Slash and his custom "Slash Bich". Slash can play any guitar in the world! He chooses to play the custom B.C. Rich "Slash" Bich. Slash and his Bich can be seen all over the world playing with GNR using this custom built masterpiece.


America's First Custom Guitar Shop.

Everything You Wanted To Know

An In Depth History Lesson

B.C. Rich Beginnings

During the ’80s, the wild shapes of B.C. Rich guitars proved to be the perfect match for the over-the-top theatrics of the burgeoning heavy metal craze. The image of W.A.S.P.’s Blackie Lawless dripping in blood while clutching a B.C. Rich Widow in one hand and a skull in the other was just one of many that catapulted B.C. Rich to being the No. 1 guitar company as metal came to rule the airwaves.

Although B.C. Rich has crafted an identity as a metal guitar company, it actually started as one of the first boutique electric-guitar makers—it was among the first to introduce neck-through-body 24-fret guitars and heelless neck joints. Many respected artists outside the metal community, including studio great Carlos Alomar (David Bowie), pop meister Neil Giraldo (Pat Benatar), and jazz guitarist Robert Conti were proponents of B.C. Rich guitars.

Where It All Began

B.C. Rich’s origin can be traced to Bernardo’s Guitar Shop at 2716 Brooklyn Avenue, in Los Angeles. In the mid ’50s, Bernado Mason Rico purchased the store from the Candelas guitar shop and opened his namesake store. He didn’t work on the guitars himself—he chose to focus on day-to-day operations—but instead hired luthiers from Paracho, Mexico, which is widely regarded as the guitar capital of that country. Rico helped many of these luthiers gain residence and naturalization as citizens of the United States. Rico’s son Bernardo “Bernie” Chavez Rico, an accomplished flamenco guitarist, did become involved with the guitar making, however.

Father and son brought bodies in from Mexico, had them painted and assembled at the shop for mariachi, classical, and folk musicians. By the early ’60s, folk music had become popular and folk artists started bringing in their acoustic steel-string guitars to the shop for repairs. Word spread, and throngs of musicians like Barry McGuire and David Lindley started bringing in Martins and Gibsons for work and daring modifications, such as disassembling a Martin D-18 and putting in a 12-string neck.

The folk boom led to the shop’s production of steel-string acoustics, which featured Brazilian rosewood back and sides, Sitka spruce tops, and Honduran mahogany necks with Gaboon ebony fingerboards. Although these early guitars were reportedly rated higher than new Martins at the time, they had some minor issues. Because they didn’t have an adjustable truss rod, the guitars were often brought in later to have the fretboard removed and a truss rod installed. They also had very thin spruce tops that sounded nice but were known to crack and move from 1/16" to 1/8" into the soundhole if too much string tension caused the neck to fold into the body. These issues were quickly addressed without question, and problem instruments were repaired or replaced even many years past the one-year warranty.

In 1968, Bernie made his first electric solid body using a Fender neck. This led to his first attempts at guitar production in the form of about ten Les Paul-shaped guitars and basses modeled after the Gibson EB-3. Around 1972, Bernie and an employee named Bob Hall started developing a model they called the Seagull (which has no connection to the Godin Guitars acoustic brand). It was the company’s first production electric guitar. Just about the time Bernie was getting ready to put the Seagull on the market, Bernie brought in Neal Moser to add his State-of-the-art electronics to the Seagull which helped to separate it from all other guitar brands. The Seagull was introduced at the January 1974 NAMM Show. Up to that time, the store’s phone greeting was “Bernardo’s Guitar Shop.” One day, Mal Stich, vice president of B.C. Rich at the time of its ascent, answered the phone with, “B.C. Rich,” and some think that’s the moment the company name changed and it became a full-fledged guitar manufacturer with a mission.

“B.C. Rich’s intention was to make a production-line custom guitar with high quality and craftsmanship that was very expensive for the day,” says Stich. “In 1977, they were $999 retail—and you were paying more than retail if you could actually find one.”

Although, B.C. Rich was often referred to as a custom shop at the time, it wasn’t custom in the conventional sense of the word. “The guitars were handcrafted, but they were still production guitars. People might request special inlays or maybe Bartolini Hi-A pickups instead of DiMarzios, but basically it was a production-line guitar,” explains Stich. The company had facilities in both California and Tijuana, Mexico. All the workers were from Mexico, and both shops freely interchanged parts. For the electric guitars, Bernie would send wood, fretboards, frets, inlays, glues, and other materials over to Mexico, and then drive down once a month to pick up the assembled guitars, which were then painted and finally assembled in L.A. The steel-string acoustics, however, were made right there in L.A.

Bernie Rico Sr.

The Original Custom Shop


We are the one and only B.C. Rich Custom Shop. This is the only place where you can get a real hand made in American B.C. Rich Guitar made by a professional Luthier with over 30 years of trusted experience. Let us make your dream guitar become a reality.

team 1


Master Builder

I started at B.C. Rich in El Monte, CA in 1986. From there I went to Valley Arts in Studio City in LA. After leaving Valley Arts to work in the Ibanez Custom Shop in North Hollywood, I decided to get involved with other aspects of guitar fabrication and went to work for Trevor Wilkenson at Wilkenson Bridges in Fullerton, CA.
Furthering my working education I went to work for AGI in Huntington Beach, CA makers of the Lace Sensor Pickups.
After I learned as much as I could, I returned to Valley Arts in City of Industry which eventually became the Silvertone Custom Shop. I have worked with many Artists through out the years. Now I have my own Custom Shop utilizing my past ideas and new designs.

team 2


Electronics Genius

Neal Moser has had a long career in the music industry, dating back to 1965 when he worked for Vox Guitars & Amps.
Neal spent 1966 through 1969 in the Navy. From 1969 to 1974 he worked for himself doing guitar repair and custom guitar electronics. During that time he worked on many guitars of the Stars, including Jimi Hendrix, Steven Stills, David Crosby, Terry Kath (Chicago), Neil Young, Peter Tork (Monkees) and many many others.
In December of 1973 Bernie Rico saw some of Neal’s electronic work and decided he wanted it installed in his new guitar design, the Seagull. Bernie gave Neal a call and they decided to meet. After the meeting they decided to join forces. Neal worked with Bernie from 1974 to 1985 as an independent contractor.
During that time Neal designed the Rich Bich and co-designed the Seagull II and the Eagle. Neal ran the assembly/setup shop and did the final setup work on B.C. Rich guitars for 11 years. After Neal left BC Rich he designed the Virgin and licensed Class Axe/BC Rich to use it as an import model.
Now Neal supplies the original State-of-the-art electronics to the new B.C. Rich Custom Shop. These are the same electronics which helped to make the original B.C. Rich guitars stand apart from all other guitar brands. Neal Moser resides in Prescott Valley, Arizona where his company Neal Moser Guitars is located.


DAVE CERVANTES - Acoustic Designs, Master Luthier
DAN LAWRANCE - Finishing Professional


See the inner workings of the one and only B.C. Rich custom shop. Get a first hand look at the artistry and craftsmanship that goes into every hand crafted and custom built B.C. Rich.

"Slash Bich" Artist Build

Chosen by the one and only "Slash"!

Custom Bich Construction

This custom Bich in it's unfinished state.

Custom Bich Complete

Beautiful transparent green with flame maple wood grain.

Custom Bich Backside

A rear view of the amazing Slash Bich.

The Ironbird

Complete with dual EMG active pickups and Floyd Rose bridge.

Widow Headstock

The wicked Widow Headstock of the Ironbird custom. A modern feature for this classic axe.

B.C. Rich Bastard

A classic shape featuring transparent bird's eye maple.

Bastard Headstock

Transparent bird's eye maple embellished with the one and only B.C. Rich "R" script logo.

Wave Bass

Blue sparkle finished Wave bass with tremelo system. Very cool and unusual!

Wave Bass

Headstock view of the awesome Wave bass.

Wave Bass Backside

A look at the neck-through contouring.

Bolt-On Bich

Transpartent green burst with fixed bridge system.

Bolt-On Bich

Front view of the great green burst finish.

Bich Custom

Flame maple Bich. Classic original features.

Bich Headstock

Raw wood grain finish with the classic "R" script logo.

Bich Custom

Front view of the Bich custom getting some sun.

Custom Inlays

An example of the inlays we are able to create. These are genuine abalone.

Classic Reverse Headstock

White ABS binding and inlaid Mother-Of-Pearl "R" script logo.

The Mockingbird

Under the router and under construction.

The Warlock

Under the router setting the pickup cavities.

The Draco

Unique Draco design raw.

The Draco

Carved Draco in raw wood.

The Draco

The Draco in black.

Red Wave

The famous Wave guitar in red.


The classic ASM before paint - back.


The classic ASM before paint - front.

B.C. Rich Beast

The wild Beast before paint - front.

B.C. Rich Beast

The wild Beast before paint - back.

Bich Headstock

This unique headstock with it's string-thru ferrules.

The "Beast" In Black

The beautiful black B.C. Rich "Beast".

The "Warlock" In Black

The custom black B.C. Rich "Warlock".

Blue Quilt Maple "Stealth"

The custom blue B.C. Rich "Stealth".

B.C. Rich "Eagle"

The flagship of the original B.C. Rich line.

The Woodgrain "Wave" Bass

A wicked example of the superior finish work of the B.C Rich custom shop.


Who is playing B.C. Rich Customs? Read more and find out.

Kerry King


Kerry King (born June 3, 1964 in Los Angeles, California) is best known for his work as a guitarist in the band Slayer.
Over the years, Kerry King's guitar style has remained the same, giving him a very distinctive sound. On earlier Slayer albums up to and including South of Heaven his playing focused more on speed and chaos than melody. However, in his post-Seasons In The Abyss work, Kerry has managed to capture more feel to his guitar work, showcasing more diverse and melodic styles. Aside from his strong rhythm work, he is also recognised for his distinctive and unique lead guitar work which critics disparage with definitions such as: 'grab the guitar neck and hang from the whammy bar as if your life depends on it'. However, despite such criticisms, it must be noted that King almost singlehandedly created an entirely new style of guitar soloing, and his influence is prevalent in countless metal bands, particularly thrash and death metal bands, where diatonicism is less important than in traditional rock and metal.

His lyrics are mostly based on Satanic subjects, which he attributes to his love of horror movies. Though many fans regard him as being a Satanist, he regards these people as "dumb". He has stated he does not believe in God, so he does not believe in Satan, but he writes about Satanic subjects because he says it is more fun to sing about Satan than God.

King uses Marshall JCM800s, along with his own B.C. Rich signature guitar, the KKV. In addition to appearing on Slayer's albums, he has also made guest appearances as lead guitarist, including: * "No Sleep Till Brooklyn", from the Beastie Boys album Licensed to Ill He also had a guest appearance in the video for the song "Fight For Your Right To Party" * "Final Prayer", from the Hatebreed album Perseverance * "Dead Girl Superstar", from the Rob Zombie album The Sinister Urge * "Goddamn Electric", from the Pantera album Reinventing The Steel * "What We're All About (The Original Version)", by Sum 41 from the Spider-Man movie soundtrack * "Disorder", with rapper Ice-T from the 1992 album "Judgment Night"

//Kerry King

Leon Del Muerte

Leon del Muerte

Born in the mid-west and moving to California in the very early 90s, Leon del Muerte took up guitar at the age of 12. Coming from a family of guitar players and other musicians, it was the path of least resistance.

His first band, Infanticide, recorded a demo before promptly parting ways. During that time, however, Leon made acquaintances with the guys in Exhumed and later joined on second guitar. Following that, he moved on to Impaled and co-wrote and recorded the well-regarded "Dead Shall Dead Remain" album.

After a brief stint returning to (and again leaving) Exhumed, he went on to play and release records with bands such as Phobia, Intronaut and Murder Construct. Once again, he returned briefly to Exhumed only to quickly leave again and join LA's own Nausea. Nausea's legendary vocalist, Oscar Garcia, approached Leon about playing guitar in his version of Terrorizer, known as Terrorizer LA. He continues to perform with the band today.

While performing and touring with TLA, he came to the attention of the band Nails who were seeking a fill-in guitarist at the time. After playing a few festivals and tours with Nails, he was invited to join the band. He has been a member since and is currently writing music for the 4th Nails LP in between tours.


Yasser Morales

Yasser Morales

Having invested 20+ years in the craft as well as many years seeking the right sound, it is no wonder his two decade crusade has led him to the B.C. Rich sound. It wasn't without hardships and hurdles that Yasser Morales came to take notice.

"Extreme music is demanding and can present several problems in a live or even studio setting" says Yasser. With several tours and two ep's under his belt with Koroidia and a long awaited release by cult Death Metal act Hibernus Mortis in the works, 2018 is proving to be a breakthrough year for the metal world.

//Koroidia/Hibernus Mortis


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