I found rumors on the net about inferior alloys used by RIC in the late 80′s as well as the unusually high tension of the Pyramid brand of strings I was using. With a new tailpiece and the guitar tuned down a whole step (from EeAaDdGgBBEE to DdGgCcFfAADD), I figured I was in good shape.

Lo and behold, I opened up the case last month and strings were everywhere—the tailpiece had apparently snapped again. Fortunately it was not the floating “R” logo tailpiece this time, but the clasp screwed onto the body that the “R” piece hooked into. In other words, the other half of the older equation, rumored to have the faulty alloy.

I have a hard time believing that it could be the Pyramid strings when I had the guitar tuned down a whole step. Nonetheless, lots of Rickenbacker-obsessed people who spend a lot more time with this sort of thing than I do all seem to be recommending switching strings, so I ordered some Thomastik Infelds just in case, and as a lower tension will make for easier string-bending.

Apparently Rickenbacker corporate hates Pyramids so much that they refuse to let anyone mention them by name on their website, and replace the word “pyramid” with “tetrahedron.” Likewise, using the name of a popular compression pedal that people use to get that Byrdsy jangle (even endorsed by Roger McGuinn himself) is verboten: “JangleBox” becomes “Jingle Bells.” Why they dislike the pedal isn’t entirely clear, aside from vague intimations of copying the built-in circuitry of a unit that’s no longer even made.

Very odd indeed.

listen also for: the sound of a distant train and christy petting marlowe.

#12 Marlowe Rides the Rails (3.7MB mp3; 2:41)

The Guild is tuned to open G, I believe.

After getting over the initial shock, i realized that it was the “R” tailpiece that had broken, presumably during a hurricane evacuation or just being in storage in hot weather. But this guitar had been halfway around the world with me since around 1991, and I had never had this happen before.

Rickenbacker will replace the “R” provided that I send them the old one and buy the replacement as well. It’s a pretty old guitar, so I suppose that’s reasonable, but the replacement part is $100 which is not cheap.

No real answers as to why it happened either, but looking on the Rickenbacker boards it seems that there was some problem with the models of this era and hopefully fixed now. The extra tension on the 12-strings (versus a 6-string) is obviously a factor, as it doesn’t happen on 6-strings. And when the person at Ric customer service asked me about what kind of strings I had on it — I had Pyramids — he seemed to believe that these strings had a higher tension rating which may have contributed to the crack.

I’ve had this guitar for nearly 20 years and only ever had one issue with it — when a piece of later-discovered cat fur was blocking the jack preventing me from playing “Fearless” at a Halloween show where we performed as 1972 Pink Floyd — and excepting some screws that went rusty, have not had any reason to question the quality of their manufacturing process. It’s been a great guitar, and hopefully will be again soon, but I am really going to have to consider using different strings, or storing it differently, or something. Hopefully the replacement tailpiece will be of stronger stuff!

#9 Hopping Over Shadows (5:24, 7.4MB mp3)

Four tracks: (1) 12-string acoustic guitar, (2) sine wave drone*, (3) tabla, (4) rhodes electric piano through electro-harmonix hog.

you will recognize this as a revisiting of (although re-recorded from scratch) and developing upon idea no. 1, “12-string open G rag #2.”

* for the drone i used the rather simple “potpie simulator” max patch (v4), which you will read more about later.

“12 String Open G Rag#2″ (mp3)

After a half-lifetime of guitar, I only recently got decent at fingerpicking, after watching some free banjo lessons online and applying what I learned there to guitar as well as watching an instructional video by Doc Watson. Also, I’ve got a dusty old Takoma LP that I’ve listened to quite a bit in the past year with John Fahey, Leo Kotke and Peter Lang that connected with my endless background/fascination with old-time Appalachian music; other recent favorite listens are records by Sir Richard Bishop (“Polytheistic Fragments”) and Daniel Higgs, and as always Jack Rose and Pelt.