![]() “I was told that the Lawrence was a powerful, full-range pickup,” said King. The two halves of the DiMarzio are reversed compared to most pickups of that style. ![]() The body has custom contouring, and the pickups are a DiMarzio P-Bass-type in the neck position and a Bill Lawrence EB50 in the bridge position. “It’s metalflake, and it picked up the different colors of stage lights used in our show, giving the appearance of the bass itself changing colors,” King detailed. The instrument’s finish is a custom color Stich dubbed Glitter Rock White. The lightning-bolt fretboard inlay was King’s idea, and is made from mother-of-pearl. King brought his favorite ’62 P-Bass to the factory so the radius could be measured to match. The bass is made of koa, and has neck-through construction with a 34″ scale on an ebony fretboard with 24 frets. Rich “R” inlay, but at King’s request, it was rotated 90 degrees so it could be viewed horizontally. The reverse headstock, which has Schaller tuners, also has a standard B.C. The aesthetics of the bass even differ from other (usually-radical-looking) B.C. ![]() There, King collaborated with Stich on a design utilizing the Stealth silhouette but with numerous unique attributes detailed on a build sheet dated September 26, 1983. He invited King to the company facility in El Monte, California. King’s connection to the bass version began with Mal Stich, who worked for B.C. Rich’s Stealth guitar has been attributed to Rick Derringer. “And I still have quite a few ’60s P-Basses, including a 1960 in Fiesta Red with a ’63 neck, a ’62 slab-body in sunburst, a ’63 natural-finish, an early-’64 in Black, a ’65 in Candy Apple Red with ’62 slab neck, a ’66 in Olympic White, and an early-’66 in Lake Placid Blue. “My weapon of choice back then was my early-’60s Fender Precision,” he recounted. Until he took delivery of this bass, King relied primarily on more traditional instruments. Getting past the unions and the stage stewards was always a problem, with all the propane, black powder, and detonations we used.” “Each song was written to go with what was happening onstage. “The music was a blend of power rock and metal,” recalled bassist Richie King, for whom this instrument was made. In its time, the band played with Van Halen and others in the Los Angeles area, gigging at the Whiskey a Go-Go, the Starwood, the Smoke Stack, and the Golden West Ballroom. Like many other rock bands of the era, Sorcery (which formed in 1975) relied heavily on visuals in its live shows, including pyrotechnics and illusionists. But many of the asymmetrical/angular instruments from that decade were unique and well-made, and this prototype B.C. Photo courtesy Richie King.Įlectric guitar lore from the 1980s almost invariably includes (sometimes snide) references to hair bands, pointy headstocks, black hardware, and so on. Stealth Bass prototype, serial number 001-87984.
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