Rickenbacker 330/12 12 String

2003 Rickenbacker 330 12-string guitar in Fireglo. Two-tier white plastic scratch plate. Two Rickenbacker Hi-gain pickups replaced with two Rickenbacker Vintage 7.4k pickups. Three-way toggle switch. Five controls - bass and treble volume, bass and treble tone and a "blend" control. The blend control blends as much (or as little) of the neck pickup with the bridge pickup as required when the toggle switch in in the middle position (both pickups on). Schaller tuners. Semi-acoustic two-piece maple body. Thin maple neck with medium frets reinforced with a walnut "skunk" stripe. African rosewood highly-lacquered fretboard. Neck glued in (almost to the end of the body, which gives the guitar it's characteristic tone) Rickenbacker case included.

The definitive twelve string guitar. I would describe this guitar as sounding like a semi-acoustic with solid body characteristics. It sounds rich, bright, jangly, warm, chimey,(I could go on!)It also has a (wonderful!)nasal quality when ultra-clean. I retro-fitted this guitar with Rickenbacker's 7.4k Vintage Toaster Top pickups and added a 0.0047 capacitor between the treble pickup and it's volume pot to bring the guitar up to the '60's spec. These changes are absolutely necessary if the original classic Rick sounds are required, but not if the guitar is used in a more modern context (although distortion with the modifications sounds great). The alnico vintage pickups are less powerful and spiky sounding than the new, cheaper, ceramic pickups that come stock with most modern 330 12's. In my opinion the vintage pickups sound better,warmer and brighter than their modern counterparts. For the ultimate Rickenbacker 12 string sound, the 330/360 semi-acoustic twelve's are required. Although Rickenbacker's 400/600 series solid body twelve's have "the" sound, they're not as rich and warm sounding as the 300 series semi-acoustics.

Everything was fine with this guitar. The action needed just slight adjustment.

A very dependable, solid, high quality, well-made guitar for the price.
It's my main guitar at the moment (used as a 6-string). It has never let me down live.

Never used them.

I have been playing the guitar for 30 years. I also own a cheap "project" Telecaster copy with alnico pickups. I use this as a backup guitar. If the Rickenbacker 330/12 were ever lost or stolen I would have to replace it immediately! It sounds, feels and looks the best! The only minor concern for me is the 12 narrowly-spaced strings on the narrow neck - difficult to play, even for somebody with medium-sized hands like myself. But used as a six stringer, this guitar is comfortable and easy to play. It's best feature is the "blend" control which helps to shape my sound - a versatile extra. I have owned 11 Rickenbacker 300/400/600 series guitars. In my opinion, this guitar and Rickenbackers in general ARE the best guitars ever made. It beat the Gibson Les Paul and Fender Telecaster guitars I previously owned emphatically in terms of sound and quality. I would have liked a gold scratch plate and vintage controls, but never mind! From the moment I purchased my first Rickenbacker 360/12 back in 1993 I have almost NEVER wanted to strap on a guitar from another manufacturer. That says it all, doesn't it??

My Rick 330-12 is a '92 in Autumnglo, a rare finish. It's a red sunburst, but without the pinkish hue that you find in the Fireglo finish. The center of the sunburst is yellow and very nice. I think most people will know the features of the Rick 330. My only real complaint is that the volume/tone control layout is a little strange. I may have the pots rearranged so it's set up like those on a Les Paul, which make more sense to me. I would also have preferred a thicker and wider neck. It's difficult for me to make certain chord shapes because of the narrow width of the neck, so I barre those chords instead.

I love the classic look and vibe of Rickenbacker guitars. Nothing says "the 60's" more than a Rick. I play a lot of Byrds/Beatles/Who/Leaves/Love material on gigs, so having a Rick 12 is imperative to me.

I use a Fender Hot Rod Deluxe and a Janglebox compressor with the Rick for that Byrdsy jangle. I also swapped out the stock Hi Gain pickups for vintage style Toaster pickups. The combination of the Rick 12 and the Janglebox is like having "Roger McGuinn in a stompbox." It's great! It's the sound I was looking for.

My only gripe here is that it is very hard for me to get a volume boost for solos, so I'm going to invest in a clean volume boost pedal. The Rick has a blender control that only works when the neck pickup alone is activated. It doesn't work when both pickups are on, and that is the sound I like for rhythm playing. I don't use the neck pickup alone, as I don't care for the tone that much.

Flawless. Perfect. I bought the guitar used from a collector on the rickresource forum who rarely played it and kept it stored away in its case for years. There wasn't a mark on it. Rickenbacker's quality control is and always has been superb. I wouldn't expect anything less.

When I first got the guitar, it needed a setup badly. My regular guitar tech, who doesn't like working on Rick 12s, put D'Addario strings on it. Bad choice. The guitar would not stay in tune. I took it back to him. He tweaked it more, but it still wouldn't stay in tune. I took it to another tech who knew Ricks well. He re-set it up and put Curt Mangum 10-46 strings on, which are made specifically for the Rick 12. This time, the guitar was "right." It stays in tune like a champ now. I can use it for five or six songs in a row, and even do Pete Townshend "windmills" on it, and it still stays in tune perfectly. That was real relief. I was afraid I would have to sell it.

I have never dealt with Rick customer service.

I have been playing over thirty years. This is a "lifer" guitar. I'll never sell it. It sounds great, plays great, and is totally cool.

Mine is a '92 330-12 in Autumnglo finish, a rare color. I bought it used from someone on the rickresource forum for a great price. I waited a long time to get a Rick 12 string, which is weird, because I'm a huge Byrds/Beatles fan, and always loved the sound of Roger McGuinn and George Harrison's Rick 12s. I think anyone reading this will already know the features of a 330-12. Mine came with Hi Gain pickups, which I swapped out for vintage style "toaster" pickups, which preserve the sound and look of 60's era Ricks. The only thing I might suggest is that Rickenbacker make the necks a little wider. They're very narrow, but you get used to it.

It suits my playing beautifully, as my band plays covers of Byrds, Beatles and Who tunes that use the Rick 12 sound. I use a Janglebox compressor, and it nails the McGuinn sound perfectly.

No complaints. Rickenbacker's workmanship is always excellent. I didn't expect anything less. The guy I bought the guitar from had it packed away for years and hardly ever played it. It looked brand new.

Rick 12s are finicky guitars if they aren't set up right. My guitar had tuning problems until I got the right strings and the right tech to set it up. You must use strings that are made specifically for the Rick 12, and the guitar must be set up and adjusted properly. In my case, I use Curt Mangum 10-46 gauge, and they work beautifully. It stays pretty much in tune for weeks. You can also use Pyramid or Thomastik strings, but I would stay away from D'Addarios in this case.

No opinions, but I have gotten the company president, John Hall, on the phone without much effort. Try doing that at Gibson. Think King Henry The Arrogant would pick up the phone? Yeah, sure.

I love this guitar to death, and I mean that. It's a lifer for me. If you want the Rick 12 string sound, don't waste your time buying a copy. Just buy a Rick. There's nothing else like it. But, be aware that Rickenbacker is a small company, and they are almost two years behind in filling orders right now, so it's best to buy a used one.

The guitar is a '97 issue, and I have to say I waited a LONG time to buy a Rick 12, which is weird, because I'm a huge fan of Roger McGuinn and The Byrds, as well as The Searchers, Beatles, The Who, and other sixties bands that used electric 12 strings. Most of you reading this will already know about the guitar and how it's put together. When I decided to buy a Rick 12, I went to the Rickresource forum and ran a wanted ad. Within days, a member contacted me and made me an offer I couldn't refuse. Done deal. Rickresource is GREAT guitar forum. Lots of good people there and NO attitudes. This Rick is finished in the rare Autumnglo sunburst, which was a special color for that year. Not too many of them were made. The overall workmanship is excellent, as is the case with most Rickenbackers. I will say I have had to work with the guitar quite a bit to get optimimum tone, but the work had been worth it in the long run.

The guitar came with Hi Gain pickups, which are standard on 330-12s. I hunted down a pair of toaster pickups and had them installed for the vintage look and sound. The Hi Gains are exactly that; very loud, but the toasters are "airier" and less ballsy, although plenty loud in their own right. It's still one of the loudest guitars I own. The jangle factor is definitely there and very pronounced.

No question, the guitar is beautifully built. No complaints at all. It came to me in used but mint condition.

The only issue I had with the guitar in the beginning was its inability to stay in tune. I knew Rick 12s were finicky guitars, but two trips to my usual guitar tech (who shall remain nameless and usually does great work), failed to solve the tuning problems. After doing a lot of research, I realized that you have to use strings that are specially made for Rick 12s. Standard D'Addario strings just don't work, so I bought two sets of Curt Mangum strings from Chris at Pick Of The Ricks in south Jersey, took it to another luthier, and now, it stays in tune like a champ. I can slam Townshend windmills on it and it STILL stays in tune. I can pick it up after not playing it for two weeks, and it's still pretty much in tune. I have had to adjust the neck from time to time due to the pressure exerted by 12 strings, but that's normal.

No experience with Rick customer support

This is a "lifer" guitar. I'll never sell it. It has the sound, the looks and the feel of a sixties Rick. I use a Janglebox compressor to get that jangly, chiming Byrds/Searchers/Beatles sound. The combination of the JB and the Rick is a marriage made in guitar heaven. SEe my review on the Janglebox her on HC. I use the Rick on live gigs all the time, and am looking to use it even more as my band progresses. I love playing it.

Classic 330/12 in fireglo bought used (it's a 2004 manufacture date). The fit and finish is beautiful, truly made by craftsmen who know what they're doing. The higain pickups with my Vox amp and compressor really sound great. I have really come to appreciate Rickenbacker's head and tuner design. So much easier than on conventional 12 strings with the elongated head. I can't believe that other manufacturers haven't adapted the style in some way.

I love the Beatles,Byrds,Who,CCR,Shadows,Searchers,Tom Petty, etc. anything with a chiming Rick 12 string. I'm using a Vox DA5 practice amp which actually sounds incredible. It has a lot of great effects but obviously, the compressor gets used the most. A great McGuinn sound for a low cost. But the neatest thing I've found about my Rickenbacker is how great it sounds unplugged! I had considered getting another nice acoustic 12 at some point, but this 330/12 may be the best sounding acoustic 12 I've ever played. Using the neck pickup and adjusting the tone a bit, I've played standard folk acoustic stuff in my living room and sounds great to my ear (just enough amplification.)

It was 3 years old when I got it, but the action and adjustments are great. I guess my hands are sort of medium sized so I haven't had much of a problem with chords and fingering provided I concentrate and take my time. BUT this guitar will FORCE you to pay attention to what you're doing!

I'm strictly a living room/garage amateur so I know it'll withstand my playing. Rickenbackers are well-made and very dependable from what I've observed. I love my Martin so I'd take it as a backup!

Not applicable at this time.

Been playing since 1977, my other guitar is a Martin DM acoustic. If either my Rick or my Martin were lost or stolen, I'd have to get replacements or maybe try one of McGuinn's 7-strings. Again, I love the Rick for its sounds and the fact that playing one,I believe,will improve your overall technique and ability.

I recently purchased a Fireglo model that had been hanging up (untouched, so I was told) in our local shop for 18 months. It is a 2004 edition, with all standard equipment. Came with a hard case, but no strap or lead like you might expect with a Fender for instance. Two pick ups, each with volume and tone controllers, a 3-way switch, plus a 'blender' switch to mix the sound. The 330 has just the mono input for the jack plug, unlike some of the other Rickies which also have a stereo input. Tuners are quite clever - one below the headstock plus one in the usual position for each set of strings, making the head no larger than the usual 6-string model.

Whilst this is of course an American guitar, it is associated on this side of the Pond with so many of our Brit heroes - Harrison, Lennon, Townsend, Weller, Johnny Marr (Smiths). I must confess I bought it to imitate the Beatles, the Who and the Jam sounds in particular, (plus Byrds and REM to be fair to the homeland of the instrument). And I certainly got the jingle-jangle that I was looking for - but this guitar can do so much more! It has an incredible bass tone to it when you pound the lower strings - every bit as aggressive sounding in this respect as my Les Paul.

Obviously the oft-cited drawback with a 12-string (and Rickies in general for some reason) is that "you can't do lead", but you can have so much fun with this guitar that it is not a problem as far as I am concerned - you can make it sound pretty good whatever you want to play.

The Action is good and the neck is narrow which suits my style, and the large body makes for a very comfortable fit when playing. There are no obvious flaws as far as I can tell - the shop where I bought it offer one free set up, which I may take advantage of at some point.

This is a more delicate guitar than I am used to. The body is partly hollow, and it is a very thin instrument compared to say a Strat or a Les Paul. I would imagine that if you are gigging with one of these, you would have to be more careful than usual - it feels quite fragile. I cannot offer any real opinion of long-term durability though as it is relatively new. Probably not a tool for the more heavy-handed axe-wielder.

Have not had any reason to use customer support as yet.

I play the Rickenbacker through a Marshall TSL-122 and it sounds fine - the bass is beefy when you need it to be, and the treble as you'd expect from this guitar is superb. Also, with 12 strings, it sounds like you've got a built in chorus pedal, the sound really fills out. I would liket to compare it some day to a Ricky 6-string.

The guy who sold it to me said I'd sound like Lennon, but it is far more versatile than just a 60's-copyist's instrument as it sometimes gets unfairly labelled. It was expensive, and unless you already own a 6-string, you probably would not want to get one of these as your luxury guitar; but for looks and sound quality, it rates up there with the best.

Pretty standard description here. Mine is is a '96 Jetglow 330-12 bought from Sam Ash in 1998. It's got the standard Schaller tuners, the 6-sting (well 12, with 6 saddles), blah, blah. It's the standard model. See below or above for more of the usual features.

I considered a 360-12, but held back a bit because I was looking for a reasonably priced 12-string - but something that I wouldn't ever have to upgrade. I don't play a lot of stuff that calls for 12-string, but I never wanted to have to worry about the probs. with Danelectros or other less expensive guitars. I think I picked a good one.

One of the things that makes this guitar sort of a challenge is that it really needs to be paired with an appropriate amp and effects to establish it's full potential. I play it through a POD (v.2 - Brit Class A), a recent Fender Deluxe Reverb, and a Vox Cambridge 30. It's def. not plug and play. I have just recently (tonight, as a matter of fact) gotten a decent tone through the POD. I think that most of that has to do with the limits of recording direct with a POD and not the guitar itself. It def. takes a lot of playing around (a good thing!) to get a usable tone when plugging in direct. The Fender amp (with a Sans Amp) sounds okay (it really has taken a bit of tweaking to get it to where I want it). It sounds AMAZING with the Korg Vox. I usually use the tube pre-amp with it and get some great tone with the distortion just barely breaking. Mic'ing with a single 57 on the cone and a decent condenser about 10' back beats direct any day and with the little Vox, I get a nice recording.

I'm not looking for a Byrdsian jangle. More like a full Peter Buck sound - a bassy 12-string backing - dense, with a little arp.

I love the 5th blend knob. With the pickup selector in the neck position I get a little too much mud no matter what I try (I think that it's my mic'ing and not the guitar, though). Flicking it down to the split position and adjusting the 5th knob, I can blend just enough jangle to even out the bassiness.

All things considered, I'll probably continue to record with the POD, but if I had to pick an amp (or mic one), I'm going to use the VOX Cambridge. I think that I ended up with one that works like it's supposed to. The Deluxe Reverb is passable (tube tone is really the only way to go), but even after almost 9 years, I still have to develop the tone on that one with this guitar.

Experimentation is what makes playing fun. The guitar itself is just part of it. For me, this one keeps me looking and hearing. Right on.

Sam Ash stinks.

I bought this on a whim because I wanted a 12 string and Rickenbacker produces the standard. I pulled it off the wall and was stuck with a saleskid who knew nothing about anything other than "Rickenbacker is American" and knew absolutely nothing about the double truss rods or even how a 12-string needed to be set up (Neither did I, but, hell, I usually play a Tele). I orignally thought that the reason that I couldn't fret anything w/o an annoying buzz was that I have big hands and fingers and that I had to get used to the narrow neck. The salesperson told me that I had to tune it down to keep the neck happy. After a few weeks of frustration, I finally took it to a pro to have it set up correctly and to change the strings and figured out that the neck was warped in 3 different directions. I asked the tech (5th Avenue Fret Shop in Columbus) about tuning it down and he told me that that was for "shitty" guitars and Rickenbackers aren't shitty guitars. Once they were done, I had what I had been looking for. I may buy guitars off the wall again (never at Sam Ash who's salekids seem like saleskids and not guitarists), but I'll never do it again without a trusted guitar tech to put it into the condition it should be. What I ended up with was a classic, perfect. With a little adjustment in my fretting hand, I had what I was looking for - fat fingers and all.

This guitar is a freaking tank. Like any 12 string, it needs to be tuned before recording or after sitting for any length of time. The Schaller tuners tend to keep the thing in tune, but God help anyone who bups it against anything - Back to the tuner. I'm going to try to find a 12 saddle bridge at some point to help with the intonation past the 10th fret, but since I done play up that far up the neck very often with this, refitting it with the 12 string bridge isn't much of priority.

All things considered, if you respect it for what it is and take the care to make sure it's working as designed, it'll perform perfectly. I'd gig with this if I gigged, but I'd make sure it was ready to go before I ever take it out of the case.

Never had to contact Rickenbacker.

I will never have to buy another 12 string. I don't use it much, but if I make sure that it's tuned and ready to go, it NEVER lets me down. I like the Telecaster for most appegiated stuff, but sometimes nothing delvers those kind of textures and tones like a well-played 12 string. After having this for coming up on 8 years, I am convinced I made a decent acqusition and addition to my collection. This guitar is a standard and rightly so.

Re-stringing is a chore with the R-tailpiece, but even so, it's a labor of love. Plus, it just looks cool next to my Jazzmaster and Casino.

A standard in every way.

2005 330/12 in Mapleglow. Hollow body, of course, 24 frets, etc. Standard factory specs. I won't repeat the obvious.

There's a fair bit of tonal variation available, but what everyone wants is that Roger McGuinn tone: Both pickups and run it through a compressor. I plugged mine in and wham- there it was. I Played every Byrds lick I knew and they all sounded like the 1960s.

I bought mine sight unseen from Elderly Instruments- one of the very few dealers I'd do this with- and I was not disappointed. Set up was good, though I'd make some changes, and I couldn't find a flaw on the instrument. The Rick cases are very nice, too; much better hardware than you'll find on the typical Fender blow molded cases these days.

Everyone talks about how difficult it is to play that narrow Rick neck, but I don't have any problems, even with my XL sized hands. Technique makes a big difference- the closer you are to having a real classical fingering technique, the less problem you'll have with a Rick 12.

Judging from the guitars of others I've seen, I expect this instrument to outlive me by several decades. I always carry a backup, but in this case it would be just for quick switches in case of string breakage, and becasue you can't use a 12 on every tune.

N/A

Been playing for 35 years- occasional gigs. Got quite a few basses and guitars and other instruments.

I love it becasue it's a Rickenbacker 12, and there's sinply nothing else like it on the planet. If I lost it, of course I'd have to replace it. I lusted after a friend's 330/12 back when I was 14, and I finally got my own.

2004 Jetglow

Body Type Semi-Acoustic
No. Frets 24
Scale Length 62.9 cm (24 3/4")
Neck Width at Nut 41.3 mm (1 5/8")
Neck Width at 12th Fret 49.2 mm (1 15/16")
Crown Radius 25.4 cm (10")
Body Wood Maple
Neck Wood Maple
Fingerboard Wood Rosewood
Weight 3.6 kg (8.0 lbs.)
Overall Length 101 cm (39 3/4")
Overall Width 38.1 cm (15")
Overall Depth 38.1 mm (1 1/2")
Neck Binding No
Fret Marker Style Dot
Tailpiece "R"
Bridge 6 Saddle
Neck Type Set-in
No. of Pickups 2
Type of Pickups Hi-gain
Output Type Mono
Machine Heads Schaller

The controls for the sound are great.... it allows a much more versitile selection of sounds.

This guitar definately sounds great.... but not quite a 10.... Because it's a 12 string, you use a bit thinner strings on it, thus losing the bassy bottom end of its 6 string brother. The High Gain pickups are my favorite over all others because they have the output and bass of a humbucker, without losing the brighness. The Rickenbacker is the only guitar that I have heard that can have such a spectrum of sounds from bassy to bright... or both at once. Way to go on a very versitile sounding instrument.

The 12 string doesn't lend itself to distortion all that well, because it's a 12 string.... but with a bit of overdrive it still sounds pretty darn good. I've used it to create a big wall of sound behind other more distorted guitars. Sounds great. No real feedback issues.

The finish was very good, not a flaw on it... after a year the lines up the neck where the maple and the walnut? meet are beginning to show. The finish isn't cracked here though. The fretwork is excellent and the electronics well mounted. The main thing I must flaw it for is that the nut slots weren't cut deep enough. This makes it hard to play around the nut. I sent it to my local luthiere and had it corrected. Now I am very satisfied with the playability. I was able to get the intonation accurate with just the 6 saddle bridge.... go figure. Admitedly the luthier was a big help there, although it was well intonated from the start. I prefer the Dadarrio 12 string set to the RIC.

The 330 is the workhorse hollowbody Ric. It's cousin the 360 is much more carefully routed to round up the edges, remove bulk, and increase resonance. I feel like if I were to take a 360 on stage, someone would break it... the 330 can take more of a beating because there's simply more wood there. For the most part the guitar is build like a tank... the neck is very sturdy and everything fits together with not even the slightest hint of separation or movement. I've had a minor issue with static in the switch. Nothing some contact cleaner didn't fix.

They've always been good to me, but they can definately pose a challenge when you need parts and such. Their biggest problem is preventing RIC knockoffs in the market.

If I had it to do over, I think I'd rather have the 360 just for the cosmetics. I bought this on a whim. I was in the store and my friend Craig handed it to me telling me it just came in. I was the first to play it.... the sound charmed me... I took it home. The rest is history. Rickenbacker is a sound that is often imitated, never duplicated.

Relatively new (<=2003/04) Maple-Glo 330/12. Toaster P/Us, Schallers. Interesting--ingenius things like the magnetic trapeze tailpiece which probably cause more trouble than not, but are fun, nonetheless.

Style is what the young 'uns call "alt.country" (which I always just called eclectic, but go figure). Anyway, there's always room for McGuinnish/San Francisco-like freakishness. I build it in.
Sound? Oh, come on. Once I started breathing again. . . . .

Bought it used (I am second owner, figure original owner got tired of changing the strings on it). Looks like a Cadillac, a maple Cadillac.

Frankly, I think I could likely knock a building down with it. I plan on gigging with it, no reservation.

Been playing for, shucks, 18 years? Semi-pro (for kicks, not fame nor money). Have an American Tele and a sweet Epi Korina Vee. Play through a Fender Twin. Also play bass--an Epi EB-3 (short scale) through a Hartke 3500 and Peavey cab.
For my band and some of the songs I have been writing, the jangle is just the thing. I was originally considering something like a Danelectro, but when I came across this one. . . well, nothing else would really do, anyway.

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'.

1997 model (marked 4-14 in the electronics cavity under the pickguard) made in USA. Semihollowbody 12-string electric guitar. 24 frets on an unbound lacquered rosewood fingerboard with dot position markers. 5-piece maple and walnut laminated neck with dual truss rods. Schaller tuners. Ric 12-strings are "reverse strung", with the lower-pitched string of each course being on the bass side (opposite of "normal" 12-string convention). 6-saddle bridge, though a 12-saddle bridge is available as a retrofit (Ric part #00821). Semi-hollowbody with maple top, sides and back in gloss "Fireglo" (red outer fading to natural center sunburst) with "slash" f-hole on the bass side. 2 high-gain single coil "rivet top" pickups with 2 volume, 2 tone, 3-way pickup selector, and a blend pot (works when the switch is in the center "both" position). Includes moulded hardshell case. More detail on features may be found at www.rickenbacker.com/us/33012.htm. I have made one modification since purchase: having Lindy Fralin rewind the pickups to a lower impediance (dc resistance lowered from 11K+ ohms to 3.1K ohms) to capture more closely the traditional '60s "jangle" sound associated with Rics. (For a good example of the sound of modern Ric pickups on a 12-string, listen to "Walking Away a Winner" and "Streets of Your Town" from Kathy Mattea's "Walking Away a Winner" project.) Rating is for the instrument after having Lindy rewind the pickups; previous rating was an "8".

Ric 12-strings are "niche" guitars - they only do a few things, but do them exceptionally well. They have a unique voice and will definately get you out of the mainstream. The guitar has a beautiful acoustic tone. Before having Lindy Fralin rewind the pickups the guitar (when plugged in) had a very strong midrange, distorted easily, and lacked the high-end sparkle associated with the traditional jangly sound. After Lindy worked his magic, the guitar has all of the jangle you could ask for. I agree with Bjorn Roth and others that to really bring out the classic Ric sound a compressor is a must; I use either my amp's built-in compressor or an original MXR Dynacomp. The amp is also a strong part of the equation. On my Line 6 Flextone the guitar likes the "Blackface", Vox, and Matchless settings best now. Interestingly enough, I can still get the strong midrangy sound (less distortion) by using the neck pickup and the "Brit Blues" (Marshall JTM-45) setting. How Lindy did that I don't know because the physics associated with pickup design and winding that favor one sound tend to exclude the other. So now I have a two-trick pony, and it does both tricks extremely well. Rating before Lindy's rewind was a "6".

Rics are very well made: they don't have to release vintage reissues because they pretty much build them the same way they always have (things like 24 vs. 21 fret necks excepted). The neck does take some getting used to, as it is only 1 5/8 inches wide at the nut (which is at the narrow end of 6-string neck widths today) and has a profile which is different than anything else. The profile is hard to describe, the best I can do is to say that it is the opposite of a v-shape and has a flat back with rounded square shoulders. The instrument stays in tune well, but like all 12-strings a good electronic tuner is a must. Other reviewers have commented about the difficulty changing strings; it really isn't impossible provided you lay the guitar down on its back, use both hands, and have a pair of needle-nose pliars handy to help get strings into their slots on the underside of the "R" tailpiece. The secret is to keep tension on the string once the ball end is in its slot in the tailpiece. I wouldn't change all of the strings at once, because the bridge and tailpiece will probably fall off if you do. Also, the guitar seems to develop various buzzes from time to time but I've never heard any come through the amplifier. Be patient, they will go away in a few days or weeks, probably to be replaced by others which won't come through the amplifier either. In short, if my guitar is any example Ric 12-strings are built like brick outhouses but have eccentric personalities and you just have to learn to live with - and laugh at - their idiosyncrasies.

The guitar is solid and can be depended on, though semihollowbodies in general won't take the abuse a solid body will. Given that it is a "niche" instrument and I'd use it only on a few songs, I'd gig without a backup.

Have never dealt with Rickenbacker, so I can't say.

I have been playing 30 years (I refuse to grow up!) and finally am financially secure enough to start building the collection of guitars I always wanted. I don't collect "collector's pieces", but good working instruments I can use in the studio, in church, and enjoy at home. If I had to replace the Ric I'd either get another 33012 and have Lindy do another pickup rewind, or get a vintage piece for the sake of the sound. If I went the latter route, I'd look real hard for a model 1993 (the Rose Morris export version of the 33012, also known as a 330S/12), though they are so rare I probably would say "that's too much to pay" if I did find one and go the former route.

Made in the USA, Nov 1966. I bought it new in Sept 1968. Semi-hollow body carved from single maple blank. Twenty-one fret, dual truss rod neck.
Two "toaster" pickups. Three way pickup selector switch for neck/both/bridge; vol & tone for each pickup, plus blend control that seems to determine which pickup is dominant (and by how much) when the selector switch is in the both position.
This is the classic Rickenbacker 12-string with an incredibly small neck. Jetglow with R-tailpiece & unique Rickenbacker 12-string tuner arrangement.
This is of course a 10, otherwise I wouldn't have kept it for 30+ years

Byrds - Mr. Tamborine Man, Turn Turn Turn. Can you say "Jangle"? Everyone will tell you you have to have a Vox AC-30 to get the ultimate Rickenbacker sound, but I use either Super or Vibrolux Reverbs... and of course a compressor.
Rich, full, bright sounding. Everytime I pick it up, I relive the baggage car scene from Hard Day's night. You can do anything you want with this guitar, despite some people's conception of Ric's as a one-trick-pony.
Likes/dislikes? How about love? I loved this on the moment I picked it up, and it's never disappointed me.

Rickenbacker always has, and probably always will set the standard for Made in the USA QUALITY!

Rock solid. I've had it 30 years.
Would I gig it without a backup? No! Why should I? I have another Ric 12.

Due to a current backlog of orders (about 6 mos at the time I'm writing), Rickenbacker does ONLY warranty repairs.
When I did send it back to them several years ago for some work, Rickenbacker performed like champs.
The warranty if 5 years to the original owner (from the date of delivery to the original Rickenbacker dealer). This sounds like it might be a problem, but Ric's seem to be in pretty good demand, and they don't seem to linger for a long time in some dealers back room.
OTOH, Rickenbacker has its own newsgroup, alt.guitar.rickenbacker, where you can find expert advice from fellow Ric enthusiasts, including Rickenbacker Enthusiast No.1, John Hall CEO of Rickenbacker. Try getting an answer from the president of Fender or Gibson in alt.guitar!

I've been playing for 30 years, although I'd consider myself a reasonably competent rhythm guitarist. I've several other guitars, including Gibson & Ovation accoustics, Strats, and a Rickenbacker 360/12. I don't collect, I only buy the guitars I want to play.
If it were lost or stolen, I'd be devastated. This one is irreplacable, although I wouldn't hesitate to buy another Rickenbacker, and hope to do so again in the future.

1998, Made in the USA. Two volume, two tone, one 'color' knob for balancing between the two pickups, three-way selector switch. Maple body and neck, rosewood fingerboard, semi-hollow body. Came with a gorgeous hardshell case that looks like James Bond's airline kit, cleaning cloth. This was one sweet deal.

Listening to this baby through a nice amp is like watching the sun rise through a jar of honey. Bright, sweet, warm, glowing-golden sound, the likes of which I've never heard before. This is what 12-strings should sound like!

No complaints. Quality control was excellent, guitar was well put together and not a single thing wrong with it that I could find.

I'm a little worried about the sound hole -- it seems the finish is a little rough there, and there's a possibility for chipping here. Since I don't tend to brush up against it when I play, I'm not really worried, but it's still a concern. The guitar feels solid, and I've seen what Ric's can withstand -- I'm sure this one's fine.

Don't know, haven't talked to them.

I've owned this one for a month, and I love it. I'd always dreamed of owning a Rickenbacker, and now I do.
Folks, if you want an electric 12-string, this guitar's for you. End of discussion.

I purchased new in 1997. I will not repeat what the previous reveiwer said. I will say that the hollow body adds a great deal to the overall sound. If you liked the early Beatles or Byrds stuff, this is the guitar for you. I find that it stays in tune...which is unusual for a 12 string. Mine is a black finish and looks similar to the John Lennon 6 string. I also like the blend knob that moves the sound between the pickups. But I also recommend using a compressor. (unless you buy the 370 Roger Mcuinn model which comes with a built in compressor)

This guitar has a unique sound that no other guitar can match. The wonderful full ringing sound is unmistakeable if you have ever heard it once.

Set up from the factory was perfect. I didn't change a thing

Only had a year now....but no problemo.

Been playing for 30 years. I have an old Kay acoustic 12 string...a Martin D-35 which is 10 years old and only gets better with age, which I thought was impossible since it was perfect from day one.....I have another 6 string acoustic......and I have a 1976 Telecaster Deluxe...I think they only made them for 8 years.....If the Ric was stolen I would buy it again or the 370 if I could find one. They seem to be hard to get. The worst thing about this guitar is changing the strings.....Oh yea, I recommend a video tape for new Ric 12 string users= THE 12 STRING GUITAR OF ROGER McGUINN. Put out by Homespun tapes 1-800-33-tapes. Just happen to have it near by so I can give the phone number. No, I have no connection with them, I just liked the tape

My 330/12 is a 1978, made in California as all other RICs. It's all maple, Fireglo (kind of red-to-pale-read burst) 24 frets, and no bindings. It has two hi-gain pickups, and an ordinary three-way switch. Four volume/tone knobs plus a mix knob, so that you can blend between the pickups when the switch is in the middle.
The neck is narrow and has a rounded profile. It takes a while to get used to the very small distance between strings.
The body is hollow, as on all 3xx models, and the weight is just right, although it is just a bit neck-heavy.
The bridge is a standard 6-saddle, which makes intonation a bit off, but it can be replaced with a 12-saddle. I removed the bridge cover so you can damp the strings with your right hand.
The guitar came with the original hardcase, and a RIC cleaning cloth.

This guitar is for jangle! Think of the Byrds, and Beatles of 1964. You need a compressor (I use a BOSS CS3), but then you're off. My amp is a Marshall JTM45 Bluesbreaker re-issue, it's actually more fender-ish than later Marshalls.
When using the bridge pickup only, the sound is very trebly. In the middle position, it has a much fuller sound. The neck alone is rather useless, it sounds very muffled. But with the mix knob, it's easy to vary the sound.

Since I bought the guitar used, and it was nearly 20 years old, it was in good condition. The action is okay, but the frets are a little worn in places.

I've used this guitar live, and it worked well. A problem could be that it's a bit hard to tune, and if it goes out of tune on stage, it can be a little tricky. Use a digital tuner if you can.
The strap buttons are non-locking, but work OK.

I've been playing for ten years, and this guitar really added another dimension to playing. It does definitely not suit all styles, but no other guitar sounds like this. I would only trade it for a Rick 360 or 370.