The Gibson Ripper was launched in 1973 as something new for the guitar buying public who had began to tire of the EB basses that had dominated the 1960s. As one of their mid seventies adverts proclaimed they haven't been hanging about for fifteen or twenty years. It was available as a standard fretted instrument and from 1975 as a fretless, though only 898 fretless ripper were shipped between 1976 and 1979
1975 Ripper L9-S Original Spec Sheet 

BODY SPECIFICATION

Solid alder body with contored shape

Double cutaway design contored shape

3-point adjustable Tune-o-matic bridge with handrest (the 'handrest' is missing from this bass)

Combination tailpiece (strings enter through body or connect at end of bridge)

Two Gibson "Super humbucking" pickups (in this case one is a Seymour Duncan custom shop pickup)

Master volume, midrange and treble roll-off controls

4-position transfer switch for multiple tonal changes

NECK SPECIFICATION

Laminated maple construction

Width at fingerboard nut 1 5/8"

Ebony fingerboard with dot inlays

Chrome-plated individual machine heads

Gibson truss rod with moulded truss rod cover

20 frets 34 ½" scale length
The Ripper was manufactured from 1973 until 1983; the peak year being 1976. Most had a maple body with laminated maple neck, however a significant number manufactured in 1975 had lighter alder bodies while retaining the maple neck. Also in 1975, an edgier, and slimmer body, with more beveling and contours around the horns of the bass was introduced. The new look was geared towards heavier music that was gaining popularity under the ending decade. The later models of 1976 and on featured a different routing in the body for the wires, and the pickups were screwed in by three posts as opposed to the old two-post variation.
The Ripper was initially available in three colors: natural, black, and tobacco sunburst. Natural Rippers received a maple fingerboard, while black or sunburst basses received an ebony fingerboard. A handful of 1974 basses were finished in cherry sunburst, which was never listed as a standard finish option. These basses are extremely rare. Several such basses are pictured here
The headstocks were painted black and featured the "Gibson" logo in gold script. Most models feature a black pickguard, though closer inspection reveals that some pickguards only appear black and are actually a very dark tortise shell pattern. A few early basses were equipped with a bright red tortise shell pickguard.
The Ripper came equipped with two humbucking pickups - designed especially for the Ripper by Bill Lawrence which were called "Super Humbuckers", and a four way pickup selector control; a familiar Gibson feature from the older Gibson EB-3 bass.
There was also a fretless version of the Ripper - identical in all respects (fretboard aside).
The original Gibson model is now rare and has seen significant inflation in value recently; however a cheaper Epiphone model was still in production for a few short years, it was featured with two single coil pickups rather than Gibson's Super Humbuckers.
But Gibson's new "Limited Run Series" has brought the Ripper back beginning in 2009. The new Rippers features are not exact to the original. The older Rippers did not have a brass nut, they were all string-thru models, and the Super Humbuckers were wired differently. Now, the new Rippers feature two volume knobs, and one master tone (a feature seen on newer Gibson and Epiphone basses such as the Viola, EB-0/3, Thunderbird, and Les Paul). Original Rippers had one master volume, a mid-range booster/negater, and a treble roll-off knob. The chicken switch on the originals had the options of:

1 "in phase — series"
2 "bridge only — single"
3 "in phase — parallel"
4 "out of phase — series".
The new Ripper II has a six position switch. Gibson lists it as follows:
"In position one you get the bridge pickup only. Position two gives you the second coil of the neck pickup and the first coil of the bridge pickup. Position three delivers the first coil of the bridge pickup. Position four dials in the second coil of the neck pickup. Position five gives you the first coil of the neck pickup and the second coil of the bridge pickup. And the sixth position gives you only the neck pickup."
The Ripper is "cousin" to the Gibson Grabber (G-1) and Gibson G-3 models also manufactured by Gibson around the same time. The three are vintage in today's world, though the "Grabber II" and "Ripper II" are being released for Gibson's "Limited Run Series". The Grabber II came back in January 2009 for the opening of the series, along with the "Holy Explorer".

Someone walked into my shop with an old beat up Gibson Ripper bass yesterday. Probably 1970's. I now make a habit of measuring everything that comes my way. So without further ado, here are some measurements from the Gibson Ripper Pickups.

Bridge Pickup:

Resistance to DC Current:
Total DCR: 6.25kohms
First Coil DCR (Black Wire Coil): 3.138
Second Coil DCR (Red Wire Coil): 3.106

Magnets:
Pole Screws read north
Pole 1: 598 gauss
Pole 2: 598 gauss
Pole 3: 600 gauss
Pole 4: 600-700 Gauss
Outside of the pickup, on the side of the plastic case: 400-580 Gauss, south pole.

Inductance/Capacitance/Q/D:
These reading measured using an Extech 380193 using the "SER" setting.
Inductance @ 120hz: 2.400H
Capacitance @ 120hz: 700nf (0.7uf)
Quality (Q) @ 120hz: .293
Disapation (D) @ 120hz: 3.397
Inductance @ 1000hz: 2.234H
Capacitance @ 1000hz: 11.317nf (0.011uf)
Quality (Q) @ 1000hz: 1.86
Disapation (D) @ 1000hz: .5499

These reading measured using an Extech 380193 using the "PAL" setting.
Inductance @ 120hz: 30.2H
Capacitance @ 120hz: No Reading
Quality (Q) @ 120hz: .293
Disapation (D) @ 120hz: 3.406
Inductance @ 1000hz: 2.88H
Capacitance @ 1000hz: 8.68nf (0.0086uf)
Quality (Q) @ 1000hz: 1.848
Disapation (D) @ 1000hz: .5412

Resistance to AC current:
AC Resistance @ 120hz: 6.297KOhms
AC Resistance @ 1000hz: 7.474KOhms

Resonance Peak: 12.18 khz @ 0.76v

Signifigant figures were not used, these are direct readings only.

Neck Pickup:

Resistance to DC Current:
Total DCR: 6.35kohms
First Coil DCR (Black Wire Coil): 3.13
Second Coil DCR (Red Wire Coil): 3.215

Magnets:
Pole Screws read north
Pole 1: 380 gauss
Pole 2: 350 gauss
Pole 3: 311 gauss
Pole 4: 340 Gauss
Outside of the pickup, on the side of the plastic case: 275-400 Gauss, south pole.

Inductance/Capacitance/Q/D:
These reading measured using an Extech 380193 using the "SER" setting.
Inductance @ 120hz: 2.462H
Capacitance @ 120hz: 682.8nf (0.68uf)
Quality (Q) @ 120hz: .2958
Disapation (D) @ 120hz: 3.38
Inductance @ 1000hz: 2.291H
Capacitance @ 1000hz: 11.037nf (0.011uf)
Quality (Q) @ 1000hz: 1.854
Disapation (D) @ 1000hz: .5478

These reading measured using an Extech 380193 using the "PAL" setting.
Inductance @ 120hz: 30.63H
Capacitance @ 120hz: No Reading
Quality (Q) @ 120hz: .2953
Disapation (D) @ 120hz: 3.386
Inductance @ 1000hz: 2.957H
Capacitance @ 1000hz: 8.486nf (0.008uf)
Quality (Q) @ 1000hz: 1.855
Disapation (D) @ 1000hz: .5387

Resistance to AC current:
AC Resistance @ 120hz: 6.43Kohms
AC Resistance @ 1000hz: 7.634

Resonance Peak: 12.37 khz @ 0.78v

The Ripper's controls are volume, tone (treble cut, no boost) and mid cut (no boost).

The volume is 300k, and the tone and mid cut are 250k. 

You need a choke for the midrange. You can use one of these:

WD Music Products - TONE CHOKE   Item #: TC1US 
A small resistance coil designed by Kent Armstrong which smooths out the signal and acts as a mid filter. Can be used in conjunction with a push/pull pot or a mini toggle 2 way switch to turn on and off. 
Important Specs and Dimensions:  single wound 1.5 henries 
Dimensions = 57/64 in. (23mm) X 47/64 in. (19mm) 
Wire lead length = 1 11/64 in. (30mm)

QUESTIONs: 250k would be for the '77 ripper and earlier i guess. 78 and later would be Midrange and tone= 100k and master=300k in both early and later years of the ripper. But if i should use seymour duncan ripper replacement pickups should i go for 100k for tone and midrange or 250k?
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David Schwab: I would not use a 100k pots for tone and mids. The value is too low. You would have a dark tone with a permanent midrange cut. I have never seen a Ripper with 100K pots.
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I found that Rippers did use the 100k pots http://www.vintageguitarandbass.com/...ar/L9-S_Ripper, and since I'm building two of them, i could try one with 250k value, the other with 100k value. BTW, the 100k's are found in the 81 period. 

By permanent midrange cut, you mean I wouldn't have any midrange tone to the bass if i used 100k pots?
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David Schwab: If you use a 100k pot for the tone, you will get a darker sound, because it's like having a 250k tone pot turned half way down. Same with the midrange control. It will be like having the control on 5.

This is true of any bass, and the Ripper was no different.

I can't imagine why they would switch from a 250k to a 100k, but you can try both

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Are these specs correct?   1975-76 Ripper L9-S

BODY SPECIFICATION
Solid alder body with contoured shape (maple 1973-74, and 1977 onwards)
Double cutaway design contoured shape
3-point adjustable Tune-o-matic bridge with handrest
Combination tailpiece (strings through body or connect at end of bridge)
Two Gibson "Super humbucking" pickups (seymour Duncan ripper replacements)
Master volume (300k), midrange (250k) and treble roll-off (250k) controls
4-position transfer switch for multiple tonal changes
Available in Natural or Ebony body finish 
Body size: Length 21 1/2", width 14 1/2", depth 1 1/4"

NECK SPECIFICATION
Laminated maple construction
Width at fingerboard nut 1 5/8"
Choice of Natural Maple or Ebony fingerboard with dot inlays
Chrome-plated individual machine heads (Schaller BM tuners)
Gibson truss rod with molded truss rod cover
20 frets, 34 1/2" scale length

Controls:
Original Rippers had one master volume, a mid-range booster/negater, and a treble roll-off knob. The chicken switch on the originals had the options of:
Position 1. Activate both pickups in a 'series in phase' configuration. (Series wiring achieves a bit more "bite" than might otherwise be obtained.)
Position 2. Activates back pickup only for a maximum treble response
Position 3. Activates both pickups in an 'in phase, parallel wiring' configuration. ("Parallel" resulting in more bottom end response) 
Position 4. Activates both pickups in series, out of phase for a very funky, dirty type tonality. 

2009-reissue edition: Joint Angle; 14.0°
Adhesive; The adhesive used to join the neck and body is Franklin Titebond 50, one of the strongest glues on the market today.
If something is wrong/missing. please let me know. Also, could I have the headstock angle?
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David Schwab: One thing to consider; the series out-of-phase selection on the switch was pretty useless and prevented you from getting the neck pickup soloed. So you might want to think about changing the wiring to eliminate that setting and replace it with the neck pickup.