Rickenbacker 330/12 12 String

I just got this one from its second owner. After much effort to find a website to decode the numbers, it seems to be of Sept. 1988 manufacture. That is important if yo are buying a Rickenbacker 12! Because prior to 1986, there is a serious adjustment problem. You have to force earlier necks into position and then turn the truss rod screws!
Well, like all great Rics, it's beautiful. This one is a little different: Mapleglo, but with all black hardware, even the pickguard. The neck is narrow--1 5/8" at nut, so it takes getting used to..but I am, so it's okay. Initially, I thought to use this as trading stock to get a 660-12, but now I see no need. It comes with 24 frets, which is laughable unless you have needle-fingers and really want to play that high. Get an octave 12--someone's making them again.
The two non-humbucking pickups are black, with six points that are non-adjustable. Too bad. The "b" string point on the bridge pickup is way too hot and could use some recessing. But there is no way. I wonder if I should install a toaster style in center?
It's mono only, which still makes me wonder: what does "Ric-O-Sound" do, exactly? I've read about it, but hearing is another matter. Is it worth it? My next Ric (a 660-12) will have it, just to answer that burning question. Bjorn Erickson's Rickenbacker page should add a stereo sound file to demo that.
Or rhe Rickenbacker Corporation page nees to do that,
The Mapleglo finish is flawless. I hear from McGuinn that Mapleglo is the one to get if you want really nice wood. Flaws would show under clear varnish, so they select the best wood for these. The body shape is quite similar to the 12 George Harrison played in HARD DAY'S NIGHT, and really feels great. Body balance is fabulous. It's wider than a 360, and the case is a bit big. It barely fits inside the trunk of my Prelude! Pickups are passive, and the tuners are rock-solid. This baby stays in tune forever. I could wish for triangle markers on the neck, and 12 point intoners on the bridge, but really, there is no need. The intonation is great! I don't know why. There is a slight disctepancy in the tuning at fret 12 on the low E pair...but why would I play up there anyway?
Forget about it!
The lack of binding o the neck effectively gives the fingers more room. And those complaints you hear regarding taking forever to change strings are off-base. The headstock is easy. The "R" tailharp is a drag to work around. Looks great, and makes it tough. Use a needle-nose pliers there. And be sure to place an empty sting envelope there to prevent gouging the wood.
Vos had a great idea: Carbon steel pins that you plunged the string ball ends over. Nobody ever duplicated the idea, though.
Overall, I give features a 9. A wider neck and easier tailpiece and a dialable humbucker-to-single-point (like Peavey) would make it a 10.

Wonderful, Byrds-jangly sound. Phenomenal sustain. My style is based on electric folk music, like Steeleye Span and early Jefferson Airplane and Beatles and Byrds, so this thisng is a must. No other 12 comes close. I rate my Vox Phantom for ease of play, but it;s not "The Sound!"
I took McGuinn's suggestion and got a Jazz Chorus 120. Clear, with guts.
Noise? Well, humbucking it is not. You may have to face different ways to
stop line noise when recording direct to board. Als, a compressor is mandatory. I use the one I built 10 years ago from a PAIA kit. It's a limiter, too.
It trims the attacks and brings up notes as they decay...wonderful for hidden overtones,
The sound is very bright with the Roland's brite switch...but the neck pickup is solid and bassy. Great range of tone. The bridge pickup is pure '60's.This is the magic sound, the one that hooked me with 8 MILES HIGH and kept me listening to McGuinn, Clark & HIllman and the Jam.

The third-hand natur of this axe negates my ability to assess its factory setup. I think it was left aone apart from string changing and playing. The saddle was tilted. I realigned it. The action was high; I lowered it til it buzzed, then backed off. when you hold the strings with a capo at fret 16, you shoud barely have the thickness of an average business card at fret 8. That's the easy check...and some buzz doesn't matter--you'll not hear it through an amp.
Really, this neck is such a break from the acoustic 12's I play, It's like hand therapy.
The only hardware problem I find is the low G machine head seems tight. I will lube it some time and see if that helps. No biggie...Oh. Regarding strings: The new Pyramids recently put on are quite surf-sounding...and smooth. But you can't bend them well, and the overtones are pinched on the bass strings. I plan to remove those and use regular GHS on the low E, A, D, & G, just so it's not quite so jangly in that range.

My band is on haitus now, and the other guitarist considers Rickenbackers not a real R'n'R instrument! I pointed to John Fogarty, the Airplane, Who, Byrds, Beatles and John Kay and rested my case. I think he did too many drugs in the '70's...
The finsih seems indestructable. There is slight yellowing inside the slach hole, and i may sand that and reapply, since the varnish did not cover the whole edge of the opening.
The strap buttons are rock-solid. I would gig with it like crazy. No backup requred.

Never had to deal with the commpany. Jon Hall maintains a lot of FAQ answers at alt.ric.com, so between that and the Richard Smith book, it's all I need to knw about. I don't think I will change the 6 intoner bridge to 12, but I may. then I will have some customer service experience.

I've been playing since 1965, inpired by Donovan, the Beatles and Dylan.I own a couple of nice 6-string acoustics, ( new Heritage Gibson, old Hummingbird, a Martin? and take my Ibanez AE out for amplified palying so the other guitars are spared. I own a pickup-modified Vox Phantom (Hot Rails and Duncans), and a Peavey Milestone, which sounds great but has a broken truss anchor. The dealer should be ashamed for selling me that. Black Market Guitars...since moved from SF to LA.
I also have a Danelectro lonhorn bass that I love, and a Tacoma acoustic bass that's a pleasure.. So rich and loud. It records best with a condensor mic, since the piezo is terrible, spangy and ruber band sounding. I also have an old EKO 12 with an EMG pickup I installed. Great, easy due to the zero fret. Same factory in Torino, Italy I hear made the Vox 12's.
I also play keyboard and only use a Roland JV-35 for all the sounds. Gone are the days of lugging 4 keyboards around.

My 360/12WB was made in 1980 and I purchased it used from the now-defunct Knut-Koupee shop in Minneapolis, MN in 1984. This was my first twelve string guitar and was truly a lucky find. They had just gotten the guitar in on a trade and when I saw it that was it! This one was to me the ultimate 360: a double-bound early-style thin body, butter-smooth playability, classic two pickup configuration, and an amazing and flexible tone.

I played the guitar throught the mid to late 1980's in several Minneapolis post-punk bands. What a great sound! This guitar had both a ringing wash of high but never harsh top end from the bridge pickup to a very full warm low end from the neck pickup. I used a blended setting favoring the bridge pickup. Not until after playing other Rick 360s some years later did I realize how special this one is. I don't know if it's the double-bound thin body that is responsible, but I have never found one I like better in terms of sound.

Unique to this guitar, as far as I know, is its custom brown-burst matte finish. I think it is a special non-catalog custom color probably custom ordered by the original buyer. I have never seen another nor have even seen any other Rick photo with this finish. This guitar always drew admirers and I always had to keep an eye on it during set breaks.

Fit and finish quality is absolutely flawless.

I would hate to roughly handle or otherwise abuse this beautiful guitar so I will never find out how tough it is. But I will rate it an 8 of 10 because of the light hollow-body construction, not due to any obvious flaws.

Never had to use it.

I have owned many guitars and basses over the years. This guitar is the finest one I have owned.

Sorry for a review of a previous guitar, but a current situation causes me to review my review.
The 2002, 330/12 I bought this year is an absolutely beautiful guitar.
I chose to order the 12-saddle bridge for better intonation, because without it, it suffers quite a bit on the sixth set of strings.
I ordered it and it was defective. Because I wasn't going to use it until my next string change, it wasn't until several months past that I noticed it being defective. The adjustment screws were cast at an angle, preventing proper seating of the bridge.
Rickenbacker refused to help me with any exchange. Their customer service representative was very helpful, but the decision which came from above was pathetic. So now I am stuck with a $100.00 paperwieght.
My advice: don't buy accessories from Rickenbacker. It's like Vegas, don't spend it if you can't part without it.

Guitar: A1
Accessories: Poor
Customer service: The worst I've seen.
Sorry Ric., but you lost a good customer here!

December 1966 model 330/12, one of only 87 Mapleglo examples made that year, and of 103 made from 1965-1969. So, it's a fairly rare bird. (I'm surprised to see another Mapleglo '66 reviewed here.) The finish has some severe cracking on the front and back, but is otherwise in fine condition. Like all '60s Ricks, it has the 22-fret neck, toaster PU's, and other vintage appointments. The previous owner, who bought it in the '80s, had the wiring restored to spec. When purchased by him, someone had removed the blend pot and messed with the wiring.

The Beatles, the Byrds, and nearly every other band from the 1965-1967 era used a Rickenbacker 12-string, It has a very distinctive sound, unlike any other 12. Its signature clear jangle is instantly recognizable, and it has lovely sustain. Listen to the Who's "The Kids Are Alright" or any Byrds record and you will hear the classic Rickenbacker 12-string tone. I only use Pyramid Gold .010 flatwound strings for an even more authentic '60s sound.

The ultraslim neck takes some getting used to, but I have no problem with it. In fact, I like it a lot - it fits my hand perfectly. Over the past 36 years the neck angle seems to have shifted away from the body because I had to set the bridge down about 1/8" from the body top in order to get low action, but it plays fine up and down the neck with no buzz. The 6-saddle bridge intonates perfectly, unlike the bridge that came with the 1998 360/12v64 that I sold to buy this. The guitar is also very lightweight and comfortable to hold. A true piece of fine American guitarcrafting.

I've had very little tuning instability, which is a blessing on a 12-string. After 36 years it's still solid as a rock.

I contacted Rickenbacker via phone to order a vintage reissue replacement truss rod cover, and they were willing offer advice on sourcing an original one (which I wasn't able to find). Rickenbacker shipped the part immediately. John Hall, company CEO, is also good about answering questions via email.

I've been playing since 1977, and have always love Ricky 12-strings. I had a 360/12v64 for a few years, but sold it after being offered a good deal on this one. The reissue sounds very close to the originals, but the '66 ultimately sounded better, and I prefered the unbound neck of the 330/12 to the bound neck of the 360/12v64. I also own a 1984 330 6-string that I bought new, and still adore. Other guitars in my collection are a 1962 Gretsch Tennessean and a 1965 Silvertone/Danelectro 1448. I would only sell this guitar if I got a good deal on a vintage Fireglo 360/12, but that's only for aesthetic reasons. The 330/12 and 360/12 are virtually identical tone-wise.

Mine is also a Dec. '66 model Mapleglow. Ser.# FL4230 (or maybe it's 4280 - bad stamp). I picked it up in early '74, after the original '60's 12-string craze had died off and dealers couldn't hardly give these away - for $200 WITH the OHSC! - that beautiful case that I want to be buried in. It was fairly cherry then and still is, considering what I took it thru in the 70's & 80's.

Like some other reviewers here I LOVE the acoustic sound and have tried in vain (so far) to capture it & amplify it. I've tried every kind of non-destructive piezo attachment, small mikes inside, soundhole pickups taped to the top - nothing gets it. (BTW, the cheapo Dano 12's sound almost identical acoustically). I even looked over the bridge arrangement from a broken Ovation acoustic-electric to see if it could be adapted - possible, but nawwwwww...

In rebellion against the factory design I've always strung mine with the little strings on top. Since I played other 12's this just kept it from feeling weird but now I'm going to try it their way for a change. Maybe this will fix the open-string intonation problem it's always had.

I also love the sound of the neck pickup - it's not muddy at all; it has it's own kind of clear chime. If you can find it, listen to "Gonna Cry Today" on the Nazz Nazz album (Todd Rundgrens' old group). If that's not a Rick 12 neck pickup, it SHOULD be.

Over the years I tried adding stuff to the insides, like compressors, treble boosters, extra pickups in the middle (like a small Epi humbucker for overdrive sounds - never worked) and as stated various piezos. I made a duplicate pickguard so I could fool around without wrecking the original. It's back to stock now, with one exception - I never cared for the little "blend" control so instead I removed the series capacitor from the bridge pickup (was this factory-installed, or did somebody add this before me?), I used the blend pot & that cap to make a bass roll-off for the neck p-up, so when fully "down", the neck p-up sounds almost like the bridge for bass response. Very handy for when I use a fuller amp EQ setting to fatten the bridge without making the neck too boomy.

This poor axe has sat around mostly unused for the last decade or so. When finally changing the 12+year-old strings the other night two of the original Klusons fell off, right on the floor! Further examination showed they were just too shoddy & worn for further service so I just now replaced them with a couple sets of Gotoh Vintage from Stewmac. A warning, though - the Gotohs drop right in but they're just a weeeee bit shorter that the Klusons and the string holes only emerges about halfway from the bushings, making it hard to feed the strings thru - and only the small strings will go thru at all. This can be remedied by either grinding down the rounded tops of the bushings (losing some chrome) or forcing the tuner bodies into the wood a bit (ouch)....so far I've done neither and I'm fully strung. The Gotohs are much smoother and secure-feeling than the Klusons ever were - so what else is new? Nothing, on this guitar!

Oh, I replaced the intonation adjusting screws with hex cap screws - that adjustments' much easier now. I may get a 12-saddle bridge next.

This old girl has taken some shots and keeps on jangling. Still shines like the day she left the factory. Now & always, my favorite guitar and the best I've ever had.

This guitar radiates the special love & care the builders put into it. You can feel it just picking it up. Even non-players can pick it up and go "ahhhhhhh" - and plenty have. None of the new Ricks I've played for the last 20 years even come close. I'd never get a new one, even though I'm sure they're OK. They just don't have what THIS one has.

Never dealt with them, never got a free guitar from them, never had a signature madel made for me, never bought a new one.

I've almost always played this thru Fenders, then my POD (Blackface with compression, natch). I have a Vox Valvetronix 60 and I'm still looking for that classic Beatles - Who - every-other-Limey-band tone.....it's sorta there, but now I give thanks for my new Tech 21 Trademark 120. Put it on British, bass on 0, mid & treb at 3 o'clock - getting REAL close now!

I've been playing since I was 10 (1961). As a teen I always wanted one of these but it wasn't till the hard-rocking '70's when I bought this, against all the current style & hip sensibilities. Sure, they all laughed - until our band proved to be the only one in town that could play "Stairway" recognizably! RIKS RULE!!!!!!!!

Mine is a 2002, 330/12 FireGlo model. Just built in March. It even smells like polish when I took it out of the case. It's an entirely STOCK 330/12, Fireglo. Pickups are the high gain type. I do like the Schaller type tuning machines. I own a Tom Petty version with the "vintage" tuners and they are bad for holding the 12-string in tune for very long.
The fifth control knob does something, but my ear-to-brain-connection is still trying to figure out exactly what it does. It seems to be a tone control that either the amp or other guitar controls can do themselves.

I play guitar at my fire station and at home. Because I usually play unplugged, I like the sound the 330/12 has just on its own. The 330/12 unplugged had got to be the most beautiful sound I've heard in guitars. I can't say if it's the placement of the strings, i.e. the thicker string is above the thinner string, but I love it.
Amplified it has a nice clean sound. Not a lot of variety to it, but 12-strings tend to have that. No need to buy a chorus box, because it sounds like it's built right in. It could use more punch. It does have "newer" hi-gain pick ups and not the "toaster" type. If I change over, it may change my opinion. It may sound funny, but I'd really like to mic the unplugged sound. I like it that much.
My vote for the sound would have to be as it were designed, and that would be plugged, but unplugged it's a 10!

Straight out of the case, never opened by the dealer...great!
Everything was adjusted fine.
One flaw, if any, was one of the set of strings (3rd string set) was set a bit close to each other on the saddle. That would be the 5th and 6th string in the 12-string set up.
The finish was absolutely perfect. My wife suggesated that we mount the guitar for display. 'Don't think so lady!

It seems very durable and everything seems to be of very high quality.
I don't use a guitar strap, so I couldn't say. I'd hate to have it fall off though, so I'd probably buy a locking system. They are a bit neck heavy.
I can't say how the tuning holds up after lots of plying, but striaght out of the case and for hours of playing, the strings held their tune. Very happy. Haven't got to restring it yet. I heard it's a pain to do. It feels super solid for a hollow body.
As far as a backup guitar...ALL 12-string need a backup! Who wants to wait on tuning that puppy?

I ordered two vintage pickups and a 12-saddle bridge. The dealer said that they were on back order.
No problems yet, to speak of. I live close to Santa Ana. About 30 minutes drive, so I'm not too worried about having problems with getting any work done. I can just take it to them if need be.

I've been playing for 20+ years and worked for Charvel/Jackson in 1984-1985 and find these guitar to be just spectacular. My only problem is that the fingerboards are narrow at the first few frets. The neck feels good in my hands. I am 6'4" and can use a bit more width on the neck. Neck thickness is good. The fingerboard edge is not sharp, but a bit rounded on the edges. It helps when playing for some time. For a 12-string my left (fretting) hand did not get as tired as I thought it would. Make sure you have some good tuning machines on it. Must maintain tuning!
Very pleased. If you never played this guitar again, you'd want to hang it up for it's beauty alone.
As for comparison to other guitars...you can't. It is really, strangly unique.
Rickenbacker will NOT put any features found on their other guitars on any another of their guitars. I asked for white binding on the body and they said it can't be done. They do no special orders. None!
Only if you're famous enough, will they make araingements. So, get used to it.
The company does seem very arrogant and you will feel like just another customer, but once you hear the sound, you forget how rude they can be at times.
I'd buy it again.

I have a December 1966 330/12. According to the Richard Smith Rickenbacker book, I have one of only 103 mapleglo-finished Rickenbacker 330/12's made between 1965 and 1969. Unlike new Rickys, it has 22 frets, instead of 24, and its original Kluson tuners and toaster pickups. Unlike other 12-strings, Rickenbackers are reverse strung with the octave strings following the main strings on the downstrum. The arrangement of the tuners on these guitars is brilliant.

I play 1960s and 1960s's style garage pop, and of course this is THE guitar for the folk'n'roll toons. I use it with a 1965 Vox AC50. There is only one setting for a Ricky 12-string as far as I'm concerned - the jangly bridge PU only. (Who wants a muddy tone with a Ricky?) And what a beautiful sound it is!?!? FWIW, before buying this vintage Ricky, I had a modern 360/12v64 reissue (like Harrison's) with scatterwound (ie: original spec) PU's, and while that was a great sounding guitar, the '66 sounds better. Maybe it has something to do with the wood aging, I dunno. It has amazing chime and sustain.

It plays like a dream. Some may find the narrow Rickenbacker neck to tight, but I love it. Action is ridiculously low, and the original 6-saddle bridge intonates just fine (unlike the 6-saddle bridge that came with the reissue, which was impossible to intonate). It's nice and light, and the neck fits my hand perfectly.

It's survived for 35 years, hasn't it? It's very well made (better constructed than the new Rickys, IMO), and stays in tune wonderfully. It's the only 12-string I own right now, and I have no need for a backup.

There is nothing that sounds like a Rickenbacker but a Rickenbacker, especially the old ones. A wonderful instrument.

late 2001 american made jetglo 330/12
you know the deal with the specs
sweet case (but why would anyone need six keys to the case?)

all of the standard stuff (pickups, construction, etc) are beautiful, but i really wish the neck were just a little wider, for my comfort. not a bad trade off, for a guitar that sounds this good.

the sound is absurd. i played it unplugged and nearly had to go lie down for a little while, just to take it all in. the sheer beauty of that sound...it's almost indescribeable. the bummer was that after i plugged it in, i couldn't quite get the sound i'd heard unplugged...until i fussed with the "blend" knob. a few quick spins, and the guitar opened up. not a noisy guitar by any means, it's as quiet as a baby (which can be a bitch if you're going for loud).

as for variety, it's a king among rhythm guitars, but it's not limited to that. like most instruments, it goes wherever you take it.

it came set up from sam ash (hey, i'm not proud, but i did buy it there. stop looking at me like that.) without any flaws of any sort. everything is ship-shape on this baby, not a single complaint.

the guitar feels a little light, but i'm sure it will take nominal abuse. just treat it like any other semi-hollow, and it should treat you just as well. it will withstand live playing. even came with straplocks. beautiful.

never had to talk to anyone about it yet, but the provisions on the warrenty card seem solid.

what a beautiful guitar. wish i'd found a used one (at $1000, it's my most expensive guitar) but i'm more than happy about this buy. what a nice guitar. what a nice guitar.

Made in 2000 in US. Has 24 frets and a semi-hollow body. There's a tone and volume control for each of the two hi-gain pickups, and a blend knob for balancing the volume of the two when both are selected. This guitar is in a mapleglo finish and came with a hardshell case and polishing cloth. This model doesn't have the Rick-O-Sound feature, but it's probably something I would use that often anyway so I don't really mind. I wish it had a 12 saddle bridge, but I can live without one of those I think. I've had no serious intonation problems.

This guitar is surprisingly very versatile. Of course it does the jangle thing VERY well (even through my little Vox Cambridge), but I've also gotten surprisingly warm, rich sounds from the enck pickup. I love the blend control. I leave it set for a nice snap, but with some added warmth, and just a slight twist brightens or darkens the sound. I haven't really found a pickup setting on this guitar that I wouldn't use. It even distorts very nicely, though youhave to watch the gain settings or things can get mushy. I could see this guitar being used easily for classic rock (of course), alternative, and might even sound cool doing some country or bluegrass.

One thing that worried me about a Rick was the tiny neck. But this neck feels great! The reason why is because it doesn't have a bound neck like the 360 and other models do. The frets on the 360/12 don't overlap the binding, so there's even less room on the fingerboard. The frets on the 330 go all the way acorss the fretboard. I have big hands and long fingers, and have had no problem playing this guitar cleanly.

Everything looks great on this guitar. I bought it used, but you can't tell it's been picked up ebfore (the exception is that the string have obviously been played). All of the switch and controls feel solid, as do the tuners (either schallers or sperzels...I'm not sure which). The grain looks great and really shines. There is some damn good workmanship on this guitar.

This guitar would withstand live playing. It just plain feels solid. Everything feels nice and sturdy. I've always gigged with a backup in case a string breaks or my main guitar just wouldn't want to stay in tune that night. Gigging with a backup is just a matter of being prepared, and that fact that one does really shouldn't be used as a reflection of a mian guitar.

Haven't dealt with, but I hear Rick customer service can be real hit or miss.

I have been playing for 13 years. I own mostly Fenders (two Teles, a Strat, a P-Bass). In the past few months I really fell in love with the Rick 12 strings. I had considered an old Fender Coronado 12 string and even some of those Danelectros, but I just coudln't ignore those Ricks. I'm glad I went with it. If this thing were stolen...man I don't even want to think about that. I wouldn't want any of my guitars to be stolen.

My Telecaster will always be my favorite (for sentimental as well as tonal reasons)...but I've got much love for my Rick.

Beautiful sunburst 12 string electric. As you can tell from the other reviews, this guitar is the real thing for classic looks and feel. I bought this last year, new with hardshell case. The 330 has the larger body style, unlike the smaller 360. It has a set neck, like a Gibson ES. If you have ever seen a Rick, then you know the guitar I mean.

I love this guitar for rhythm work. I play blues, folk and rock, so this guitar does it for all three. I cannot explain what this instrument does for your sound. The electronics are perfect, and the sound is rich. Most people go for the 'jangly' sound, but I like to darken the tones a bit. I use a Fender Bassman for a very clean sound, and it can cut through any size band. I can even play this without the amp and hear it fine. Be warned: if you do not like treble, you will not like this guitar. Otherwise, go for it!

This guitar was set up at Ed Roman's when I bought it. I love the action, pickup settings, etc. I could not ask for anything more. The finish is flawless and the neck is perfectly adjusted. These guitars are made the same way they were in the '60s. I feel that Rickenbacker is ahead of the semi hollow market, leaving Gibson in the dust. I would recommend this guitar over the Gibson 12 string electric or the ES series. Rickenbacker would be on a par with the Heritage company.

Very reliable. Never had any problems with electronics, tuning or string breakage. How can a 12 string stay in tune? Ask Rickenbacker, because they know. I probably wouldn't bang this guitar around, but it could withstand it. It came with straplocks installed at Ed Roman's. I give it a nine just because it is a hollow body.

Never dealt with Rickenbacker, as I have never had a problem. I hear that they are good with service, though, especially on warrantee items.

I am still confident in the money I paid for this guitar. Again, I do not like spending large amounts of money on guitars that are not worth it. I find too many players paying for 'name recognition'. This is not the case here. Since Heritage does not make a 12 string electric, I recommend this. It is a solid, American made instrument. The operative word here is 'instrument', not 'product'.