One of a kind? Well, YEAH. Look at it.
The bass itself is a 1982 transition-era 4003 with a two piece pickguard. The truss rods are bottom adjustable and were custom made for this particular bass.
The neck pickup is a 1970s era Hi-Gain (11.3k). In the bridge is a Lollar/Aiello Neodymium “H-Shoe” pickup – the last one they ever made.
It has the original 4001 mono circuit circa 1960 (or Rose Morris export), a Switchcraft 3 way switch and a Switchcraft ¼ jack.
CTS 250K volume and tone pots, Weber .047 oil-in-poly capacitors and 1950s-1960s Belden braid-shielded wire (vintage Gibson type).
Hardware: the bridge is the original 1982 Rickenbacker with blued allen-head adjustment screws, and the tailpiece is the original 1982 6 screw type.
The truss rod cover & pickguards are custom made in clear plexiglass. The tuners are Hipshot ultralites with clover keys. The nut is vintage unbleached cow bone/macassar ebony. It comes with Dunlop strap buttons.
The finish is done with Winsor & Newton type AA lightfast Alkyd pigments over white shellac base, sealed with two light coats of clear shellac, then 9 light coats of McFadden Nitrocellulose lacquer. The design and finish was done by Corey Keller in the forests near Santa Cruz, California.
The neck shaft is 10 coats of hand-buffed Birchwood-Casey gunstock oil and the fingerboard is the existing poly from an earlier refinish.
Comes with a banged up, period-correct HSC.
I can explain some of the art concepts but I’d rather you make up your own story. I'll upload some more photos in a bit but here's one of just the front of the instrument. The back and the headstock are also custom art and include such things as Maxwell's Silver Hammer and etc.
The bass itself is a 1982 transition-era 4003 with a two piece pickguard. The truss rods are bottom adjustable and were custom made for this particular bass.
The neck pickup is a 1970s era Hi-Gain (11.3k). In the bridge is a Lollar/Aiello Neodymium “H-Shoe” pickup – the last one they ever made.
It has the original 4001 mono circuit circa 1960 (or Rose Morris export), a Switchcraft 3 way switch and a Switchcraft ¼ jack.
CTS 250K volume and tone pots, Weber .047 oil-in-poly capacitors and 1950s-1960s Belden braid-shielded wire (vintage Gibson type).
Hardware: the bridge is the original 1982 Rickenbacker with blued allen-head adjustment screws, and the tailpiece is the original 1982 6 screw type.
The truss rod cover & pickguards are custom made in clear plexiglass. The tuners are Hipshot ultralites with clover keys. The nut is vintage unbleached cow bone/macassar ebony. It comes with Dunlop strap buttons.
The finish is done with Winsor & Newton type AA lightfast Alkyd pigments over white shellac base, sealed with two light coats of clear shellac, then 9 light coats of McFadden Nitrocellulose lacquer. The design and finish was done by Corey Keller in the forests near Santa Cruz, California.
The neck shaft is 10 coats of hand-buffed Birchwood-Casey gunstock oil and the fingerboard is the existing poly from an earlier refinish.
Comes with a banged up, period-correct HSC.
I can explain some of the art concepts but I’d rather you make up your own story. I'll upload some more photos in a bit but here's one of just the front of the instrument. The back and the headstock are also custom art and include such things as Maxwell's Silver Hammer and etc.
