El Bruto Street Custom Slammer
The bike Ronnie had conjured was more than just a collection of parts — it was a rolling work of art, brimming with bling but devoid of ostentatious fluff.
THE Western Highway, a ribbon of asphalt unspooling towards the outer reaches of Melbourne, was the stage for a debut. Ronnie Borg’s custom creation, a machine as long, low, and fat as a well-fed serpent, was about to embark on its maiden voyage. But this wasn’t a gentle cruise through manicured suburbs — the destination, a country hot rod and bike show, was a gauntlet for anything designed for show rather than grit. The road leading into the event was a dusty maw, a stark contrast to the polished chrome and flawless paint that defined many of the machines assembled. This was the kind of environment where ‘yonkies’ — the fine, clinging dust — were the unwelcome guests, threatening to saturate every gleaming surface. Yet, for Ronnie and his creation, it was precisely the proving ground they needed.
This wasn’t just any custom build — it was a meticulously crafted statement. The owner, Ayad, ironically a chiropractor whose understanding of comfort and balance was paramount, would no doubt have a keen eye on how this beast handled. But for now, Ronnie was wrestling with the gremlins, the inevitable teething issues of a machine born from a symphony of aftermarket parts and artisanal modifications.
From the single down-tube frame, a modified Softail from Malibu Motorcycle Works, a commanding presence emerged. A 45-degree rake, aggressively amplified by another six degrees from the triple trees, gave it a predatory stance. The American Suspension front-end, with its B17 nomenclature and cleverly concealed brake caliper, promised a smooth, albeit imposing, journey.
A 23-inch, chrome-billet front rim by RC Components, hugged by a Cobra tyre, peeked out from beneath a lengthy Fat Katz guard. Malibu Motorcycle Works also contributed the custom-shaped handlebars, adorned with BDL grips and levers, their internal cabling a testament to the pursuit of visual purity. Even the aftermarket chrome-billet headlight seemed to squint against the harsh sunlight.
Underneath the gleaming exterior pulsed an Ultima El Bruto, a meticulously polished 127 cubic inch powerhouse. Save for the 45-mm side-draft Mikuni carburetor crowned with a chrome velocity stack, every component of this engine bore the Ultima insignia.
Ignition duties were entrusted to Ultima’s electronic system, while Custom Stainless Creations’ two-into-one pipes were tasked with expelling the beast’s fiery breath.
Power was transferred to the rear via an Ultima right-side-drive six-speed gearbox, its open primary and three-inch belt a bold statement of intent. A gold-finished sprocket and chain, a gleaming contrast, provided the final drive.
At the rear, a HHI Sprotor, a clever marriage of brake and drive pulley, housed a twin-spot, chrome-billet caliper. This anchored an 18-inch RC Components rim, a fatter echo of its front counterpart, embracing a truly gargantuan Cobra 300 tyre. Encasing this formidable rear was a modified Fat Katz guard and a similarly sculpted fuel tank, both testaments to the customiser’s talent and skills with a hint of art.
The seat, a minimalist affair, was upholstered in striking crocodile-patterned smudge leather, a subtle nod to the raw power beneath.
But the true magic, the element that defined the ‘long, low, and fat’ ethos, was the air-bag suspension. When deployed, it allowed the machine to settle into an almost impossibly static, slammed stance, exuding a cool, grounded menace.
The intricate weaving of aftermarket parts and custom fabrication was anchored by the precise engineering of Lamb Engineering, responsible for many of the spacers and structural necessities.
The final, and arguably most impactful touch was the paint. Amir, the master of the flawless finish, laid down a deep, lustrous violet candy, a shade pulled from the House of Kolor catalogue, which suited this street custom’s aggressive yet refined character perfectly.
Ayad, the chiropractor, was ecstatic. The bike Ronnie had conjured was more than just a collection of parts — it was a rolling work of art, brimming with bling but devoid of ostentatious fluff. Ronnie, in turn, expressed his gratitude to Lou, Amir, Lamb Engineering, In Motion Metal Finishing for their chrome finesse, and Johnny Borg for his invaluable input.
As the show wound down, the true triumph wasn’t just in the dust-covered glory or the admiring glances. It was in the simple act of bringing the custom to a halt, sinking it to the ground on its air bags, and walking away, no kickstand required. Now that was cool.
Article submitted by Knackers
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