Ritter Roya 6 string amboina
Ritter Roya 6 string solid “one piece” amboina burl body, 3 piece bolt- on maple neck/ ebony fingerboard, white pearl block inlays, 35” scale, 24 fret, Ritter Triplebucker pickups, Ritter Master parametric preamp, natural transparent high- gloss finish, worn black frosted transparent finish on back of neck, gold hardware (custom Gotoh tuners, Ritter 3D bridge/ B1 string attachment, Schaller straplocks), bone nut, 18mm string spacing at bridge, 9mm string spacing at nut, custom hardshell case. Weight: 13 pounds, 10 ounces. Preowned: “As new” condition… 10 out of 10, and comes with ABT- preowned limited warranty.
“Museum exhibition quality”… Jens Ritter’s work is one of two electric basses on display in the Smithsonian Institution. The other was built by some guy named Leo…
This is an exquisite example… the melding of fine modern electric bass craftsmanship, beautifully sculpted wood, and well thought out, well designed, and well executed electronics. To say that Jen’s has built some of the finest “collector” quality electric bass instruments is quite the understatement.
His highly prized instruments are as much finely sculpted works of art as they are high performance/ highly functional musical instruments of supreme quality. They typically feature exquisitely figured traditional, and some not so traditional and rare “tone” woods, some of the most stunningly unique finishes, precious metal inlays and accouterments which are “atypical” in the industry making many of his basses true national/ international “treasures”. Viewing these unorthodox, and sometimes downright “alien” shaped creations can initially be a quite puzzling as well as “awe inspiring” experience.
Ritter’s body and headstock shapes are beautiful, elegant, unique, functional, “sexy”, and sometimes bordering on the “bizarre”. Upon first glance, one may wonder how such an instrument might “balance on ones lap?”, or “how comfortably it will play?”, or “how in the world did Ritter conceptualize this one?”
Contrary to and contrasting with “traditional” bass instrument shapes and design Ritter’s are surprisingly comfortable, ergonomically supreme, and surprisingly “utilitarian” in an “interstellar meets ‘meat and potatoes‘” sort of manner.
This bass in particular typifies Ritter’s masterpieces. Its one piece amboina burl body is beautiful, bold, and functional. Its depth, color, contrast, and figuring is some of the most beautiful and mesmerizing. Its grain is an endless “story” that may be admired time and again… with each viewing more is revealed and assimilated by the beholder.
Amboina burl is one of the heavier woods, and because of its mass and “mega” weight properties it is seldom used in this manner. As a solid, one piece body. Amboina burl is typically only utilized as an “exhibition grade” top. It brings amazing sonic characteristics to the instrument, and in its use here as a solid amboina body it imparts exceptional character, and rare sonic balance Please allow me to elaborate…
This bass is “BIG.” Really “BIG.” This bass is “HEAVY”… at 13 pounds, 10 ounces it is among the upper end of the weight classes. I have played and owned heavier basses. I am always astounded by the consistency of sheer “Authority” inherent in basses with necks of larger girth, and mass. The performance “payoffs” are many, and quite profound. Large… no “HUGE” size to the “body of the note”, superior “evenness” of timbre and amplitude from note to note and string to string, amazing depth and sonority of the low register, and exceptional “form” to the attack, sustain, and decay, of the “body of the note.”
One can immediately realize the benefits of its size, mass, and beauty. One may even be tempted to “bargain” with ones self… “OK shoulders and back I’ll only play this bass when I’m sitting down”, or “I’ll only play it for one set”, or “perhaps only for a few songs a night”. It’s very tempting… Especially with an instrument possessing such a high degree of sonic superiority and sought after qualities not experienced in other instrument’s relegated to “mere mortal” status.
Its neck is “bold”, and rock solid, and its “worn black frosted” finish provides a perfect visual balance of “rugged utilitarianism” with the elegance of its exhibition grade amboina burl body while offering exceptional tactile qualities.
In years past I have been known to “covet” such “masterpieces” retiring them to my “Vault” for safe keeping as sort of an “archive of examples of supreme luthierie”. However, it would be a real travesty to retire such a fine instrument with its exceptional sonic qualities, balance, and sheer dynamic authority in a “museum”.
This bass beckons to leave its telling signature on some incredible sounding tracks, or provide “quake and shift” to the stage and hall. It is truly intended to be enjoyed and savored.
My initial experience of “zeroing” all controls and panning the pickups to 50/50 was that of pure delight as I was astounded by the fullness, openness, “transparency with focus” … now how did Jen’s pull this off? It has a sort of “thickness and focus” while also having a “surprisingly perfect” degree of transparency. The parameters of these sonic details are adjustable and variable with an amazing degree of precision, predictability, and ease increasing this instruments versatility and functionality, and easily allowing it to fit ideally into a wide variety of musical settings and genres.
This bass has amazing solidity balanced with exceptional dynamic capability… especially in light of its “mega” stature…. this bass is dynamically “nimble”.
The wide range of control offered by the instruments’ electronics package allows the player many options and opportunities to attain those sounds and textures required to “shine” or masterfully support a variety of genres and playing styles. The control configuration is: Push-Pull for Active/Passive Master Volume, Pick-up Balance, Tone Blend, Dual High Cut/Boost with Mid Cut/Boost, Bass Cut/Boost with Mid Frequency. Very well thought out, very functional, and very effective.
Did I mention the “B” string? “Tremendous, and controllable”… full, true, and with superb sonority, articulation, and clarity. Again, the word “Power” comes to the forefront… “Controlled Power.”
Transition thru the middle range of it’s neck is very even and tempered both timbre-ally and with regard to amplitude. The notes in this region are of appropriately girth and texture, and sound natural and even with just the perfect degree of growl.
The upper register note “size” remains even and full with excellent clarity and temperament (read; not shrill, nor harsh) to the “body of the note.”
Few will ever play such a bass. Few will have the “boldness” and commitment to persevere with such a “behemoth”… few will have the “spine”. No… pun intended.
Initially, I will say that personally I would probably not expect my back and shoulders to support such a “manly” instrument for much more than a few songs a set, or more than a few hours in the studio at a time. In actuality, I would most certainly brave the consequences to savor the unique experience of playing such an instrument as this. I have a fretless that weights just “south” of 14 pounds. I have, in my earlier years, toured, and recorded with that “beauty.” I’ve played 3-4 hours at a time with that “beast”. I still savor every moment that I get to play it these days. It’s just an incredibly inspiring experience, and as I’ve said previously one that few will experience.
I would recommend this “treasure” not just to a player of larger stature, but to any and all who would enjoy the “sublime” experience of playing such a bass of the highest caliber… Huge rewards await that “brave soul!”
