, USA

Scott Thomas · Posted 22 Mar 2015 10:10 am

^^^
Ah, the rare 10 string...nice.

Noah, that really is a head scratcher. The holes and four tuners on the left side. Those knobs look like the type found on the Fender Jazz Bass and Jaguar guitars. Actually a nice look, I think.

Before I owned one, I always thought the fretboard corner was worn away through playing. Laughing

It wasn't till after I got one, that I could see it was filed (?) away like that from the factory. Yes, I think it's for pick clearance. Someone had a very early B6 for sale some years ago here on the forum, and it had no filing of the fretboard, nor screws in the metal plates.

Tom Wolverton's mixed black/chrome plate model is interesting. I've never seen that, but I have seen several "stealth" model B6s...black plates...enough to believe that this was either a factory option, or a very short lived experiment.

chris ivey · From: california (deceased)

late '37ish

Ron Simpson · From: Illinois, USA

Eddie Alkire with the B10.

Alan Berdoulay · Posted 23 Mar 2015 4:44 am

Those partial frets seem to be right where you could use them when palm blocking. That area on my guitar is as smooth as the rest of the body.

Dan Mahoney · From: North Carolina, USA

Here's a picture of my pre-war B6, lunch pail amp and case. I got it from the original owner who got it just before WWII and then joined up. It was in his closet ever since. Sorry about the bad picture. I'll probably be selling it since I never play it.

Alan Berdoulay · Posted 23 Mar 2015 7:28 am

Here's a link to some fine ric pics.... http://www.vintagemartin.com/earlyelectric.html ....
Including this one in gold....

Alan Berdoulay · Posted 23 Mar 2015 10:15 am

Jim Newberry · From: Seattle, Upper Left America

Mine I bought from Bob Stone. He (with help from others, Rick Aiello, Bill Creller, maybe others) superbly restored it. If anyone has a spare original Octagon knob......

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Ron Simpson · From: Illinois, USA

The Ace and Academy shouldn't be overlooked either. One hunk of Bakelite from head to tail. They have the same horseshoe pickups the model B uses, and weigh much less. Two beams inside the neck, and a few more inside the body insure structural
integrity.

The front to back dimension is less than the model B making them much lighter in weight also. Perfect for us old guys.

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