Warning. There is a Red Rickenbacker Bass on ebay!

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Madness and demonic possession, the legend goes, comes in the elegant form of a blood red Rickenbacker bass. It was back in the summer of 1969, the Summer of Love, that the Red Rick possessed it’s first soul. Evan McCue, bass player for Fallic Fish was the first victim. Nobody knows where the bass came from, but Evan brought it to a gig at the Troubadour one night and played like he had never played before. But, his bandmates say, he became a different person. Within a few months, he disappeared altogether, never to be seen again.

The Red Ric passed through many hands; each owner, in turn, slipped into darkness, madness or worse — possessed by demons nobody can explain. Its terrible power could even be felt onstage by others. Some bands quickly fell apart once The Red Ric appeared, even though audiences would sometimes dance to the point of hysteria.

Nobody knows why The Red Ric brings madness, what evil possesses it or where it came fromÉ and officials at the Rickenbacker company flatly deny the very existence of such a bass. But the stories are all there. Year after year, bass players come into possession of a beautiful Red Rickenbacker bass, only to slip away.

This Web site has been set aside to explore the Legend, post sightings, buy, sell or talk about Rickenbacker basses. If you have a Red Rickenbacker bass that you suspect may be the cause of changes in your life, write and send it in. Photos and such are welcome.

The Legend has it that there could be many Red Rickenbacker basses out there, or only one. Nobody knows for sure. Currently the bass player for a Texas band called MoPac and The Blue Suburbans owns and plays a Red Rickenbacker bass. Who knows what madness could be manifest into his life…

And remember, Beware The Red Ric!

I never believe this kind of stuff, but I got a bad story to tell. I had a buddy back in college that was playing in a band in LA called The Lab Rats. He was going to UCLA with me (this is in the early 80’s). Anyway, Mike was a good guy and a lot of fun to hang with. His band wasn’t that serious but they had some cool tunes and were getting some decent local gigs. Seemed like they could do pretty good if they kept at it. Mike was majoring in Physics (smart dude) and he didnt have a lot of time to play. He was studying pretty hard.

So the band was fun, but not his whole world. Well, he shows up at my place one day with this awesome Rickenbacker bass. I remember it very well. It was really beautiful and kind of unusual. There was no chrome. Just black hardware and the paint was this creepy blood red. I’d never seen anything like it before. Mike came over to show it off. Said he bought it from some toothless bum downtown LA. Said the guy came out of an alley and asked him if he wanted to buy the bass for $50. I thought he was nuts. Nobody would have sold a Rickenbacker bass like that for $50. It even had the silver Rickenbacker case. And the thing was perfect. Not a scratch on it. Mike figured it was hot but it was too cool to pass up. He said the bum grabbed the money and ran off into the alley. Said the guy seemed crazy so he didn’t bother following him.

Well, the bass sounded awesome. And all of a sudden, his band started to really take off. They started getting more and more people to their gigs. People would go nuts. I saw it with my own eyes. They just rocked and tons of people would keep coming. I didn’t get it. Nobody did!

But weird stuff started happening. Mike started skipping classes. His grades started slipping (and his parents were pretty pissed about it). He just didnt seem to care about graduating. I talked to him till I was blue in the face, but he just said “screw it” and walked out. All he did was play that bass. He started losing weight and looking like hell. I mean, he was some sort of Mr. All American and after about six months, he looked like some sort of street bum. But the band was going nuts. People couldnt get enough of them.

This went on for almost a year.

Then I called Mike and got no answer. I went over to his place and there was nobody home. The front door was open and I walked in. There was food on the table and the place was a mess. Nobody was there and the place was open and unlocked.

I never heard from Mike again. I called the guys in his band and they didn’t know what the hell happened. He just disappeared. We filed a missing persons report with the police and nothing ever came of it. He just fell off the face of the earth. Nobody ever saw him or that freaking bass again.

It’s been like 25 years and I still haven’t heard from Mike. Nobody has. How the hell does someone just disappear like that?

I never had an explanation for this. Nobody ever has. I came across this whole “legend of the red rickenbacker” thing and though it had to be crap, but it fits. I hate to admit it, but it fits. If there was any explanation of what happened to my buddy, this has to be it. It still doesn’t answer many question, but it’s too much of a coincidence to ignore. Nice guy shows up with this Red Rickenbacker and it’s not too long that his life starts getting strange. Then one day, he just goes poof, and disappears into thin air.

If anyone has a better explanation, let me know. There are a lot of people out there who would like to see Mike again.

I found a Red Rickenbacker bass six months ago. I know it sounds weird, but I think its ruining my life. I was playing a dingy club in Philly a few month ago and I was kicking around a bunch of junk behind the stage. It was a real mess with dust and rat droppings and beer cans. I see what looks like a guitar case and pull it out. It’s a perfect silver Rickenbacker case. I can’t believe this and open it up. Inside is this awesome red Rickenbacker bass. I couldn’t believe it. Never seen one like it. It was blood red with black hardware. There wasn’t a scratch or fingerprint on it anwyhere. Nothing else in the case, just the bass. No cards or ID or nothing, no name anywhere.

So I pull it out and plug it into my amp as the guys are setting up for the gig. It was AMAZING. The thing sounded better than any bass I’ve ever seen. The guys were blown away. That night, we totally killed. We were on better than we’ve ever been. People were dancing their butts off. One woman started taking her freaking clothes off. We were all amazed at the whole night. They couldnt believe I found the bass under the stage. The bartender said he didnt know anything about any bass, so I took it with me.

That was six months ago and things have been too weird.

The band is getting more gigs than ever and we’re pulling in big crowds. They dance themselves into a frenzy. Wherever we go, its the same story. But something is really getting to me. I’ve been unable to sleep, and when I do I have the most bizarre dreams. I’ve been doing things I just dont understand. Staying out all night. I’m losing weight. I keep finding myself in bad places, with bad people. I couldnt figure out what was going with my life and I found this thing about this legend of the red Ric. I never believe in this kinda crap, but there has to be an explanation. My girlfriend left me (she said for a LOT of reasons lately), my friends are getting weirded out when I come over. Hell, I’m starting to feel like I’m not me anymore.

So if this has something to do with this freaking bass, I gotta do something about it. But it’s just not logical. How can a piece of wood screw up your whole life. It looks normal enough cept for one thing. I can’t seem to screw it up. I bumped it againt my amp a few weeks ago. It was dark on stage and I knew I had but a good ding in the paint but was in the middle of a song and didnt think about it till later that night. I pulled out the bass and looked at the back where it hit the amp and it was perfect. It never seems to get dirty or fingerprinted. It just stays perfect. I’m almost tempted to carve my name in the back but for some reason the though creeps me out.

I need help people. I can’t really believe this stupid bass has really started to hose my whole life but I can’t think of any other explanation. I’m gonna try to find a shrink or something and talk about this. None of my friends believe it. And the guys in the band are pretty weirded out by me talking about it. they love the sound and we’re sounding better than ever, but we fight about stupid crap all the time.

I don’t know what I’ll do next. I can’t bring myself to sell the bass but I’m kinda weirded out by the thing.. but I can’t leave it alone either.

If anyone else out there is having this kinda weird crap happening to them,let me know.

Derek Small

European rocker Thick Shag and his bass player buddy did a video on their trip to buy a menacing Red Ric. You can see the video on You Tube.

Could this be The One? How is the bass player doing? Are the demons starting to drive him to madness? We’re waiting to hear…

Found this recently. Could Fire Glow Rickenbackers be possessed too?

Product: Rickenbacker 4003 Bass
Price Paid: USD 1130 USED
Submitted 07/27/2007 at 01:03pm by Tracii

Features : 8
Mine is a Fireglo made in U.S.A. in 1998. Usual specs: 4 strings, 20 frets, 2 pickups, passive controls (treble volume and tone, bass volume and tone), 3-way-switch for pickup selection (bridge only/neck and bridge/neck only), maple body, neck-through construction, original Rickenbacker tuners. Came in original case - which is excellent - with key, cleaning cloth and maintenance manual. What’s missing, though, is a tool for adjusting the trussrods as it’s a pain in the butt trying to get tools in inch sizes here in Europe. Should definitely be included!

Sound : 10
Treble punch, massive growl and the most wooden tone I have ever heard from a bass. No excessive lows, this one rings more than it booms. We play melodic hard rock with a slice of punk and metal and it cuts through the mix (which includes two Marshall stacks) easily. I play it through a Maxon tube compressor, Hartke 3500 and an Ampeg SVT-810 cabinet. The pickups make for quite some variety: the neck PU on its own produces a warm sound, albeit muffled and devoid of highs, while the bridge PU just slashes your eardrums (Mot??rhead, anyone?). Interestingly, with the toggle switch in middle position, the sound has more lows and highs than the respective pickups deliver on their own, but it is scooped a wee bit this way. All three are unique and I have not been able to replicate them with other basses so far (my T-Bird with the bridge PU rolled off comes close, though). No discernable noise. Haven’t done studio work with it yet, absolutely shines on stage (visually and musically). Definitely NOT built for slapping - strings touching the open polepieces produce an audible click that ruins everything. Keep a Ric in safe terrain (that is, use a pick for Christ’s sake, or at least pluck it heavily if you use your fingers!) and it’s clear sailing all the way.

Action, Fit, & Finish : 6
The neck on mine is not dead straight, but as it has two trussrods, you can make up for that to some degree. Adjusting the pickups is simple, but can be time-consuming. I’ve come across many many Rics that had weak E strings; mine has a weak G string, so I’m lucky in a sense… Rickenbackers are wild creatures that need to be tamed. Expect challenges!

Reliability/Durability : 8
Has withstood many gigs, never had a problem with it. Finish cracks if you look at it wrong and stains easily, but if you keep wiping, you have a chance to maintain the gloss. When mine arrived it already had security locks so I don’t know about the original strap buttons.

Customer Support : No Opinion
No idea.

Overall Rating : 9
I’ve been playing for six years. I also own a Gibson Thunderbird and as both sound great, I switch between them all the time. The T-Bird fills the lower frequency ranges of the mix whereas the Ric just cuts right through. The best thing about it are the three totally different sounds you have at your hands with the pickup selector switch. And it simply looks awesome! Sometimes I find myself longing for a 21st fret to be able to reach an E on the G string while soloing, but that’s about the only flaw I can find. One of the best basses around!

Product: Rickenbacker 4003 Bass
Price Paid: UNKNOWN
Submitted 07/22/2007 at 01:31pm by jim blachura
Email: mghtyqnmsc<at>yahoo dot com

Features : 10
You all know the specs…mine was a 2003 model which I bought in 2004…the fireglo

Sound : 10
I have an Ampeg SVT 200T head with a 410 HLF cab and it rocks. Those who hear hums or buzzes…well, if you stand right in front of the cabinet with the guitar facing the speakers…I love the leathery sound that comes out of it and wouldn’t trade it for anything else. My Fender jazz bass has more versatility sound-wise BUT when I need this particularly beefy tone that only a RIC can provide…I always use it. If you get a decent amp/cab set up you can make most any sounds you need…so that’s part of the overall picture.

Action, Fit, & Finish : 8
Everything was fine…but I always adjust my guitars to the way I like them to feel and sound. Plus I use this website…to help me find my way..it’s great: http://joeysbassnotes.com/Joeys%20frameset.htm

Reliability/Durability : 9
This should last forever even though I play the hell out it! I have a very hard touch…but if you got an amp with guts and a cabinet to handle the thing nobody is gonna hear you pounding…it just sounds great! I have adjusted the truss rod 2 or three times in the 3 years I’ve owned it.

Customer Support : No Opinion
No need to yet!

Overall Rating : 7
Been playing for 40 years and finally decided to treat myself with a little help from my family ( Yeah, just hit Mom up for it!)Only complaint was the folks at Muisc 123 decided to pawn it off as new and it was a refurb! Be wary of them…I got my discount as you see however from an asking price of $965. It was retouched at the jack area where there is still a little indentation and is clearly marked as repaired in the truss rod pocket.

Product: Rickenbacker 4003 Bass
Price Paid: USD 1200
Submitted 05/27/2007 at 08:01am by darthspliff

Features : 10
Mine is a 2006 Ric 4003 in Mapleglo: Dual-truss rods, neck through construction, seperate tone & volume controls for bass and treble. 3 way toggle switch for neck, bridge and combined pick-up configuration. It has Schaller locking tuners, single coil hum protected high gain pick-ups (pasiive electronics), mono and stereo(the famous ric-o-sound)output jacks, mechanical mute, the newly added push-pull treble knob for high frequncy boost. Maple neck & body.

Sound : 10
Are you Kidding me? This bass has got balls! Its got that famous and distinctive growl that no other bass can match. A wide varitety of tones are available simply by playing on either the neck (warm & bassy) or the bridge ( more trebly and bright) The frequeecy boost feature on the new rics gives it even more tonal varieties-crunchier mids akin the Chris squire limited edition 4001 Ric put out a few years ago. Haven’t done any studio work with it, but live, this bass holds it down!

Action, Fit, & Finish : 10
These bases are not known for being set up well from the factory, but I did not have that problem. I ordered it from Muscians’s friend and the actions was right where I like it right out of the case, neck was straight, tuners tight beautiful finish. As far as the finish is concerned the only flaw i could dsicern is that it had the potential to blind you when reflecting light- it was that shiney. This bass is beautiful. No problems with saddle or frets-all top of the line hand crafted quality you would expect from Rickenbacker. This is a first class operation making a top of the line quality instrument.

Reliability/Durability : 10
Bass is built like a tank. Im not one of these guys who hangs these ric’s on a wall to jerk off too beacause I wanted one for show-This is my main axe so finish/looks take a backseat to making music. I gig without backup all the time and it looks and sounds just as good today as when I first got it a year ago. Haven’t had to adjust neck yet but I plan to take it in for a tune-up soon just for proper maintenence purposes.

Customer Support : No Opinion
I believe its one year on finish and tuners (one of these other posts will specify)and something else for the body and neck, really im not sure. Never dealt with company and don’t think I will ever have to. No opinion.

Overall Rating : 10
For a hand crafted instrument of this quality Ric could charge alot more. Been making music and playing instruments since I was in kindergarten. I have tried jazz basses, stingrays, some Ibenez’s, uprights-I like this bass better then all of them. The new thinner neck and updated features revealed with the 2006 models are really nice. I not a huge fan of the bridge though- kind of antiquated. Thinking about making the change to the Hip shot replacement bridge (which I have been hearing good things about) But for know the Ric’s vintage appeal has me satiated. Curved lines on the body would make is more confortable to play but thats a minor quibble. If it was lost or stolen would replace asap. Excellant resale value on this bass as well- You’ll get your money back and possibly more due to its relative rareness. As far as not being good for slap and pop thats Rickdiculous (as far as the new ones go)all you need is heavier gauge strings and a little bit of compression/equalization and your in fender jazz bass land: http://www.youtube.com/watch?v=_evMBRIm2rY, http://www.youtube.com//watch?v=LjOM5YjMZ8w&mode=related&search=, case closed….!

Product: Rickenbacker 4003 Bass
Price Paid: UNKNOWN
Submitted 04/14/2007 at 12:02pm by Dave Wiese

Features : 9
1983 Ric 4003, first version. Maple body. Maple neck, with rosewwod fretboard & MOP sharktooth inlays, and dual trussrod. 2 RIC single coil “High Output” pickups, neck volume & tone, bridge volume & tone, 3 way pickup switch, and dual output; standard and “Ric-O-Sound”; designed for use with the Ric-O-Sound box, sold seperately. The bridge has the traditional string dampener.

Sound : 9
Ricenbackers have a sound all there own, and RIC’s are consistant, they don’t have big sound differences from one 4003, to the next. I’ve never come across another bass that had 2 pickups that sounded so different, but if you look at their physical position on the bass, their actually more like a neck and middle positon, where as most 2 pickup basses have their neck pickup in the spot the 4003 has bridge pickup, the neck pickup on a 4003 is about 1″ below the neck. The neck picup is more bassy, and muffled, and the bridge is more bright and kind of clanky (but in a good way). I never tried running it through the Ric-O-Sound box, but who else really has.

Action, Fit, & Finish : No Opinion
4003’s are not good finger style basses, horable for slapping (unless you like the pop of strings touching the pickup), and I mainly use mine for pickstyle, which the action is perfect for. The finish is 24 years old, but doesn’t look a day over 10. When I got my 4003, dampener skrews were missing. The dampener is where the ground wire conects, so it buzzed like crazy, also there were no springs in the neck pickup, but it was used, thus not RIC’s fault.

Reliability/Durability : 8
I never had a problem with mine, other then the simple fix mentioned above. I was always afraid to touch the truss rods on these, but on some RIC 4003’s you can replace the rods.

Customer Support : 3
New a RIC has a 1 year warranty, and that’s voided if it doesn’t have RIC strings (and yes, they can tell). They also have no custom shop and will do NO one off basses or guitars (unless your names Lemmy). Plus if you want a certain color, you buy it when you see it, otherwise it can take 6-8 months to get one custom ordered ( and I’ve heard you should expect it in 8).

Overall Rating : 9
Anyone buying a 4003 is more then likely going for that old 4001 sound, and this bass doesn’t disappoint. If a company were to come around now and put out a bass like this; a but chanky, kinda weak in the low end, pickups that seem to have no power, tuners that rattle, and a body that’s routed out more then any solidbody bass out there, chances are that company would fail (or retool and make Fender wannabes). But the design’s been around for so long and everyone has a place in their heart for a RIC. Plus RIC is one of the cheapest basses made by such a small company by hand.

Product: Rickenbacker 4003 Bass
Price Paid: USD 1000 USED
Submitted 02/23/2007 at 12:13am by Kevin Sanderson

Features : 10
2005, 20 Frets, USA Made,
2 volume, 2 tone controls,
toggle switch for pickups
ric-o-sound and normal mono outputs
Midnight Blue Finish
Dual Truss-Rod
Short-Scale
Included Case
Bought used at Guitar Center Summer of 2006
Maple Neck/Body
Polished Silky-Smooth Rosewood Fretboard with triangle markers

Sound : 9
I was originally out seeking a Fender P-Bass of sorts last summer, leaning towards the American made ones that start around $1000. I was really having a hard time getting a vibe from them. I think the thump sound is classic, but it wasn’t thrilling me or making want to fork out the checkbook. Then…
KaBoom! I stroll into Guitar Center and right smack dab in the middle of a wall of P-Basses is one lonely, sparkling, amazing Rickenbacker 4003 in mint condish. Granted my amps at home are definitely beginner’s trash, but through the Ampeg it stunned me. It brought a sound I can only describe as a “GRowl” for the bass, which is something that hooked me into the buy.
There are so many good tones from this instrument, you can be deep, bassy, and balzy, or you can be bright, shimmery, and poppy; your choice. I find the Ric-O-Sound jack to be an amazing addition for those with good equipment (hence the reason I don’t use it) I would recommend using the Ric-O-Sound kit to hook it up if you have two amps or would like one dedicated for your amp and one dedicated for the soundboard at a concert or what not. Its basically like having control over treble in one amp, and your bass in the other amp/sound board. However it is most intriguing and I get a lot of questions about why my bass has two output jacks.

The only problem I have with the sound is an occasional humming from the pickups. They are hot and heavy, but I’ve noticed that my bass doesn’t sound nearly as loud as many electric guitar setups I’ve heard since they daisy-chain numerous effects together. The better your cables the less the hum, also a ground lift helps on a direct box, or your amp’s direct out. A quick fix is to turn the treble tone knob down to 1 or 0 and virtually all hum is irradicated while sacrificing just a bit on sound quality.

The sound is indeed Rich and full. My guitarist pleaded with me that I use the Rick at our next gig. I decided to bring out the old OLP (musicman copy) instead and he immediately noticed that it wasn’t the Rick and it wasn’t Growling.

Mixed with a good solid amp this bass holds up amazingly. I use the normal Rickenbacker String set and haven’t felt the need to change. The fretboard being polished and glossy provides a smooth playing field and super easy slides and overall fingering feels very comfortable. The shorter scale length also helps with less finger stretching when playing octaves or even the occasional 10th

If I were professionally recording I would probably get better cables and not stand directly in front of a high watt light or high watt TV or monitor. I think the hum would be eliminated. I’ve done a little self recording and I get more noise from my keyboard than I do from this so its not that noticeable.

Sound WAS the main reason why I bought this bass. I give it a 9 for the hum, but it can be avoided if you are well grounded and everything else you play through is well grounded.

Action, Fit, & Finish : 10
Bass was set up properly and professionally by the original owner just 6 months before I bought it at guitar center.
The bridge pickup did not include the metal cover but I’m not unhappy. I normally rest my thumb on that area by the bridge pickup anyway so it would have probably just gotten in the way.
If you use the Rick cloth this thing shines up very quickly. Apply a light portion of guitar polish (non abrasive and non-chemical) and it really busts out some shining glory.
Sweat NEEDS to be wiped off after you play
I’ve gone a few times without wiping the neck and fretboard down and the sweat dries onto the lacquer like finish reducing slide ability and making some “rough” spots where your thumb may stick to.

There was only one noticeable spot on the fretboard where the guy must have really pushed his finger into the fret leaving a little scratch mark in the polished rosewood. I have not been able to scathe this baby even in the 8 months I’ve had it. The fretboard is supposed to last 25yrs. I don’t think it will ever break down if it has stayed this solid over the past 8 months.

All other controls and tuners work fine
I am also a big advocate of Strap Locks, they do indeed prevent accidental slippage and damage due to strap fall off

Reliability/Durability : 10
This bass has been to many Campus Crusade events in the past year.
The most time I had ever used it consecutively was during a practice set for a 4 day period in Indiana. I played for 9hrs straight during rehearsal and then at least 3-4hrs per day for the next 4 days. It stood up solidly even with 8month old strings. The best sound I’ve ever had with it came from that weekend. Probably due to the 8,000 Watt subs that it was running through. MASSIVE.
Tuners tune very well and most importantly STAY in tune.
Finish buffs up so clean its like a newly waxed Porsche
Straps with locks stay on like cement
I’ve never had the neck/truss rod adjusted because it doesn’t need it
I have and continue to use it without a backup
but I do have my lovely OLP just in case

Customer Support : No Opinion
Haven’t had to deal with them
I also don’t know if my warranty is any good
because I filed it, but I wasn’t the original owner

… oh well

Overall Rating : 10
I’ve been actively playing bass for the past 2yrs. Total of 6yrs between guitar and bass. I’ve also been playing piano for about 10-12yrs. I run the Rick through a GK 600 Backline head and backline 2×10 BLX-II cab with a Behringer 15″cab below. The sound is truly immense. I would not have done this transaction any differently than the day I bought it. For $1000 it was a steal. 3 other people were ready to lay down the grand but I got there first. Yippie for ME!!
If it were stolen by a bassist I’d ask him to try it and while he went into a bassist’s ecstasy period I’d be able to steal it back no problem. The joy lasts for about a week straight before you realize that you now own a Rick.
I love the sound. I don’t love the hum (but its really not that bad)
My favorite part of this bass is the ease of playability. It will let you do whatever you wanted to do on your other bass, but ten times easier and ten times more rockin’
I chose this over a P-Bass, a Jazz Bass, and numerous other basses. I think if I ever sold my OLP I’d get a P-bass probably because of the classic thump. But for now I’d gladly miss the thump for the Growl of a Rick.
I would never sell this bass unless someone offered me a brand new one for free, or would at least trade me for it.

Product: Rickenbacker 4003 Bass
Price Paid: USD 875
Submitted 12/27/2006 at 12:18am by Andrew Woodard
Email: miteysix at bellsouth<dot>net

Features : 5
My particular 4003 was manufactured in the early 80s during a period in the manufacturer’s history when they strayed from the standard colors. Mine has a “satin silver” finish with black hardware.

The changes I’ve made to it include a Hipshot bass detuner on the E-string (which I will add allows me to drop my E-string all the way down to a B, thank you very much), and the addition of two black-capped mini-toggle switches (one for each pickup) that allow me to instantly bypas the tone control setting and go to “full bright”. (Between that, the pickup selector and what I can do with my fingers I’ve a very wide selection in overtones or lack thereof.)

Sound : 8
The spring-wire “Rikky sound” (ala Gary Strater or Chris Squire) notwithstanding, I can get a very usable range of sounds out of my 4003, even though I string it ONLY with either RotoSound 606LC “Funkmasters” (the original PSD string) or LaBella Super Steps, both in a moderately light guage. The exposed core contributes to brightness and sustain, and my frets are in quite good shape considering these string sets are fully round-wound, although it’s worth pointing out that I don’t abuse the fretboard for the sake of “tone”.

Considering I originally came from the Fender Precision camp (when they were all made only made in the USA and weighed enough to give you a workout over the course of a night), my 4003 produces a full, deep fundamental that works well enough to satisfy those full-treble-rolloff fanatics at the studio or in the audience.

My musical mainstays are (in no particular order) early Motown, Jazz and neo-classical Prgressive Rock, although I’ve used my 4003 for just about everything including Beach, Country and Bluegrass with good result.

My main stage amp system includes ADA MB-1 and MP-1 preamps, Aphex Aural Exciter 104, Digitech DSP-256XLs for eq and effects, DBX-120 subharmonic synthesizer, and a Peavey 400-WRMS amp top running 12-inch and 15-inch drivers. My studio system consists of a Zoom BFX-708 and a Peaver TKO-65 portable bass amp.

Action, Fit, & Finish : 8
My 4003 was well made and it’s been reliable throughout it’s life. I expected a quality manufactired instrument and paid dearly for it, and that’s exactly what I got.

Reliability/Durability : 8
I take very good care of my equipment, instruments included. Aside from a routine polishing with Super Hard Shell Turtle Wax (yeah, the stuff for cars….and it’s absolutely the best stuff I have ever used), my 4003 has no other magical things done to it. And despite spending more thana few nights in a freezing van, car trunk or trailer (in it’s case, of course), it has remained stable.

Provided they are still made now as they were when I bought mine, I’d have no problems either buying another or suggestion a long serious look at buying one to anybody that’s looking for a well made 4-string bass that’s a joy to play (and looks pretty cool to boot).

Customer Support : 8
Every time I ever called the folks in California, they were pleasant and helpful. I was miffed at them once upon a time because they were being difficult about making a double-neck for me, but I certainly won’t hold that against them. (I was probably in a testy mood, anyway.)

Overall Rating : 9
Nobody ever gets a TEN from me on anything, but I will go the stretch and give my Rickenbacker 4003 a solid NINE, overall. In doing so, I’m considering my other current basses and those I’ve owned in the past (and those lists include Fender, Gibson, Ibanez, Carvin and Hohner……oh, and a Chapman Stick). I’ve been playing since the early 70s (geeze, I must be pretty old, huh?) and although I’m more of a 6-string electric bassist these days, I will be honest and say that my 4003 is, all-in-all, my favorite bass of any I have ever owned or own now.

If you’re lucky enough to be able to afford a 4003, I hope you find yours as satisfying as mine has been for me.

Best of luck!

Product: Rickenbacker 4003 Bass
Price Paid: CAD 1240 USED
Submitted 09/29/2006 at 03:50pm by PrimusNut
Email: my_name–is_mud at hotmail<dot>com

Features : 10
Made in 1998, USA. JetGlo color.

Normal Ric 4003 features:
20 fret
2 pickups, 1 neck, 1 bridge
2 tone, 2 volume knobs
3 way pup selector
etc..

Came with original Rickenbacker hard case, and polishing cloth.

The only thing I am not pleased with is the 20 fret. I would rather 22, or even 24 frets, but I don’t conisder this a problem.

Sound : 10
Everything a bassist could ask for. Great for the Metal that I play (old MetallicA style).

Very punchy treble, but also great lows at the same time. The classic Ric sound.
I find it has a variety of sounds. Mess around with the tone knobs to get the right sound for you.

Look no further, if you are looking for that punchy, yet low sound, this is the bass for you.

Action, Fit, & Finish : 9
The person that owned this before me had it professionally set up. The way it was set up when I got it was perfect.

The finishis beautiful, but very fragile. The slightest bump will scratch this. Also, around where the neck connects to the body, the paint work is a bit sloppy, and around the binding seems a bit sloppy.

All in all it is a very beautifully set up and looking bass.

Reliability/Durability : 9
I would be willing to have this as my ONLY bass. I seems built like a tank, except for the finish. I would gig with this, and have no backup. The hardware also seems very solid, and trustworthy.

Customer Support : No Opinion
Never dealt with them.

Overall Rating : 10
I have only been playing bass for about a year. I started out with a CHEAP Typhoon Pbass model. I figured it was about time to upgrade to a better bass. I made a HUGE jump there. From one of the worst basses, to, IMO, the BEST. I haven’t played many basses, and I highly doubt any will feel as natural to me or as comfortable as the Ric.

As I said, the only thing that seems a bit iffy is the finish. I LOVE the sound.

I only wish it had 24 frets. Oh well, for the sound, and just the Rickenbacker name itself, who cares about 20 frets?

Product: Rickenbacker 4003 Bass
Price Paid: UNKNOWN
Submitted 09/14/2006 at 11:46am by BASSPLAYER4LFE

Features : 9
Rickenbacker 4003 (born on date May 2006 delivered via Fedex on Sept 12, 2006) Fireglo, standard features set neck, toggle switch, 2 pups and the new classic sound push/pull button on one of your 4 control knobs. Everything needed to make good music.

Sound : 10
Whatever YOU want but with the infamous RIC tone as you’ve envisioned and know that was probably played (and sounds best to me) thru an Ampeg. To best describe it: warm, woofy, buttery, rubberband-ish bouncy tone especially with the nickel strings. The way a bass should sound to move asses at the low end. At first I didn’t quite appreciate the new classic Ric sound set to your treble as a push/pull pot, until I turned it on by accident before playing, WOW, what a difference, NICE touch. It is how, I now came to believe I have always heard the bass in my head…..Give it a name.

Action, Fit, & Finish : 8
Bass came from factory the were hundreds were setup previously, but I could swear it was setup just for me–Perfect. At first it seemed a little high but once I started playing, I realized it was set to dig into the bass, just the way I like too.

Reliability/Durability : 10
I am going gigging this weekend and I will take my 50’s P-Bass as back up. Not because I fear the Ric will not perform, example–buddy of mine out gigging with his Rocabilly band at some corporae gig in the City, and man was he wailing on that double-bubble, spinning it, dancing on it and next thing you heard was Twang—Thud! Popped a G-string. needless to say he had no back up and the whole performance lost momentum. If you are a Pro, bring a back up time is money.

Customer Support : No Opinion
Nothing yet,

Overall Rating : 10
Bottom Line—I’ve been playing many years looking for that mythical tone of my forming years that resonates thru my brain whenever I hear a bass, like an upfront filter it converts it proper local internal tone. I am mainly a Fender player (that anything Leo worked on) Stingray, G & L and a lone Spector Rebop DLX bitching bass, discontinued now, but it has Ric type sustain and tone with nickel strings. And, I AM CHEAP, mostly to myself because I’ve craving a Ric for years but kept going cheap and trying to get the tone on the back-end. Or, maybe I didn’t feel an accomplish-enough player to be worth owning…. So, I remind myself that James Jamerson played a stock Fender, nothing fancy—I am the bass, but a well made properly voiced instrument couldn’t hurt. Regardless of its looks, this is the real thing and all around bass—FOR A BASS PLAYER

Product: Rickenbacker 4003 Bass
Price Paid: US $1229
Submitted 06/14/2006 at 01:12pm by Rickenmatsertampa

Features : 9
Made in Feb. of 2006 i bought it new from a local sam ash, 20 frets, 2 volume, 2 tone with the vintage tone pull knob.All maple body and neck with a BEAUTIFUL rosewood fretboard i mean it has dark and light reds all over it looks like marble! passive electronics and four strings.

Sound : 9
I play hardcore metal music but even though that is such a distorted style i like clean bass sounds better even with hardcore and the 4003 has beautiful highs and clean sounds…although sometimes the low end lacks a little bit but the sound is unbeatable

Action, Fit, & Finish : 10
Action is perfect for me. The pickups are adjusted fine, alot of people complain about the bridge pickup cover but i play with fingers on the neck pickup anyways so it suits me fine, and even when im trying to get another tone by playing on the bridge pickup i find the cover to be anchoring. Finish is beautiful mainly because i clean it all the time and treat it as if it were fragile as glass, but looks pretty and sounds pretty

Reliability/Durability : 9
Durability seems great although i worry about denting or scratching the back finish off because i see so many that have buckle rash on the back.

Customer Support : No Opinion
dunno never dealt with them

Overall Rating : 10
This bass is my dream instrument. Its beautiful, unique, bursting with tone, and seems able to stand up to anything. If only Americans built cars as well

Product: Rickenbacker 4003 Bass
Price Paid: N/A
Submitted 05/25/2006 at 09:48pm by jimbob

Features : 9
Through-neck construction, all maple, 2 pick-ups with tone and volume for each. Everything you need on a passive bass, nothing you dont. Made in the USA. The most beautiful bass in the world.

Sound : 10
Incredible sound. Typical ric growl and clank when played with a pick, fat and warm when played fingerstyle. Far more tonal variety than many give rickenbacker basses credit for. Can be smooth and warm at the neck, to slightly hollow and funky with both pick-ups on, to nasal and cutting at the bridge. Despite its reputation for being a bright instrument, it is capable of churning out some thudding bass if necessary.

Action, Fit, & Finish : 9
Well set up from the factory. Perhaps the fastest playing bass out there. Low action and slightly shorter than standard scale give the bass a fast and loose feel. Great for melodic bass playing. The neck is, despite what many say, a nice palm filling handful. I removed the bridge cover, as it got in the way of my right hand. Also, despite what some say, the finish is very fragile. Beautifully applied no doubt, but needs to be looked after.

Reliability/Durability : 9
Has been a constant gigging companion for some time. Always works, always sounds beautiful. Very solid tuning too. Just watch the finish; after eight months gigging mine is already showing some, admittedly superficial, battle scars.

Customer Support : No Opinion
No idea. Heard good and bad things.

Overall Rating : 10
My all time dream bass. I expected great things when I bought this, and after eight months of gigging with the old girl I’ve only been more and more impressed. Capable of a wide range of sounds, whilst remaining distinctive at all times. A truly expressive instrument, this bass precisely tracks every nuance of your playing and adds its own voice to yours. Considering that this bass (or its earlier 4001 incarnation) has been used by bands as diverse as The Beatles, The Who, Pink Floyd, The Clash, Metallica, Kyuss and Tool, it really is an incredibly flexible instrument, despite its reputation as something of a one trick pony. Strongly recommended to anyone who wants a quality, characterful bass.

Rickenbacker Serial Number System

The serial number is generally located on the jackplate of a Rick…check also neckplate on bolt-on models or bridgeplate. For earlier than about December 1998 Ricks the first 2 characters represent the month and year.

Current Rick serial numbering system
First 2 digits indicate the year, first 2 of bottom digits the week of manufacture.. ie 99 02064 is 1999 Jan 8-15.

1997-Dec 1998 Rick numbering system
First character is month, second is year
Month code M N P Q R S T U V W X Y
Month Jan Feb Mar Apr May Jun July Aug Sep Oct Nov Dec

Year code 0 1 2
Year 1997 1998 1999

1987-1996 Numbering system
First character is month, second is year
Month code A B C D E F G H I J K L
Month Jan Feb Mar Apr May Jun July Aug Sep Oct Nov Dec

Year code 0 1 2 3 4 5 6 7 8 9
Year 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996

1961-1986 Numbering system
First character is year, second is month
Year code A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Year 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986

Month code A B C D E F G H I J K L
Month Jan Feb Mar Apr May Jun July Aug Sep Oct Nov Dec

~ 4000 Series ~

The basses in this series have the following features, unless otherwise noted, neck through construction, cresting wave headstock, cresting wave body, finished Padouk fingerboard, 33-1/2″ scale, 20 frets, Schaller Deluxe BM machine heads, combination tailpiece/bridge assembly with string mutes.

4000 MODELS

4000
This bass is the first bass model that Rickenbacker produced.
Original Features: Single pickup, chrome 1 volume and 1 tone control, mono output, unbound body, dot inlay, clear plastic pickguard with gold back painting, cresting wave headstock, unbound rosewood fingerboard, 8 dot inlays, clear plastic finger rest, Schaller BM nickel machine heads. Originally available only in Mapleglo and older style Fireglo (2 tone brown sunburst) finishes.
1957 - Prototype sent for photographing in April
1957 - Introduced in June
1957 - (Late) movable bridge with string mute
???? - Chrome plated knobs replace black “flying saucer” knobs
1958 - Walnut neck replaced mahogany neck
1958 - White pickguard became optionally available
1959 - Neck width narrowed
1960 - Maple and walnut neck replaced walnut (or mahogany) neck
1960 - “Fireglo” (red sunburst) finish became optionally available
1961 - Body became slighter, slimmer and more contoured
1963 - Bridge/tailpiece with under string mutes replaced bridge with sliding mute.
1963 - Jetglo and Autumglo finishes became optionally available
1963 - White pickguard replaced gold pickguard
1963 - Black bakelite knobs replaced chrome knobs
1969 - High gain pickup and cover replaced horseshoe bridge pickup
1969 - Headstock shortened
(mid 70’s) - Set neck design replaced neck-thru design
1971 - Grover sealed back machine heads replaced Schaller open back nickel machine heads
1974 - Gap in center raised lip of bridge eliminated
1974 - Gap in center raised lip of bridge eliminated
1974 - Pickguard shortened 1/2 inch
1975 - Cast chrome plated zinc bridge/tailpiece replaces chrome plated cast aluminum bridge/tailpiece.
1975 - Schaller BMC chrome open back machine heads replaced Grover sealed back machine heads
1984 - Model 4000 removed from price sheets
1987(1985?) - Discontinued

4000FL
This bass is the fretless version of 4000 model
Features: Single pickup, volume and tone controls, mono output, unbound body, dot inlay, gold pickguard, cresting wave headstock, 33-1/2″ scale, unbound rosewood fretboard. This bass was a special order only.
1960 - Introduced
???? - Discontinued

4001 MODELS

4001
This is the deluxe two-pickup version of the 4000 model. The neck pickup was added to give greater tonal flexibility and greater bass response. This bass was originally designed for use with flat-wound strings.
Features: Bound body, bound Padouk fingerboard, triangle inlays, two pickups, separate volume and tone controls, mono-output, truss rods adjust at head. Originally this bass was only available in a Fireglo finish.
1961 - Introduced
1963 - Bridge with under string mutes was added
1965 - Black plastic seven-sided knobs with silver tops replaced all black Bakelite knobs
1965 - Mapleglo finish became optionally available 1965 - Three special six-string 4001 basses were produced
1969 - Ric-O-Sound became standard instead of an optional feature
1969(1971) - High gain single-coil pickup and cover replaced horseshoe bridge pickup.
1969 - Headstock was shortened
(????) - 9th dot inlay position marker was added in between the 18th and 19th frets
(????) - Three special 30 inch scale 4001 basses were produced
1971 - Starr Stowe was featured in the February 1978 issue of Playboy magazine holding an Azureglo 4001 owned by Gene Simmons.
197? - Some set neck basses produced
1971 - Grover sealed back machine heads replaced Schaller open back machine heads
1972 - Maple headstock wings replaced contrasting walnut headstock wings
1972 - Center walnut stripe running the length of the instrument was introduced
1972 - High gain neck single-coil pickup replaced toaster neck pickup
1972 - Clear plastic finger rest was eliminated
1973 - Schaller BMC chrome open back machine heads replaced Grover sealed back machine heads
1973 - Single color (white or black) body binding replaced block binding
1973 - Smaller pearloid fingerboard inlays replaced crushed pearl large triangle inlays
1973 - Pickguard was shortened by moving back from bridge pickup surround
1973 - Large bridge pickup surround was made smaller and more rectangular
1974 - Gap in center raised lip of bridge eliminated
(mid 70’s) - Set neck design replaces neck thru design
1974 - Neck pickup was moved 1/2 inch closer toward the bridge pickup
1974 - Pickguard shortened 1/2 inch
1983 - Discontinued

4001FL
This bass is the fretless version of the 4001 model. This model was only available as a special order.
Features: Two pickups, separate volume and tone controls, stereo and mono output, bound body, 9 dot inlays, bound Padouk fingerboard, truss rods adjust at head.
1960 - Introduced
198? - Some set neck models produced
1989 - Reintroduced with dot inlay (????) - Discontinued

4001S
The designation “S” stands for “Special”
This bass is a simplified “no frills” model of the 4001. This bass is also known as export model “1999″ sold in Europe by the Rose, Morris & Company.
Features: Horse shoe bridge pickup, toaster neck pickup, separate volume and tone controls, mono output, unbound body, 9 dot inlays, unbound Padouk fingerboard, clear plastic finger rest, truss rods adjust at head.
1964 - Introduced
1967 - Bridge with understring mute was added (1967?) - Bridge with under string mutes was added 1969(1967?) - Discontinued being sold by Rose Morris
1980 - Reintroduced as standard US model with center stripe walnut laminate, high gain neck pickup, high gain bridge pickup and cover, no finger rest.
1986(1984?)(1985?) - Discontinued (replaced by 4003S model

4001V63
Vintage Reissue Series
This bass is similar to the 1963 model 4001S
Features: Horseshoe bridge pickup, no body binding, mono output, 9 dot inlays, no neck binding, toaster neck pickup, contrasting walnut headstock wings, (Kluson style) Schaller vintage machine heads and black knobs. Available only in Mapleglo and Fireglo finishes.
1984 - Introduced
1986 - 8 dot inlays with 1 inlay removed from in between the 18th and 19th frets
1986 - Bass lengthened 9/16 inch to an overall length of 45 1/16″ from 44 1/2″
1986 - Neck profile narrowed 1/16″
1999 - Currently still in production

4001CS “Chris Squire”
Limited Edition Series
This bass is the Chris Squire signature model similar to Chris Squire’s 1965 model 1999. [Note: Chris Squire’s original bass had finger rest mounting holes, different shaped headstock, different tuners, and stereo output.]
Only 1000 of these basses were produced.
Features: Horseshoe bridge pickup, no body binding, mono output, 8 dot inlays, no neck binding, toaster neck pickup, contrasting African Vermilion headstock wings, clear plastic back painted pickguard with signature, more rounded shaped neck profile. Available only in Cream Colorglo finish.
1991 - Introduced
2000 - Production completed March 15, 2000

4001V63PMC “Paul McCartney”
This bass was designed for the Japanese market and based on Paul’s 1964 Model 1999.
Features: Horseshoe bridge pickup, no body binding, mono output, dot inlay, no neck binding, toaster neck pickup, large white pickguard, left handed only, right-handed headstock. Available only in Fireglo finish.
???? - Introduced
1999 - Currently still in production

4002 MODEL

4002
This is a deluxe version of 4001. The 4002 model was a limited edition and in terms of features the fanciest bass that Rickenbacker ever produced.
The two pickups were moved to have the same location as a Fender Jazz bass. The original price tag in 1977 was $1250. One white bass was produced.
Features: Ebony fingerboard, pearl dot inlays, block bound body, two humbucking pickups, low impedance (XLR) output, 3-ply black/white/black laminated pickguard, truss rods adjust at head, 21 frets, black headstock binding, black fingerboard binding, contrasting walnut headstock wings, chrome Schaller M-4 tuning machines. Available only in Mapleglo and Walnut finishes.
1975 - Introduced
1984 - Discontinued

4003 MODELS

4003
This bass is the improved version of the 4001 model. The improved 4003 truss rods in neck are designed for use with round wound strings.
Features: Two-piece pickguard, improved truss rod design, truss rod adjustment at body, triangle inlays, bound body, bound fingerboard, mono and stereo output, Grover sealed back machine heads.
1980 - Introduced (replaced the 4001 model)
1982 to 1983 Rickenbacker B Series of Fireglo colors (three-color sunburst finish: black/red/yellow)
1983 - Schaller BMC chrome machine heads replaced Grover sealed back machine heads
1985(1984?) - One piece pickguard replaces two-piece pickguard
1985 (1984?) - Bridge modified
1985(1984?) - Truss rod adjustment changed to headstock end
1988/1989 - Bridge pickup capacitor removed and replaced with a shunt.
1995 - Schaller strap lock system replaces standard strap buttons.
1999 - Currently still in production

4003FL
This bass is the fretless version of the 4003 model.
Features: Bound body, 9 dot inlays, single color bound Padouk fingerboard, mono and stereo output. (Refer to 4003 for specifications and changes.)
1980 - Introduced
1999 - Currently still in production

4003S
This model replaced the 4001S.
Features: No body binding, mono output, 9 dot inlays, unbound Padouk fingerboard, truss rod adjustment at body, two-piece pickguard. (Refer to 4003 for specifications and changes.)
1980 - Introduced
1995 - Discontinued in November

4003SB
This model is similar to 4003S and the 4001V63.
Features: No body binding, mono output, 9 dot inlays, unbound Padouk fingerboard, horns wider than V63, toaster neck pickup, clear plastic pickguard and logoplate. Only available in Mapleglo.
1982 - Introduced
1983 - Discontinued

4003S/5
This bass is a five string version of 4003S with a low B string added.
Features: Unbound body, 9 dot inlays, mono output, unbound Padouk fingerboard, Schaller M4 machine heads.
(1986)1987 - Introduced
1995 - Schaller strap lock system replaces standard strap buttons.
Still in production

4003S/8
This bass is an eight string version of the 4003S model.
Features: Unbound body, 9 dot inlays, mono output, unbound rosewood fingerboard, toaster style neck pickup, Schaller M4 machine heads.
1987 - Introduced
1995 - Schaller strap lock system replaces standard strap buttons.
1999 - Currently still in production

4003 “Redneck” or “Bloodstar”
Limited Edition Series
This bass is similar to the 4003 model.
Features: Ruby red finished fingerboard, black hardware, black pickguard and truss rod cover, 9 black micro dot inlays, Ruby red finished unbound body
(1987?) - Introduced
(1987?) - Discontinued

4003 “Tuxedo” or “Whitestar”
Limited Edition Series
This bass is similar to the 4003 model.
Features: White lacquered fingerboard, black hardware, black pickguard and truss rod cover, 9 black micro dot inlays, white finished unbound body.
1987 - Introduced
1987 - Discontinued

4003/SPC “Blackstar”
Limited Edition Series
This bass is similar to the 4003 model.
This is a Mike Mesaros (The Smithereens) signature model.
Only 200 basses were produced
Features: Jetglo finished fingerboard, black hardware, black pickguard and truss rod cover, 9 white micro dot inlays, Jetglo finished unbound body.
1987 - Introduced
1990 - Discontinued

4003 “Shadow”
This bass is similar to the 4003 model.
Features: Black bound Padouk fingerboard, 9 black dot inlays, black hardware, black old style knobs, black pickguard and truss rod cover, block binding, Jetglo finished body and neck.
(1986-89?) - Introduced
(1989?) - Discontinued

4004 MODELS

4004C “Cheyenne I”
This is an updated more contemporary bass model.
Features: Features: No pickguard, unbound natural oiled walnut body, unbound maple fingerboard, contrasting walnut headstock wings, gold-plated hardware, 9 black dot inlays, 2 humbucking pickups, tone and volume control, mono output, black truss rod cover, Schaller M4 machine heads, combination tailpiece/bridge assembly.
1994(1993) - Introduced
1995 - Schaller strap lock system replaces standard strap buttons. 1999(1997) - Discontinued

4004C “Cheyenne II”
This bass is the revised version of 4004C Cheyene I.
Features: No pickguard, unbound character maple and natural walnut body, unbound Bubinga fingerboard, contrasting walnut headstock wings or matching body color headstock, gold-plated hardware, 9 black dot inlays, 2 humbucking pickups, tone and volume control, mono output, black truss rod cover, gold Schaller M4 machine heads, gold combination tailpiece/bridge assembly.
1999 - Introduced
1999 - Currently still in production

4004L “Laredo”
Features: No pickguard, unbound Jetglo hardwood body, unbound maple fingerboard, chrome-plated hardware, 9 black dot inlays, 2 humbucking pickups, tone and volume control, mono output, black truss rod cover, chrome Schaller M4 machine heads, chrome combination tailpiece/bridge assembly.
1994(1993) - Introduced
1999 - Currently still in production

4004LK “Lemmy Kilmister”
Limited Edition Series
This is the Lemmy Kilmister (Motorhead) signature series model.
Features: (To be announced)
(TBA) Introduced
1999 Not currently in production

4005 MODELS

4005
This bass is a hollow body model.
Features: Offset double cut semi-hollow away body similar styling to 1965 model 360-375 guitar, single bound edge on the back of the body, unbound rounded front edge, bound cat’s eye soundhole, teardrop shaped pickguard, clear plastic finger rest, large crushed pearl triangle inlays, 2 toaster pickups, R tailpiece, 2 volume/2 tone/mix controls. Available only in Fireglo and Mapleglo finishes.
1965 - Introduced
1969 - Headstock shortened
197?) - Colorglo finishes available 1972 - High gain pickups replaced toaster pickups
1973 - Single color (white or black) binding replaced block body binding
1973 - Smaller pearloid inlays replaced crushed pearl large triangle inlays
1974 - Gap in center raised lip of bridge eliminated
1984 - Discontinued

4005S
This bass is also known as Rose Morris European export model “3261″.
Features: Hollow unbound double cut away body similar to model 360 guitar, R tailpiece. Available only in Fireglo and Mapleglo finishes.
1965 - Introduced
1969 - Discontinued

4005WB or 4005OS
This bass is the double-bound version of the 4005 model. Originally this model was called 4005 OS.
Features: Hollow double bound double cut away body similar to model 360 guitar, R tailpiece. Available only in Fireglo and Mapleglo finishes.
1966 - Introduced
1984 - Discontinued

4005-6WB
This bass is the six-string version of 4005WB.
Hollow double bound double cut away body similar to model 360 guitar, R tailpiece. Available only in Fireglo and Mapleglo finishes.
Features:
1966 - Introduced
1984 - Discontinued

4005/6
This bass is the six string version 4005
Features:
1965 - Introduced
1978 - Discontinued

4005/8
This bass is the eight string version of 4005.
Features:
1967 - Introduced
1984 - Discontinued

4005 LS “Lightshow”
This bass is a special multi-colored light version of the 4005. It is the companion to the 331 model light show guitar. This was a special order item.
Features:
(1968?) - Introduced
(1968?) - Discontinued

4005/5
This bass is the five-string version of the 4005 model.
Features:
1972 - Introduced
(????) - Discontinued

4005-6WB or 4005-6OS
This bass is the six-string version of 4005WB. Originally this bass was designated as 4005-6 OS. Hollow double bound double cut away body similar to model 360 guitar, R tailpiece. Available only in Fireglo and Mapleglo finishes.
Features:
1966 - Introduced
1984 - Discontinued

4005/6
This bass is the six-string version of the 4005 model.
Features:
1965 - Introduced
1978 - Discontinued

4005/8
This bass is the eight-string version of the 4005 model.
Features: The headstock was elongated in order to accommodate the 8 tuning machines.
1967 - Introduced
1984 - Discontinued

4008 MODEL

4008
This bass is the eight string version of the 4001 model.
Features:
1975 - Introduced
1983 - Discontinued

Rickenbacker Guitars.
The company was started in 1931 and was originally called “Ro-Pat-In”. It was a partnership that included Adolf Rickenbacker, George Beauchamp and Paul Barth. They started by manufacturing “Frying Pan” lap steel guitars. They were made of aluminum and included an electro-magnetic horse shoe pickup. This is suppose to be the first electric guitar and had an electro-magnetic pickup. These first lap-steel guitars had the name “Electro” on the headstock.

In 1934 they started putting the name to Rickenbacker on the headstock. The company name was still Electro String Music Corporation. In 1932 they were manufacturing “Electro Spanish” style guitars which where hollowbody guitars with electro-magnetic pickups on them.

Adolf sold the company in 1953 to a Francis Hall who also was distribution radio electronic parts and latter was a distributor of Fender Guitars. The company was located in Los Angeles at the time. Roger Rossmeisl who had worked for Gibson had been hired to develop new guitar models. One of his designs is the still made today thin hollowbody electrics.

In 1954 they started shipping their first modern electrics. These where the first double cutaways with a carved top. These guitars where the Rickenbacker Combo 600 and 800 models. Both had a horse shoe pickup and a square neck that was reminiscent of the early lap steel guitars. These guitars where also the first to have the new underline Rickenbacker logo that is used today.

The horse shoe pickup was replaced with a new electo magnetic pickup made for spanish style electrics. In 1956 Rickenbacker started manufacturing their first “neck through body” guitars. The first model was Combo 400. This guitar also had the new pickup arrangement. The “neck through body” construction was usually found on solidbody electrics at the time. In 1957 they introduced the “crescent moon” double cut-a-way which were found on the Combo 650 and 850 models. This is a fairly important time as this is the same style that is used today.

In the late 50’s and early 60’s the thin hollowbody guitars started to show up. Rossmeisl had come up with a way of basically carving out the wood on maple blocks. Usually these blocks where made of two thinner blocks glued together. He then would carve out the guitar from the back side. Then after the guitar was carved out he would glue a maple back as well as glue in the neck. The electronics where added when this was completed. These guitars where called the Rickenbacker Capri which had three pickups and a short scale neck. This was ultimately to the guitar used by John Lennon. The Capri Series was started in 1958 and consisted of 12 guitars. Rickenbacker later that year removed the Capri name and numbers where used in place of it.

The numbers would signify the number of pickups and if it had a tremolo or not. There where 12 models altogether four of which where short scale and four long scale, and four where deluxe long scale guitars.

Short Scale Series:
310 two pickups
315 two pickups with vibrato
320 three pickups
325 three pickups with vibrato

Long Scale Series:
330 two pickups
335 two pickups with vibrato
340 three pickups
345 three pickups with vibrato

Long Scale “Deluxe” Series: These had the triangle fretboard inlays
360 two pickups
365 two pickups with vibrato
370 three pickups
385 three pickups with vibrato

Around this time a newer pickup was introduced. This has become known as the “toaster top” pickups because of the split pickup design. In 1960 Rickenbacker devised what is called “Rick-O-Sound” which was basically two single coil pickups where each pickup had it’s own output. The guitars used a 1/4 inch stereo jack that was wired so that the bridge and neck pickups where routed out it’s own channel. You could plug the neck (treble) pickup to a different amp which gave the guitar a more stereo sound. This is still in many of the rickenbackers of today.

In 1962 the company moved to Santa Ana California. This was also the time when Roger Rossmeisl left to go work for Fender. It wasn’t until 1963 that they started working on the electric 12-string. There where acoustic 12 strings available at the time and DanElectro made an electric 12-string that wasn’t too popular. This would prove to be one of their major hits as it was eventually picked up and used by Roger Mcguinn of the Byrds. The guitar consisted of basically two strings for each note where each string where tuned an octave a part which gave you a chimey chorus type of sound.

Rickenbacker 360
The 360 is an updated version of the guitar that defined the ‘British’ sound in the 60’s. It is a hollowbody that has a unique contour that surrounds the entire perimeter of the body. It’s hand crafted and made in America.

Rickenbacker 4003
The 4003 bass has one of the most distinctive tones that can be heard from the Beatles to YES with a tiny canadian band called RUSH in there somewhere . It has a guitar like sound than a bass sound. This doesn’t mean that there isn’t any low end but rather you hear ALL the harmonics of the strings.

Rickenbacker 4001C64
The 4001 was the bass used by Paul McCartney, Geddy Lee, and Chris Squire as well as John Entwistle to name a few. This version is a re-creation of the original 4001 bass and is labled the Rickenbacker 4001C64 bass. This one features a reverse headstock.

The classic Rickenbacker bass!
The Rickenbacker 4003 Bass is famous for its ringing sustain, treble punch, and solid underlying bottom end. It’s also famous for its distinctive, elegantly curved body shape, accentuated by a subtle strip of binding, deluxe triangular fretboard inlays, stereo output, neck-thru-body construction, double truss rods, and high output single-coil pickups with wide response range and brilliant clarity. The Vintage Tone Selector activates a capacitor in the treble pickup circuit to emphasize the high end. Pressed in, you get the familiar 4003 sound, pull it out to add bite and crispness.

Rickenbacker 4003 Bass Features:

Elegantly curved body shape
Stereo output
Neck-thru-body construction
Double truss rods
High-output single-coil pickups
Vintage Tone Selector boosts high-end
Deluxe triangular fret inlays
Schaller Deluxe machine heads

The Rickenbacker 4003 is the Classic Rickenbacker Bass Guitar.
The 4003 is famous for its ringing sustain, treble punch and solid underlying bass tones that made Rickenbacker a household name. A subtle strip of binding graces the elegantly curved body and the Rosewood fingerboard. Deluxe triangular inlays and stereo capability are standard features.

Rickenbacker recently introduces the Vintage Tone Selector for 4003 Series basses. This additional control is included standard at no additional cost on all 4003 basses beginning in the 2006 model year.

Prior to 1984, Rickenbacker basses utilized a capacitor in the treble pickup circuit to emphasize treble tones coming from that pickup. However, changes in tone preference and a call for higher output led RIC to discontinue the use of this capacitor in favor of a more balanced sound. Nevertheless many users added this capacitor back into the circuit, experimenting with and sometimes preferring the sound of the older configuration, despite the resulting drop in volume.

Rickenbacker has now decided to give their players a choice, allowing the best of both worlds. With a simple pull of the treble tone control, the Vintage Tone Selector will allow a player to move between both sounds at the drop of a hat. Pressed in, you’ll hear the familiar balanced tone of the 4003, while pulled out to engage the circuit, you’ll appreciate the bite and crispness popularized by such artists as Chris Squire.

“Handmade in America” - three words that proudly embody Rickenbacker’s unchanging commitment to quality and excellence. A commitment that is as strong today as it was in the Company’s beginnings, over sixty five years ago.

Indeed, little has changed in the production of Rickenbacker guitars and basses. The time-honored skills of craftsmanship and handwork are as prevalent in the Rickenbacker factory as the lack of modern conveyer-belt assembly lines.

While utilizing some of the most modern tools and equipment available, Rickenbacker has been selective in employing technology to be sure that improved quality is the only reason for not performing the operation in a traditional fashion. In fact, to the greatest extent, the most skillful and demanding work is still done entirely by hand.

Despite the somewhat European sounding name, every instrument bearing the Rickenbacker name was produced in Rickenbacker’s own factory in California, U.S.A.

Some Rickenbacker history.

Rickenbacker Bass

Based in Los Angeles, the Electro String Instrument Corporation was formed with the main intention of producing electric musical instruments and amplifiers. The well-known Rickenbacker International Corporation (RIC) has its origins in this pioneering company. Adolph Rickenbacker and George D. Beauchamp established RIC, in 1931. They made the first modern electric guitars known as the ‘Rickenbacker Electro Instruments’. Rickenbacker instruments have helped in defining music of bygone years as world-famous bands as the Beatles played them. This company was versatile enough to cater to the needs of jazz, rock and blues musicians. By adding amplifying horns to their stringed instruments, RIC made them louder and more powerful for an enhanced listening experience. Their 1935 Bakelite Model B Spanish guitar was highly successful before the era of the modern electric guitar.

In the mid-1950s, Rickenbacker introduced a solid body electric bass. This instrument featured an extension of the neck from the head to the base. This unique design is nowadays known as the neck-through-body construction. Their solid body basses like the Model 4001S featured horseshoe pickups in the bridge position. Known for their excellent sound quality, Rickenbacker bass guitars are used by several groups around the world. Southpaw guitarists can purchase left-handed Rickenbacker bass instruments. There is a pleasing sound that comes when you play a single Rickenbacker bass string.

he Rickenbacher company began as a tool-and-die business, founded in Los Angeles in the 1920s by Swiss immigrant Adolf Rickenbacher. (The company later changed “Rickenbacher” to the now-familiar “Rickenbacker.”) By the 1930s, Adolf was involved in various ventures with George Beauchamp involving building and amplifying electric instruments, including the 1931 “Frying Pan” lap steel, which was arguably the first electric guitar. In 1936 his Electro company also produced one of the first electric basses, an amplified upright which was apparently a little too far ahead of its time. In the ’50s, he sold the company to F.C Hall, and the Electro name was phased out in favor of Rickenbacker. By the mid ’60s the world was riding the wave of rock & roll, and the impact of the Beatles’ use of Rickenbacker guitars (and later, the 4001 bass) had a huge effect on the company’s status in the music world. To this day, the Rickenbacker name still invokes an instant coolness factor.

The fast, slim neck and body, both Rickenbacker hallmarks, feel positively seductive when you pick it up. The one-piece neck has a 33q” scale, feels solid, and has fewer dead spots and more sustain than a typical bolt-on bass (or, for that matter, a “violin bass”). One can only imagine how different this bass must have felt to Paul McCartney when he switched from his trusty Hofner to the Rick in the studio in 1965. He was quoted at the time as saying that he especially appreciated the 4001’s superior intonation. It’s worth noting that Sir Paul and the great Chris Squire of Yes both played the 4001S import (sold in the U.K. as the Model 1999), a “no frills” version with dot fret markers and no binding, but electronically they are the same as this 4001.

The 4001’s sound has a lot of personality and a wide frequency spectrum, without the midrange emphasis of Fender-style basses. Its versatility is best personified—and documented—by the radically different tones McCartney and Squire produced from the same instrument. It can go from dark and woofy to bright and gnarly in a flip of the switch and a twist of a knob. With a pick and the emphasis on the back pickup it’s almost impossible not to play your favorite Yes bass lines, and the “toaster”-style neck pickup is guaranteed give you a warm and fuzzy Sgt. Pepper vibe. Rush fans will, of course, remember that Geddy Lee also played a Ricky for quite some time, as did the Jam’s Bruce Foxton.

Changes to the 4001’s design have been gradual and, for the most part, fairly subtle. Sometime around 1970, the stereo “Rick-O-Sound” output became standard, allowing the player to split the pickups into two separate outputs. In 1979, Rickenbacker phased out the 4001 and replaced it with the Model 4003. The changes mainly involved a new, stronger trussrod system, now accessed from the neck’s body end.

This bass has flats on it, McCartney-style; I can’t think of another bass that has such a strong personality change when you change to a different type of strings. There have also been reissues of the McCartney and Squire basses, plus limited production runs of a few other special variations over the years.

As a company, Rickenbacker remains a small family business. It has changed hands only once and continues to make all of its basses in the U.S., avoiding the temptation to make knock-offs of their own designs overseas. Handmade instruments have their own personality, and over the years I have played many different Rickenbackers; no two seem to be exactly alike. The 4001 has outlasted many musical changes as well as many of its contemporaries, and it’s still a versatile, responsive instrument with a unique personality and a variety of cool tones. Until next time—peace, love, and grooves to you all!

3895 South Main Street
Santa Ana, CA 92707
Telephone: 714-545-5574
Fax: 714-754-0135
Website: http://www.rickenbacker.com/

I owned a Rickenbacker 4003 for about a month. I enjoyed it very much, but the friend who’d sold it me started to miss, so I sold it back to him. Rics (which are still exclusively built in Santa Ana, CA–no imports) have that kind of mojo that really grows on you. Bassists like Geddy Lee, Paul McCartney, Lemmy, Chris Squire, and many more have depended on the Ric’s incredible growly midrange tone to anchor some of the best rhythm sections in rock and roll.

The Ric 4003 (and its predecessor, the 4001) is easy to spot. The body has a unique “cresting wave” shape; this motif is continued on the headstock as well, with a neat little crook. The look is classic for some, repulsive for others. I personally find it quite nice, and the design makes it balance easily on a strap without neck dive. The bass is all maple, and it is neck through body, which means that the neck runs the entire length of the body. I won’t go too far into neck design here, but generally, neck thru designs tend to have excellent sustain and a stronger fundamental frequency response than bolt-ons. There is also no “heel” where the neck connects to the body. I tend to favour the bolt on design because of its richer overtone series (neck thrus usually sound “drier” than bolt ons). But I digress…. Anyhow, hard maple is a durable material with good tonal characteristics, but can also be quite heavy. A Ric isn’t the most lightweight bass available, which should be a consideration for people who are smaller in stature or players with back problems. As for the rest of the construction, it is on par with other USA made instruments. The fretboard and body binding is done nicely, as are the triangle (sharkfin) inlays. In all, the construction is as good or better than other instruments in its price range–no real surprises, and a solidly built bass.

The neck on the Ric 4003 is quite thin from front to back and quite narrow when compared to other four string basses. Depending on your hand size, this may be a good or a bad thing. I didn’t really have a problem with playability, but people who dislike pencil-thin necks might not think of the 4003 as their favourite neck.

To a trained ear, the Rickenbacker signature tone is identifiable within seconds. It has that thick, warm midrange punch associated with recordings from the 70s by people like Geddy Lee from Rush. This is a kind of tone that will still be heard in the midst of a heavy-handed drummer and one or two fuzzy guitars. No worries about driving a band, here. Dig in a little bit (or use a pick, like Chris Squire from Yes), and you can coax some mean snarl out of it.

Electronically, the 4003 has the Ric-O-Sound system for stereo output (useful if you want to blend between two amplifiers), two single coil pickups with a volume and tone control for each, and a three way switch. In spite of all of this flexibility, the signature Rickenbacker tone is still there. I’ve found this to be the case with many basses with well-known tones (Music Man Sting Ray, Fender Precision). Others may disagree, but this bass is not a tonal chameleon. I wouldn’t consider this a bad thing, however, because it does what it does extremely well.

I’ve heard of some players who’ve had problems with the necks on their Rickenbackers. Originally, the 4001 basses were built before modern roundwound strings were developed. Electric basses used flatwound strings, which were lower tension. When roundwounds started getting popular for their brightness and players started switching over, the necks on the Rics would warp under the increased tension of the strings. To correct this problem, Rickenbacker designed the 4003 with two truss rods in the neck. I personally am afraid of adjusting a neck with two truss rods, so I’d take it to a technician. As for continued neck problems on 4003s, I believe that Rickenbacker has a lifetime warranty for the original owner.

Overall, the Ric 4003 is a cool bass with a unique tone. While not tonally versatile, I think it is versatile in that its tone will work well in a variety of musical situations.

I was sad to see my 4003 go, but I was also glad that my friend was happy again. The 4003 is a real keeper, and I still have my eye out for a replacement.

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The Ric 4003 is an undeniably great instrument. It does not have the extreme bassiness, flexibility, and silky smooth tone of the modern designer basses. It was made in the days of good old fashioned rock and roll, and it is therefore the best at playing this type of music. If you want, it can have a nice, warm, mellow tone. This is especially good if your amp has a mid scoop button. But with the flick of a switch and the turn of a knob you’ll have it cranking out crazy treble tones. I think installing a humbucker at the neck position is a good idea. Without it this bass lacks the low end punch many players like. There’s a lot of good stuff to say about the Ric. It looks awesome, of course. The tone is very even throughout the low, mid, and high ranges. Most basses these days sacrifice quality mid and treble range in favor of that super bassy slap tone. Not Rics. Of course the sustain is good, everyone knows that. The neck is especially awesome. It is certainly my favorite bass neck due to the fact that it is nearly the same width at the 20th fret as at the nut. I like playing chords high on the neck so this is a big deal. Also Rics are sweet with overdrive/distortion. Just solo the treble pickup and blast away. In general, 4003’s are great at being noticeable without overwhelming any of the other instruments. There’s only a couple things wrong with it. One: The tone is not very versatile. It does a few things (classic rock styles) really good, but it’s not good for slap or newer heavy metal. And two: it can be tough to actually use the Ric’s cool tones within the practical context of a band. It takes a lot of fiddling with the EQ to make them effective. These are not big issues though. If you want a more elegant weapon from the better, bygone days of rock, get yourself a Rickenbacker bass.

Recommended:
Yes

Amount Paid ($US): 1,400
I Bought It: New
Weight: Just right; not too heavy, not too light
Sound Quality: Versatile

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I bought my 4003 in late 1982, when I was a high school junior. It is black with white trim. I recall paying either $595 or $695, brand new. I fell in love with the Rick’s unique sound as demonstrated by two of my favorites, Geddy Lee and Chris Squire.

The action on my 4003 is low, which I like. This marvelous instrument is easy to handle and comfortable to play. The pickup cover took some getting used to, but I have long since found ways to use it to my advantage, particularly when playing with a pick, as I can position my hand on it for some stability. The neck itself is smooth and easy to move around.

In addition to its unique shape and sharp look, the body is relatively lightweight. The adjustable pickups allow for fine-tuning of the overall tone, so you can find “your” sound.

Obviously, famous rock bassists like Chris and Geddy have exploited the twangy high end and guttural low end sounds, but I managed to produce a range of in-betweens back in my cover band days. Since the Rick was my only bass, I had to adapt the sound to reproduce songs ranging from U2, The Police, REM, Led Zeppelin, and of course the aforementioned Rush and Yes. Overall, I have found the instrument to be much more versatile than I would have expected.

These days, though I don’t play nearly as much as I would like to, I still have the urge to pick up my Rick 4003. Usually, I simply play along with CDs in my basement; occasionally, I manage to throw together an informal jam. Sure, my Rick’s seen better days, but I wouldn’t trade it for any other instrument. If you buy one, I’m confident you’ll understand exactly what I mean.

Recommended:
Yes

Amount Paid ($US): 595 or 695
I Bought It: New
Weight: Just right; not too heavy, not too light
Sound Quality: Versatile

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To put a little perspective on my comments. I’m 49 years old, been playing for 36 years, have played a lot of basses in my time, first Ric bought was a 4001 brand new in 1977. At this point I have two 4003’s both a year or two old and bought brand new. I like medium action which is where I set my basses, but it can be brought down pretty low on these thanks to the dual truss rod system they use, the necks are very solid, you set them and they stay there. I owned a 1984 4003 and feel these newer ones are superior in sound and playability.They are very dependable and I gig exclusively with Ric’s. The neck is a little thicker than a 4001 and a little wider, but you get used to this very quickly, and you realize that the neck is actually much better than a 4001 neck which can’t take a lot of tension, 4001’s were designed for light gauge flatwound strings and 4003’s will take just about any string. I’ve had Med. gauge Fender flatwounds on them(they are like telephone wires, but sound great) and that was about the limit for the neck-truss rod system,but these strings exert a tremendous amount of pull on the neck and they did handle them. I use Med. lights now. Construction was impeccable, no defects. The new pickups are much more powerful than the older ones, very full sound, the tuners stay in tune, their bridges are the same as they have always been, I don’t like the fact that I can not mute the strings with my palm when I use a pick which is rarely, and they are hard to intonate, you are supposed to loosen all the strings and take the bridge right out but this is a chore, so I bought a 90 degree Phillips head and just loosen the string itself that I want to intonate, much easier and quicker. I like the 2 volumes and 2 tones, vol. and tone for each individual pickup, you can get anything from a deep bassy tone to a very trebly tone, and anywhere in between. You can also use the Ric-o-sound jack with a stereo cord and plug into 2 different amps or two different channels of the same amp and control each pickup independently of each other. I play all kinds of styles and they always sound great both in the studio and live, they are a little noisy near lighting and transformers though, they could use some shielding, but for the most part noise is not a big factor. I’ve never had to deal with any warranty repairs, but have bought parts and asked questions and they have been helpful. I play them through a variety of Ampeg tube amps, SVT’s being the mainstay, Ric’s put out a lot of bottom and SVT’s handle it without becoming muddy or distorted, they sound huge, I get a lot of compliments from other players and audience members with this combination. I use no effects, I like passive basses through tube amps, from there the sound is in the way you play it. To sum it up even though I feel there is no such thing as a perfect bass, Ric’s are as close I can find and wholeheartedly recommend them to any bass player who has learned to play from his sole, or who wants to.

Recommended:
Yes

Amount Paid ($US): 1000.00
I Bought It: New
Weight: Heavy, but not uncomfortable; solid
Sound Quality: Rich and Full

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This bass is absolutely classic and it has definitely defined the sounds of bands like the Beatles, Yes, and Rush. Because of the neck-thru construction and the massive tone delivered by the neck-position pickup, it just sounds like 9 pounds of raw hamburger being dropped on your face. However, that seems to be all this bass does.

It’s a big chunky sound that makes a Fender cry in the corner like a little girl, but you’re not going to be using this on many jazz or pop recordings. You’re not going to be slapping with this. It’s not a sophisticated or classy bass, but if you’re playing hard rock, there isn’t much in the world that will cut through a mix like this will. Whereas the delicate tones of a Fender Jazz might get eaten alive in a metal band, as far as I’m concerned, no 4-string metal bassist should ever play anything but a Rickenbacker. The sound stands up to overbearing guitarists all over the world.

The sonic weakness of the bridge-position pickup, plus the rather awkward shape of the instrument, make it feel less like you are holding an extension of yourself and more like you are operating a backhoe. If you need the heavy machinery, go for it. Otherwise, look into something with a little more versatility.

I’d also like to point out that these pickups are single-coil and I have struggled with EM noise problems on this bass as a result. As far as I’m concerned, there’s not much reason to need a single-coil pickup on a bass, but the pickups on the Rickenbacker are an important part of its history, so this is never going to change.

Recommended:
No

Amount Paid ($US): 750
I Bought It: Used
Weight: Just right; not too heavy, not too light
Sound Quality: Rich and Full

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Rickenbacker basses have been used by many big musicians such as Geddy Lee of Rush, Chris Squire of Yes, Paul McCartney of The Beatles, etc. I like the shape and feel of the “Rick” as well as the sound. The thin body is wonderful and it is amazingly light. The slim neck is perfect and allows great maneuver. The pick-ups have wonderful response, and actually allow you to adjust them for that extra punch, or low-end. Each pick-up contains a treble and bass knob for the perfect tone. The Rickenbacker 4003 is perfect for gigs, the high-end really cuts through to the listeners but doesn’t drown out everything else. I have only noticed two minor problems with the 4003. The G string is a little close to the edge of the neck so occasionally you might pull it off the fretboard, but only if your not paying attention. The other problem is you wont be able to put this beauty down! Don’t complain to Rickenbacker International Corp. if your wife gets mad cause you start sleeping with the 4003 in bed. Don’t say I didn’t warn you…

Recommended:
Yes

Amount Paid ($US): $995 w/case
I Bought It: New
Weight: Not too heavy, not too light
Sound Quality: Versatile

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I ordered my beloved Rickenbacker 4003 fireglo about a year and a half ago from AMS and after playing it I am convinced its the greatest bass you can buy.

I was lured to the decision of getting a Rickenbacker mainly because my 2 great influences,Cliff Burton and Geddy Lee, played them (and cause i was getting sick of Fender).

The sound of Rics can’t be compared to and the neck made playing YYZ a much easier expierience than it ever was on my Fender. The finish on the fireglo is especially beautiful with the dark red on the outer most edges and progressivley becoming lighter as it nears the pickups.

I play this through a 220W Crate in performances and practices. While i am in a thrash metal band, I also use my Ric for Jazz and Jazz Fusion. Thats the greatest thing about Rics, The sound you get can be used (and fit perfectly) for any style of music. Next up for me, a Rickenbacker fretless (once i can get the money).

Recommended:
Yes

Amount Paid ($US): 1500
I Bought It: New
Weight: Just right; not too heavy, not too light
Sound Quality: Versatile

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Purchase: Purchased from “The Rockinn”, Perth, Western Australia. early 2004 for $2200Aud (equiv to $1600 US) included the standard (ABS?) hard case.

What I Like About The Rickenbacker 4003: Everything… OK seriously - I’ve wanted one from the age of about 9 - it’s the funkiest looking bass in town and does it without looking pretentious like many of the new “retro style” basses do. great neck - NO - truly great neck- though the action needed tinkering with, and what’s with the weight issue everyone goes on about? I certainly found it to be well balanced and a reasonable mass for it’s size. Sound wise it is far more versatile than I expected with great tonality and briliant sustain - my poor Yamaha BB is now gathering dust. On the bridge pickup it is bright and sharp and on the neck it is thumping without being too dark. Controls are just right for rolling back a bit of treble from the bridge or a bit of volume from the neck pickups to get any tone in between.

What I Do NOT Like About The Rickenbacker 4003: it come off a poor second to my Washburn Status bass for pure instant deep punch and for slap/pop playing - which is not surprising given the Washburn’s longer scale graphite neck, double ball end strings and active electronics - it’s not so much an issue of being in a different league it’s that they are playing a different game. This doesn’t phase me as it does every thing else brilliantly. It is quite sensitive to interference due to single coil(non humbucking) pickups. I have to turn off fluro lights and CRT monitors when I DI it in to record - But with jamming and live work it’s fine.

4003 Quality: A1 - in all seriousness I can not find a single fault in it maybe I could say that I don’t like that the bottom strap pin is what it rests on if not on a guitar stand and that the jack plate could be further round to the bottom of the body as it puts stress on the jack when stood up with out a guitar stand but this is clutching at straws and says more about the fact that I need to buy an extra guitar stand

4003 Summary: It’s not every day that dream and reality actually meet in the same room - but this bass meet then exceeded my expectations. What little it gives up in playing style versatility (re: slap) it gains tree fold in growling attitude stand apart appearence and first class quility of construction. OK so it’s not truly the perfect bass and I’d like to pair it with a music Stingray to have what I would consider to be the best of both worlds… but that’s another dream
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History: I’ve been playing bass guitar for years now, some odd number that I can’t exactly remember, although it’s somewhere over five. I’ve played in a couple bands, and still actively perform. My interests range from shoegaze and electro-pop to alt-country and folk, and a lot of places inbetween.

Purchase: I came upon this guitar from my father, and I’ve more or less adopted it off of him. I couldn’t tell you how much he paid, as I don’t know, but I more or less got it as a gift.

What I Like About The Rickenbacker 4003: The Rickenbacker’s an absolutely gorgeous guitar, completely unique but not in the hideous manner of a lot of the basses that try to come off as unique. Rather, it is unique in the amount of class it exudes, and it is remarkably comfortable. The action is very nice, as is the neck-length. The tone is to-die-for, rich, deep, and punchy, and that trait of the Rickenbacker has kept me more than happy. It is in fact a crucial element of the band I play in, and switching to my backup bass really doesn’t match up.

What I Do NOT Like About The Rickenbacker 4003: The only real lack of the Rickenbacker is that it doesn’t slap well. Conveniently enough, I rather dislike slapping, and don’t use that technique. It can slap, but if you’re wanting a bass just for slapping, pick something else, but not many people want a bass just for slapping.

4003 Quality: The construction and quality is beyond impeccable. Every detail is perfectly done, and despite its age, the entire thing feels as good as new. My personal favorite trait though is how well it holds tune, in that I can go without tuning for weeks at a time only to check it and see that it is still perfectly in tune.

4003 Summary: If you’re looking for a classy bass with a deep, rich bass, and a punchy upper-end, here’s your best bet on that matter. I’ve played nice Fender’s and nice Ibanez’s, and I’ve yet to find a bass that’s impressed me as much as the Rickenbacker that I have.
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Purchase: Bought at Jacksons, Syndey 2001. Paid $2,850 (came with hard case - me ?).

What I Like About The Rickenbacker 4003: It’s a Ric ! I always wanted one since I played bass in bands back in the early 70’s.

What I Do NOT Like About The Rickenbacker 4003: It punishes my mistakes. For the last 25 years I have only played an accoustic guitar so the electric bass is a little different - and I have to learn all over again.

4003 Quality: It’s cool. Looks good, and the quality is great. It is classic Rickenbacker and I’m really pleased with that.

4003 Summary: I played a few other basses and they were good too, but they weren’t Rickenbacker - if you want one then that’s all that’ll do.
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Purchase: I bought this Bass in a music store in France where i live, it was a used guitar 2 years old when i bought it in January 1994. It paid about 11OO dollars (960 euros).

What I Like About The Rickenbacker 4003 FG: I like everything in this Bass, great sound, great look (very vintage but that’s what i like). The neck is specially easy to play very thin! GREAT!!!

What I Do NOT Like About The Rickenbacker 4003 FG: I can’t tell!!! Perhaps the weight…?

4003 FG Quality: The quality of this bass is amazing! This is a hand made bass and you touch and feel that when seeing it! The varnish only begins to tarnish now and this guitar was built in 1992 and i use it every single day and in gigs too! In 12 years i never had a problem with it.

4003 FG Summary: The Ric’ is one of the unit that you can say about it: “It makes me play better” The sound is strong and typical but you can use it for everykind of music and style! Moreover this guitar is realy original and rare compare to a P-Bass for instance! (I have one too!)
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Purchase: Bought at a Sam Ash store in White Plains, New York in 1998 for $1,050, new. Includes hardshell case.

What I Like About The Rickenbacker 4003 Fireglow: I fell in love with the Ric bass as a teenager in the late 70’s. My favorite bass players were Paul McCartney, Chris Squire, Geddy Lee and Rick James, and they all played Rickenbackers! Not only the best looking bass on the planet, but that distinctive sound. every note is crystal clear, (never muddy) and it holds the volume all the way up the neck. the high notes are just as loud as the low notes. Tons of punch.

What I Do NOT Like About The Rickenbacker 4003 Fireglow: There isn’t anything I don’t like about this bass. I have heard it is not good for slapping-high treble punch makes it too noisy and clunky-but I don’t slap, so not an issue for me.

4003 Fireglow Quality: The construction, fit and finish is remarkable. You could not find a flaw with a magnifying glass. The finish is so deep it looks like you could reach in to it. The action is great. The neck runs all the way through the body, and has two truss rods. It also has a stereo output called “Ric-o-sound”, which allows you to split each pickup signal to two different amps. I have used this a few times and it works quite well.

4003 Fireglow Summary: I own two other basses, a Yamaha and a Fender Precision, which basically have been collecting dust since I got the Ric. Some people think the look of the Ric is a little dated, but I think it is classic. I get more compliments at gigs than you can imagine. I would love to find an older model in either maple or black, but they tend to be a bit expensive. Rickenbacker guitars and basses really hold their value. I doubt I would ever play anything else! Oh, and last but not least, it is %100 made in the USA!!!
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History: I am mostly a studio musician who records a lot in his home studio, I occasionally play in bands too, but not very frequently. I own a great number of basses and guitars (I also play the guitar). The styles I play are funk with a jazzy undertone, alternative, pop, and rock. I have played the bass for 11 years now.

Purchase: I bought the instrument in a guitar shop in Utrecht in the Netherlands, I paid 1500 Euros for it (=$1800). The instrument turns out rare here, so I was quite lucky that I just stumbled on one accidentally, while inquiring about a different bass. I decided to buy it right away, because I didn’t think I would get the chance again very quickly. I haven’t regretted it.

What I Like About The Rickenbacker 4003JG: I like the deep grumbling sound of it. It punches through everything, even if you play it at a very low volume. I have read many times that it doesn’t slap very well, but I have no problem slapping it. I think the problem is just that the attack is not as steep as many other basses, which require you to adapt your technique a little bit - slap it somewhat further on the neck, away from the pick-ups. It gives a wonderful metallic sound when you do this. I absolutely love it.

What I Do NOT Like About The Rickenbacker 4003JG: I think the neck is a little too wide. I very much like the width (and sound) of my Fender Jazz bass, and I always have to acclimatise when I put the one away to play the other. The seller told me that everybody who buys a Rick bass always screws off the pick-up hood. I did so too, I think it is tremendously in the way. Unfortunately, it leaves an ugly hole when you do this. I also think the scaling screws are placed in quite an inconvenient position. You have to unscrew the entire bridge to adjust them. I have never understood how people can think it is a beautiful instrument. I think it is absolutely hideous. It reminds me too much of a cadillac.

4003JG Quality: It’s built like a tank, plays like a tank, and weighs like a tank, but I don’t mind so much.

4003JG Summary: I mostly see this bass as a valuable addition to my other basses, which have a completely different feel and personality to them. So, if you are looking for a powerful, grumbly, dominant sound, and if you don’t mind the weight, I think it could be a wonderful instrument

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Purchase: I bought it 2nd hand (it’s a 98 model) from a guitar store and paid AU$1200 (US$850ish) I have always loved the look and sound of the Rickenbacker. When I saw this one, I had never seen a 4004 before, I had to do a bit of research to find out about it, and there wasn’t much info out there. Thats why I’m doing this review so someone else like me might find it useful.

What I Like About The Rickenbacker 4004L: Everthing! If I had to narrow it down to one thing, I’d say the bridge pickup. It absolutely rocks. The drummer in my band says he has never heard me cut through so clearly before. I also love the look of it. The 4004L still has the classic Ricky shape, but the body has a more modern look, it has been rounded off a bit at the edges, and feels great to hold. It has 2 Humbucking pickups which are selectable for a variety of sounds, but for a thumping low sound, I just love using the bridge pickup alone. If you will pardon the expression, it’s got balls. And big ones! The sustain is amazing, you can hold a note for ages. It’s easy to play, and I love the look of it.

What I Do NOT Like About The Rickenbacker 4004L: nothing yet….

4004L Quality: As seems to be the case with all other Ricky reviews, the quality and construction cannot be faulted. The finish is spot on. I did find a review on another site that said to keep a close eye on the neck because it can warp, but as this one is 6 years old and straight as an arrow, I cant see any problems there for me. The only other thing is it has a Bubinga fingerboard. I don’t really know what bubinga is-it’s obviously some type of timber, but it plays great. If you are like me and you don’t know what bubinga is, don’t let it worry you.

4004L Summary: I love it. It’s a dream come true. I had always wanted a ‘traditional’ Rick like the 4003, but now I have the 4004L I wouldn’t swap it for anything. It’s got ‘wow’ factor when you show it to someone for the first time.

When I think of Rickenbacker I think of the Beatles and the Byrds with the very distinct “chime” or “jangle” sound that the 12-string 360-12 rickenbacker has. Tom Petty also used this guitar on many of his albums as did the band Bad Finger.

The company was started in 1931 and was originally called “Ro-Pat-In”. It was a partnership that included Adolf Rickenbacker, George Beauchamp and Paul Barth. They started by manufacturing “Frying Pan” lap steel guitars. They were made of aluminum and included an electro-magnetic horse shoe pickup. This is suppose to be the first electric guitar and had an electro-magnetic pickup. These first lap-steel guitars had the name “Electro” on the headstock.

In 1934 they started putting the name to Rickenbacker on the headstock. The company name was still Electro String Music Corporation. In 1932 they were manufacturing “Electro Spanish” style guitars which where hollowbody guitars with electro-magnetic pickups on them.

Adolf sold the company in 1953 to a Francis Hall who also was distribution radio electronic parts and latter was a distributor of Fender Guitars. The company was located in Los Angeles at the time. Roger Rossmeisl who had worked for Gibson had been hired to develop new guitar models. One of his designs is the still made today thin hollowbody electrics.

In 1954 they started shipping their first modern electrics. These where the first double cutaways with a carved top. These guitars where the Rickenbacker Combo 600 and 800 models. Both had a horse shoe pickup and a square neck that was reminiscent of the early lap steel guitars. These guitars where also the first to have the new underline Rickenbacker logo that is used today.

The horse shoe pickup was replaced with a new electo magnetic pickup made for spanish style electrics. In 1956 Rickenbacker started manufacturing their first “neck through body” guitars. The first model was Combo 400. This guitar also had the new pickup arrangement. The “neck through body” construction was usually found on solidbody electrics at the time. In 1957 they introduced the “crescent moon” double cut-a-way which were found on the Combo 650 and 850 models. This is a fairly important time as this is the same style that is used today.

In the late 50’s and early 60’s the thin hollowbody guitars started to show up. Rossmeisl had come up with a way of basically carving out the wood on maple blocks. Usually these blocks where made of two thinner blocks glued together. He then would carve out the guitar from the back side. Then after the guitar was carved out he would glue a maple back as well as glue in the neck. The electronics where added when this was completed. These guitars where called the Rickenbacker Capri which had three pickups and a short scale neck. This was ultimately to the guitar used by John Lennon. The Capri Series was started in 1958 and consisted of 12 guitars. Rickenbacker later that year removed the Capri name and numbers where used in place of it.

The numbers would signify the number of pickups and if it had a tremolo or not. There where 12 models altogether four of which where short scale and four long scale, and four where deluxe long scale guitars.

Short Scale Series:
310 two pickups
315 two pickups with vibrato
320 three pickups
325 three pickups with vibrato

Long Scale Series:
330 two pickups
335 two pickups with vibrato
340 three pickups
345 three pickups with vibrato

Long Scale “Deluxe” Series: These had the triangle fretboard inlays
360 two pickups
365 two pickups with vibrato
370 three pickups
385 three pickups with vibrato

Around this time a newer pickup was introduced. This has become known as the “toaster top” pickups because of the split pickup design. In 1960 Rickenbacker devised what is called “Rick-O-Sound” which was basically two single coil pickups where each pickup had it’s own output. The guitars used a 1/4 inch stereo jack that was wired so that the bridge and neck pickups where routed out it’s own channel. You could plug the neck (treble) pickup to a different amp which gave the guitar a more stereo sound. This is still in many of the rickenbackers of today.

In 1962 the company moved to Santa Ana California. This was also the time when Roger Rossmeisl left to go work for Fender. It wasn’t until 1963 that they started working on the electric 12-string. There where acoustic 12 strings available at the time and DanElectro made an electric 12-string that wasn’t too popular. This would prove to be one of their major hits as it was eventually picked up and used by Roger Mcguinn of the Byrds. The guitar consisted of basically two strings for each note where each string where tuned an octave a part which gave you a chimey chorus type of sound.

The Earliest Days of the Electric Guitar

The Rickenbacker International Corporation (RIC) grew out of the first company founded for the sole purpose of creating and manufacturing fully electric musical instruments and amplifiers-the Los Angeles-based Electro String Instrument Corporation. Founded in 1931 by Adolph Rickenbacker and George D. Beauchamp, this pioneering firm produced “Rickenbacker Electro Instruments”, the first modern electric guitars. RIC’s history now spans years in business years on the leading edge of music trends that have changed popular culture forever. Played by Hawaiian musicians of the 1930s to jazz bassists of the 1990s, by the Beatles and Byrds to the most-current rock groups on MTV, the ringing sound of Rickenbacker instruments has helped define music as we know it. Never resting on its laurels, RIC continues to ignite and propel the electric guitar’s transformation of music by providing today’s musicians with the finest instruments available.

It all began in 1920s Los Angeles, a city fast becoming the entertainment capital of the world. Like many of his contemporaries, steel player George Beauchamp sought a louder, improved guitar. Several inventors had already tried to build louder stringed instruments by adding megaphone-like amplifying horns to them. Beauchamp saw one of these and went looking for someone to build him one, too. His search led to John Dopyera, a violin repairman with a shop fairly close to Beauchamp’s L.A. home.

Dopyera and his brother Rudy’s first attempt for George sat on a stand; a Victrola horn attached to the bottom and pointed towards the audience. It was a failure, so the Dopyeras then started experiments with thin, cone-like aluminum resonators attached to a guitar bridge and placed inside a metal body. A successful prototype (soon dubbed “the tri-cone”) used three of these resonators. Beauchamp, so pleased with the results, suggested forming a manufacturing company with the Dopyeras, who had already started making more guitars in their shop. Setting out to find investors, he took the tri-cone prototype and the Sol Hoopii Trio (a world-famous Hawaiian group) to a lavish party held by his millionaire cousin-in-law, Ted Kleinmeyer. He was so excited about the guitar and the prospects for a new company that he gave Beauchamp a check for $12,000 that night.

Substantial production of the metal-body guitars began almost immediately. Beauchamp, acting as general manager, hired some of the most experienced and competent craftsmen available, including several members of his own family and the Dopyeras. He purchased equipment and located the new factory near Adolph Rickenbacker’s tool and die shop. Rickenbacker (known to his friends as Rick) was a highly skilled production engineer with experience in a wide variety of manufacturing techniques. Swiss-born, he was also a relative of WWI flying ace Eddie Rickenbacker. Well equipped to manufacture metal bodies for the Nationals, Adolph owned one of the largest deep-drawing presses on the West Coast and soon carried the title of engineer in the National Company.

Unfortunately, the seeds for an internal dispute within National were planted in the very beginning. By late 1928 the Dopyeras became very disgruntled with the management of company and resources. John Dopyera, who rightfully considered himself an inventor, ironically thought that Beauchamp wasted time experimenting with new ideas. Dopyera and Beauchamp lived in two different worlds and apparently were at odds on every level of personal, business and social interaction. That they could not work together successfully was a foregone conclusion. Another problem was Ted Kleinmeyer, who had inherited a million dollars at 21 and was trying to spend it all before turning 30 (when he would inherit another million). A Roaring ’20s party animal, successful losing money faster than he could make it, he started hounding Beauchamp for cash advances from National’s till. George’s fault was that he could not turn people down, especially his friends and the company’s president.

John Dopyera quit and formed the Dobro Corporation, but maintained National stock. The Dopyera brothers would eventually win more in a court settlement. Then Ted Kleinmeyer, nearly broke (and a few years away from the rest of his inheritance), sold his controlling interest in the concern to another Dopyera, brother Louis. In a shakeup that followed, Beauchamp and several other employees were fired. Now George needed a new project and a new company, fast.

Along with others of his day, he had thought about the possibility of an electric guitar for several years and, though not schooled in electronics, had started experimenting as early as 1925 with PA systems and microphones. Early on he made a single-string test guitar out of a 2×4 board and a pickup from a Brunswick electric phonograph. This experiment shaped his thinking and put him on the right path. After leaving National, he began his home experiments in earnest and attended night-school classes in electronics.

By 1930 many people familiar with electricity knew that a metal moving through a magnetic field caused a disturbance that in turn could be translated into an electric current by a nearby coil of wire. Electrical generators and phonograph pickups utilized different applications of this principle. The problem building a guitar pickup was creating a practical way of translating the strings’ vibration directly into a current. After many months of trial and error, George developed a pickup that consisted of two horseshoe magnets. The strings passed through these and over a coil, which had six pole pieces concentrating the magnetic field under each string. (Conducting work on his dining room table, he used the motor out of the family washing machine to wind the coil. Paul Barth, who helped Beauchamp, said that they eventually used a sewing machine motor.)

When the pickup seemed to be doing its job, Beauchamp called on Harry Watson, a skilled craftsman who had been National’s factory superintendent, to make a wooden neck and body for it. In several hours, carving with small hand tools, a rasp, and a file, the first fully electric guitar took form. It was nicknamed the “Frying Pan,” for obvious reasons. Anxious to manufacture it, Beauchamp enlisted his friend Adolph Rickenbacker. With Adolph’s help, know-how, ideas, and capital were abundant. The first name of the company was Ro-Pat-In Corporation but was soon changed to Electro String. Adolph became president and George secretary-treasurer. They called the instruments Rickenbackers because it was a famous name (thanks to cousin Eddie) and easier than Beauchamp to pronounce. Paul Barth and Billy Lane, who helped with an early preamplifier design, both had small financial interests in the company as production began in a small rented shop at 6071 S. Western Ave., next to Rickenbacker’s tool and die plant. (Rick’s other company still made metal parts for National and Dobro guitars and Bakelite plastic products such as Klee-B-Tween toothbrushes, fountain pens, and candle holders.)

Electro String had several obstacles. Timing could not have been worse–1931 heralded the lowest depths of the Great Depression and few people had money to spend on guitars. Musicians resisted at first; they had no experience with electrics and only the most farsighted saw their potential. The Patent Office did not know if the Frying Pan was an electrical device or a musical instrument. What’s more, no patent category included both. Many competing companies rushed to get an electric guitar onto the market, too. By 1935 it seemed futile to maintain a legal battle against all of these potential patent infringements.

Hawaiian guitars (lap steels) would be the best known and most accepted 1930s Rickenbackers. Early literature illustrates both 6- and 7-string versions of the Frying Pan. Both had the same cast aluminum construction, compared with the prototype’s wood. Over the years (this guitar would be available into the 1950s) two scale lengths would be offered: 22 1/2 inch and 25 inch. Workers stuffed the bodies and necks with newspapers, which today can provide a clue as to the guitar’s date of manufacture. Soon after the Frying Pan, several additional steel models were offered, the most popular being the hard-plastic Bakelite Model B, later named Model BD. The earliest examples had a volume control and five decorative chrome cover plates on top. By the late 1930s they had both tone and volume controls and white-enameled metal cover plates. In the 1970s, David Lindley used a Bakelite steel on many recordings with Jackson Browne, proving the integrity of the original design in a modern context. Many players consider these lap steels the finest ever produced.

Electro String’s first Spanish (standard) guitar had a flattop hollow body with small F-holes and a slotted-peghead. A bound neck joined at the 14th fret. By the mid-1930s, the concert-sized Ken Roberts Model (named after one of Beauchamp’s guitar-playing friends) came out. It had a bound neck that joined the body at the 17th fret, a shaded 2-tone brown top with F-holes, and a Kauffman vibrato tailpiece. In the 1930s and 1940s there were at least two electric arch top models. The SP had a maple body, shaded spruce top, bound rosewood neck with large position markers, and a built-in horseshoe pickup. The Model S-59 sported a blonde finish and a narrow, detachable horseshoe pickup. This so-called “Rickenbacker Electro peerless adjustable pickup unit” was also available as a separate accessory and would attach to most F-hole style arch tops.

Despite the popularity of arch tops, the 1935 Bakelite Model B Spanish guitar made the most history for Rickenbacker. Though not entirely solid (it had thick plastic walls and a detachable Spanish neck), it achieved the desired result-virtual elimination of the acoustic feedback that plagued big-box electrics of the day. It set the stage for all solid body guitars to follow, even though it was difficult to play sitting down on the bandstand. (A Bakelite Spanish the size most guitarists were accustomed to would have been as heavy, literally, as a sack of bowling balls.) A variation of the Bakelite Spanish invented by Doc Kauffman (who would later become Leo Fender’s first partner) was the Vibrola Spanish Guitar, an ungainly thing equipped with a motorized vibrato tailpiece. So heavy, it required a stand to hold it up.

From the very beginning Electro String developed and sold amplifiers. After all, the instruments worked only in conjunction with them. The first production-model amp was designed and built by a Mr. Van Nest at his L.A. radio shop. Shortly thereafter, Beauchamp and Rickenbacker hired design engineer Ralph Robertson to work on amplifiers. He developed the new circuitry for a line that by 1941 included at least four models. The speaker in the Professional Model was designed by James B. Lansing. Early Rickenbacker amps influenced, among others, Leo Fender who by the early 1940s repaired them at his radio shop in nearby Fullerton, California.

How did Rickenbacker guitars shape the 1930s music industry? Beauchamp had many friends and contacts in the entertainment community and as a result many stars used his instruments. Sol Hoopii and Dick McIntyre, to name just two popular Hawaiian steel guitarists, played Rickenbackers on countless influential recordings. Perry Botkin, who did many recording sessions with Bing Crosby and other Hollywood stars, used one of the few Vibrola Spanish Models. Les Paul owned a Rickenbacker. Electro String even made Harpo Marx an electric harp. A family of Rickenbacker Electro String Instruments was born, all using some variation of the horseshoe-magnet pickup. Besides guitars and mandolins, the company invented fully electric bass viols, violins, cellos and violas. An electric piano prototype sat in the firm’s front office for years. Most of these instruments totally disregarded traditional styling. Rickenbacker realized that a fully electric instrument did not have to retain the appearance of its acoustical counterpart. This conceptual jump-the first of several Rickenbacker revolutions-liberated the thinking of designers to come.

By 1940, after fifteen years in the fast lane, Beauchamp became frustrated and disenchanted with the instrument business, partly due to his deteriorating health. His second passion, fishing and designing fishing lures, captured his attention. He patented one that he sought to manufacture; to raise the necessary capital he sold his shares in Electro String to Harold Kinney, Rickenbacker’s bookkeeper. Soon after this, Beauchamp went deep sea fishing and had a fatal heart attack. His funeral procession was over two miles long. A true pioneer of electric instruments, he unfortunately did not live to see the electric guitar reach its full potential.

Adolph Rickenbacker had maintained other interests throughout Electro String’s short history; he never had as much faith in the guitar business as his partners. Nevertheless, he continued instrument making until 1953 when he sold the company to F.C. Hall, a leading figure in the post-WWII Southern California music business. That sale marked the end of one era and the beginning of another, the dawn of modern Rickenbacker guitars.

The Modern Era of the Electric Guitar

Francis C. Hall was born in Iowa in 1909 and moved to Southern California in 1919. His father owned a small store in Santa Ana, and F.C. went to work at an early age. As a high school student, he became interested in radios and electronics. Besides the obligatory homemade radio enterprising kids of the 1920s made for themselves, young F.C. started a part-time business recharging batteries, making home pickups and deliveries. By the time he had reached 18, he was manufacturing batteries at home for sale. The battery business evolved into a prosperous electronics-parts distribution company called the Radio and Television Equipment Company (R.T.E.C. or Radio-Tel). Hall’s solid background in electronics and public address systems, which he installed in many Orange County churches, schools, and meeting rooms, made his transition into the music industry almost a natural step.

Shortly after WWII, Hall started to distribute steel guitar and amplifier sets made in Fullerton by Leo Fender. In 1946, he became Fender’s exclusive distributor and set out to build a national distribution network. Hall played a key role in Fender’s early success by providing financial backing and parts at a time when electric guitar manufacturing seemed like a high risk venture to most businessmen. F.C. was one of the first people to recognize the bright business possibilities of amplified music, but gradually grew unhappy with his situation selling Fenders. Opportunity knocked again when Adolph Rickenbacker and other shareholders in Electro String sold their interests to him. John Hall says that his father wanted to pioneer the in-house sales organization where closer ties to the decisions made at the manufacturing level would better serve the customer’s needs. The purchase of Electro String by Hall and the distribution of its guitars by Radio-Tel thus set in motion the modernization of the Rickenbacker guitar line.

The early 1950s marked a period of major change in the guitar marketplace-the popularity and sales of steels waned as the popularity of regular guitars exploded. The advent of rock music in the mid-1950s was the coup de grace for non-pedal steel guitar-the electric Spanish guitar had proven itself more versatile and adaptable to the new musical styles. In other words, by the time Hall purchased Electro String, the trend was away from the company’s fine lap steels. To update the Rickenbacker line, he introduced the Combo 600 and 800 guitars, designed for the most part by factory manager Paul Barth. Each differed only in its electronics-the 800’s horseshoe pickup had two coils, the unpatented “Rickenbacker Multiple-Unit.” When used in combination, these coils were humbucking; when used separately, one coil accentuated treble and one bass.

In 1956, Rickenbacker celebrated its 25th anniversary with the introduction of the student model Combo 400 guitar, with what collectors call the tulip or butterfly-style body. Moreover, the firm soon added a solid body electric bass. Both instruments had a novel construction feature: their necks extended from the patent head to the base of the body. Today this is known as neck-through-body construction, with the sides of the guitar body bolted and/or glued into place. Rickenbacker was first to mass produce instruments like this, and the design would soon became a well-known trademark.

Perhaps the best known 1950s Rickenbackers were the hollow body 6-string Capri models, introduced in 1958. Designed for the most part by Roger Rossmeisl, there were three categories, each distinguished by a different body style. The first group had 2-inch-thick double-cutaway bodies, while the second group had 3 1/2-inch thick single-cutaway bodies. The third grouping was a catch-all category for instruments with even deeper bodies, including pure acoustics. All Capri styles came with or without Vibrato and with either two or three pickups. Customers chose either deluxe-style fingerboard inlays and bindings or standard inlays and no bindings. Capris had slim and narrow “fast action” necks, which appealed to many. Standard colors in 1958 included Hi Lustre Blonde (a natural maple finish) and Autumn glo (a 2-tone brown sunburst). Fireglo (the pink to red sunburst we now know so well) was added in 1959. Standard finishes for Rickenbacker solid bodies included Cloverfield blue-green, natural maple, gold-tinged Montezuma Brown, and Black Diamond. Virtually any color was available on any model by special order, and the factory made them. In the late 1960s the standard colors would include Azure glo-blue and Burgundy glo.

In the early 1960s Rickenbacker history became forever wedded to one of the biggest music upheavals of the 20th century: the invasion of the mop-top Beatles from Liverpool, England. The Beatles used several Rickenbacker models in the early years. Before the group broke up, John Lennon would own at least four. This love affair began in Hamburg, Germany in 1960 when he bought a natural-blonde Model 325 with a Kauffman vibrato. Lennon played the original (which was eventually refinished black but still easily identified by its gold-backed lucite pickguard) on all Beatle recordings and in all concerts until early 1964. (Listen for it especially on the rhythm track of the group’s “All My Loving.”) Rickenbacker provided Lennon with an updated 325 in early 1964–also painted black, it featured a solid top, Ac’cent Vibrato, and white pickguards. Lennon’s third Rickenbacker conformed closely to the features of the English distributor’s Model 1996. (In the 1960s Rose, Morris, Ltd., carried five Rickenbacker models in England. Generally, they had F-holes instead of cat’s eye slashes or solid tops. Ads in England called the Model 1996 the “Beatlebacker.”) Lennon’s fourth Model 325 was a one-of-a-kind 12-string version.

Paul McCartney used a Hofner bass in the early years of Beatlemania but soon had a Fireglo twin-pickup Rick bass, an early Model 4001S with dot inlays and no bindings. Its features closely resembled those of the Rose, Morris Model 1999 later played and made even more famous by Chris Squire of Yes. These solid body basses-which seemed so modern in the 1960s-used horseshoe pickups in the bridge position, thus proving the validity of Beauchamp’s original 1930s design. Good ideas are timeless.

While Paul’s Rick bass surged like an undertow, George Harrison’s double-bound 360/12 (the second one made by the company) defined a new tone at the other end of the audio spectrum. Its ringing sound embellished “You Can’t Do That,” “Eight Days a Week,” and “A Hard Day’s Night,” to name just three 12-string cuts from the 1964-65 period. Thus the Beatles created unprecedented, international interest in Rickenbackers, which many fans actually believed came from Britain.

Soon Rickenbackers created the sound and image of bands on both sides of the Atlantic. Jim (later Roger) McGuinn-who bought a Rickenbacker 360/12 after seeing the movie “A Hard Day’s Night”-literally made the bell-like quality of its tone the foundation of the Byrds’ early style. His later 3-pickup 370/12 featured custom wiring, but was still for the most part an off-the-rack instrument. The Who’s Peter Townshend, Creedence Clearwater Revival’s John Fogerty, Steppenwolf’s John Kay, and many other well-known 1960s guitarists became faithful Rickenbacker users. What had been a six-week waiting period from the factory for some models became a six-month (or longer) waiting period in the mid 1960s.

This rapid growth in demand led to changes in the company. Before 1964 all Rickenbacker guitars had been made at the original Electro String factory in Los Angeles. That year Hall moved it over a six month period to Santa Ana, in nearby Orange County. Despite the disruption in production during the transition, the new factory had increased production capacity. During this same period, the distributor Radio-Tele changed names to Rickenbacker, Inc., thus adopting a moniker people had used all along anyway. The company also added several novel guitars to its line.

The so-called convertibles came equipped with a lever that changed a 12-string neck into a 6-string neck. The Model 331- commonly called the “Light Show Guitar” because of its frequency-modulated internally-lit body-reflected the psychedelic 1960s in both sound and substance. The flashing began when the player hit the strings: yellow for treble notes, red for mid-range, and blue for bass. (Rickenbacker also produced a kaleidoscopic light projector called the Phantasmagorian.) Other oddities included the Bantar ( 5-string banjo meets electric guitar) and Eddie Peabody’s Banjoline (a 6-string with Ac’cent Vibrato that tuned like a 4-string tenor guitar). Rickenbacker introduced the hollow body 4-string 4005 and 6-string 4005-6 basses in the late 1960s. Several custom-ordered 8-string basses were also produced.

In the 1970s, Rickenbacker added guitars with detachable necks and redesigned single- and double-coil pickups. A patented feature on some new models, and an option on others, was slanted frets, which better matched the angle of the player’s hand. Two double-neck instruments became standard items: the model 4080 bass/guitar and the model 362/12 6/12-string. Rickenbacker basses dominated production during the early years of the decade-in many circles, a Rick bass was the only one to own. Then bands such as Tom Petty and the Heartbreakers and R.E.M. hit like their 1960s forerunners, using Rickenbacker 6- and 12-strings. As the saying goes, fashions go in and out of style. Style is always in fashion.

Today the manufacturing and distribution of Rickenbacker guitars and basses is combined into RIC, the name used since F.C. Hall retired in September 1984 and John Hall, along with his wife Cindalee, became the sole owners of the company. RIC retains the spirit of first-class pre-1965 electric guitar manufacturing and craftsmanship. In addition to newly designed guitars and basses, the company offers faithful reissues of the classics played by the Beatles and other famous artists. RIC has offered highly successful, limited-edition signature models endorsed by such diverse players as Roger McGuinn, Pete Townshend, Tom Petty, and John Kay. Improvements in construction and quality control have carried Rickenbackers into the modern era: one that respects the company’s early history and at the same time sets out to write new chapters. A DJ once asked George Harrison if he liked a guitar he doodled on during a radio interview. Harrison is said to have quickly replied, “Of course, it’s a Rickenbacker!” Asked the same question 65 years after the invention of modern electrics, thousands of satisfied guitar players would say exactly the same thing.

I know my bass has helped me meet women after a show they find it dead sexay, makes a nice easy ice breaker when they come up and say “I love your bass!” Heres a couple o’ shots of it:

and

Tellin yeah red is the way to go, plus I’ve yet to see another one in person.
__________________
The original Indo-Kraut!
“Wick club member #110″ & “Rick club member #71″

#37
08-29-2007, 10:07 AM
rkatapt
Registered User

Join Date: Jun 2004
Location: Texas

did yeah decide I wanna see
__________________
The original Indo-Kraut!
“Wick club member #110″ & “Rick club member #71″

#38
09-06-2007, 11:36 PM
Drucocu
Registered User

Join Date: Jan 2007

oh oh, the RED Ricky!!!
Quote:
Originally Posted by rkatapt

I know my bass has helped me meet women after a show they find it dead sexay, makes a nice easy ice breaker when they come up and say “I love your bass!” Heres a couple o’ shots of it:

oh oh, boy, you know what happens to bassplayers, who play(ed) a red Rickenbacker? they dissapear!!!

check the legend of the Red Ric: http://www.bluesband.com/mopac-redric.htm
Last edited by Drucocu : 09-06-2007 at 11:39 PM.

#39
09-10-2007, 12:10 PM
rkatapt
Registered User

Join Date: Jun 2004
Location: Texas

Quote:
Originally Posted by Drucocu
oh oh, boy, you know what happens to bassplayers, who play(ed) a red Rickenbacker? they dissapear!!!

check the legend of the Red Ric: http://www.bluesband.com/mopac-redric.htm

Dude!

Hehehe, I’ve always been possessed demons have been with me since I was a weee’ child.

Maybe it’s destiny or maybe it’s my doom.

I know if it wasn’t for this website I would have never of found this bass. I was about to pull the trigger on a fireglo until i saw someone post this ebay ad. Here’s that thread.

Thank you Talkbass for helping me with my destiny or leading me to my DOOM.
__________________
The original Indo-Kraut!
“Wick club member #110″ & “Rick club member #71″

Posted: 6/26/2006 9:14:00 AM

Did a google search for Red Rickenbacker and came up with “The Legend of The Red Ric” on a website called www.bluesband.com. It’s pretty funny. And who knows, maybe it’s true. I have a 1991 red 4003 with the black binding and hardware. It’s just like a Redneck, except with a rosewood fretboard instead of the solid red.

I think it’s possessed my soul too.

So go to www.bluesband.com and read about “The Legend of The Red Ric.”

Posts: 2    Location:     Registered: 6/26/2006 7:27:00 AM
JSod

Roadie     Posted: 6/26/2006 9:39:00 AM

I recently acquired a 1988 model of the exact same color…hopefully the demon that dwells within it will play along nicely with all my other demons…

Posts: 27    Location: Dover, DE    Registered: 1/13/2006
sharkboy

Session Guitarist     Posted: 6/26/2006 2:34:00 PM

Luckily, my 360/12 of that finish seems to be immune or terribly latent- maybe it just takes them three times as long to do their evil deeds. (I did the math in my head!)

Posts: 184    Location: CA    Registered: 4/2/2006
stanislav

Roadie     Posted: 6/27/2006 9:23:00 AM

THIS IS TRUE!!! I grew up as a rock-n-roller, with a Jetglo 4001. When I got my red 4003, I dyed my hair to match and started a goth band….

Hipshot replacement bridge for 4003
Author
Topic: Hipshot replacement bridge for 4003       1 2
Stranger

Session Guitarist     Posted: 9/15/2005 8:24:00 PM

I have just purchased a Hipshot replacement bridge for my 4003 (finished in Blueboy for those who are envious). Does anybody have any experience with these? If so, how much of an improvement is it over the stock bridge?

Posts: 133    Location: Detroit    Registered: 8/24/2005
Noisy_Geezer

Roadie     Posted: 9/16/2005 10:15:00 AM

Are they an improvement over the stock bridge? If you like having to commit unnatural acts to adjust your intonation and having no control over the individual string height, then no, they’re not an improvement.

I actually got my Ric replacement bridge before they went into production. I had heard rumors of a prototype and I bugged the snot out of Jason at Hipshot to sell me one, so I’ve had mine for a while. Rics and picks go together like pork and beans and if you’re a pick player you’ll really appreciate this new bridge. Palm muting with the stock bridge is uncomfortable at best and sometimes downright painful. In this respect, the Hipshot is a joy. I haven’t noticed any difference in the tone with the Hipshot, with the exception that it’s now possible to play the strings much closer to the saddle and it makes a sound even Rickier than the stock bridge. It’s simple, elegant and functional. I’m lovin mine.

http://www.mudbass.com/Pics/PDR_0659.JPG

Posts: 10    Location:     Registered: 8/15/2005
gearhed289

Guitar Tech     Posted: 9/16/2005 10:46:00 AM

What he said! It’s a heavy mofo, I’ll say that. Definitely a keeper though. A reversable mod that makes for a better playing instrument in my opinion. Not to mention the ease of up/down, side/side, back/forth adjustability.

http://www.tomthebassplayer.com/4003s.htm#4003S

Posts: 63    Location: Chicago    Registered: 8/25/2005
Stranger

Session Guitarist     Posted: 9/16/2005 3:21:00 PM

Thanks! I can’t wait to get it on now!

Posts: 133    Location: Detroit    Registered: 8/24/2005
CheyenneII

Guitar God     Posted: 9/16/2005 6:43:00 PM

Been thinking about one also, seems like a nice upgrade.

I say upgrade, because it causes no permanent modification.

Just for the record it will go on my 4003 Blueboy as well : )

Posts: 240    Location: Midwestern Ohio    Registered: 8/10/2005
JohnHall

RIC CEO     Posted: 9/19/2005 12:52:00 PM

You’ll find some varying opinions here:

http://www.rickresource.com/discus/messages/5/64994.html?1127156880#POST152048

Posts: 2171    Location: Santa Ana, CA    Registered: 8/9/2005
mitch

Guitar Tech     Posted: 9/19/2005 6:48:00 PM

I have the new Hipshot bridge on a new 4003 fireglow. Make sure you get it with both sets of intonation screws. For some reason mine needed the longer set in order to set the intonation. The bridge added some weight to the bass. I can’t really tell a tone difference. The inividual string height adjustment is the main mechanical difference. I’ve never had a problem with the stock bridge in any way. After I play out live with it, I’ll see if the tone is different.
Over all it’s something alittle different but not critical..IMHO.

thanks for the topic!

Posts: 99    Location: tampa    Registered: 8/17/2005
Noisy_Geezer

Roadie     Posted: 9/23/2005 9:25:00 AM

quote:I have the new Hipshot bridge on a new 4003 fireglow. Make sure you get it with both sets of intonation screws. For some reason mine needed the longer set in order to set the intonation.
When I received my Hipshot they were barely out of the prototype stage and indeed I had trouble setting the intonation because the screws they sent weren’t long enough. I called Jason at Hipshot and explained the situation to him. I told him I would attempt to find some longer screws locally and see if that cured the problem. The bridge came with 4-40 x 1 1/2″ machine screws and I figured 2″ screws would be just about right. As it turned out 4-40 x 2″ machine screws aren’t easy to find even in the greater Los Angeles area. You won’t find them in the normal places you might look and I ended up having to go to a nut/bolt/screw specialty house and even then I had to try three different places before I found what I needed. I could find 4-40 x 1 1/2″ machine screws all day long, but not 2″. The 2″ screws worked perfectly. I called Jason again and suggested they ship a set of longer screws with the bridge because in some places they’re going to be very difficult to find. He agreed and said they would start shipping them with every bridge. Whether they’re actually doing that or not I don’t know.

I was puzzled why most Rics would intonate just fine with the standard screws and mine would not. Then it occured to me that it might have to do with the gauge of strings on the bass. I use lighter than standard gauge on my bass and I’m thinking that might explain it.

Posts: 10    Location:     Registered: 8/15/2005
fishoutofwater

Guitar God     Posted: 9/24/2005 6:39:00 PM

I’ve looked at the new Hipshot bridge on there website and I must confess that it is a nice bridge, I’m really not sure about changing the bridge on my 4003, I’m a big advocate about not butchering in any way or modifying a Rickenbacker instrument but to keep it original at all cost to keep it’s value.
I do have a question for all you fellow Rick fanatic’s does this particular bridge by hipshot screw into the existing holes on newer 4003 instruments or do you have to make new screw holes for the bridge placement.
It just makes me sick if you had to make new screw hole placements for this bridge.
I’m under the impression that all new Rickenbackers are built on CNC machines so everything is consistant.
Plus also I’m wondering puting a bridge like that on your 4003 I would think would cause problems with warranty issues if you needed warranty work done from Rickenbacker.
If someone has some kind of insight to this please let me know.
FISH

Posts: 274    Location: South Side of the Sky    Registered: 9/7/2005
fishoutofwater

Guitar God     Posted: 9/24/2005 6:45:00 PM

WOW I just got promoted to ROADIE, man I feel special now.

Posts: 274    Location: South Side of the Sky    Registered: 9/7/2005
fishoutofwater

Guitar God     Posted: 9/24/2005 7:03:00 PM

I saw the post up above that Mr. Hall mentioned about varying opinions on the www.rickbackersource.com, I think this is the address he posted, but anyways somebody on that sight made the comment that Rickenbacker is making a newly designed bridge for there 4003 basses, if that is the case I’m really bumbed out now because I just bought my 4003 and I really would like to take advantage of Mr. Hall’s newley designed bridge, maybe if this is true hopefully the new Rickenbacker bridge from Rickenbacker will automatically fit on my bass with out making new screw holes.
FISH

Posts: 274    Location: South Side of the Sky    Registered: 9/7/2005
jps

Guitar God     Posted: 9/24/2005 8:45:00 PM

John has mentioned that he has a prototype for a redesigned bridge. It probably will not be available for the forseeable future, as RIC has more important FISH to fry!

The Hipshot bridge uses existing mounting holes so swapping it out is very easy. The only thing needed to be done is with the ground wire, as it is soldered to the mute plate and needs to be unsoldered or cut right near the plate and the end of the wire should be stripped a bit and then just leave the wire sticking out of the hole to be held in place by the bridge.

Posts: 477    Location: NE Ohio    Registered: 8/9/2005
Noisy_Geezer

Roadie     Posted: 9/26/2005 11:58:00 AM

Yeah, the Hipshot requires no drilling and fits the footprint of the stock bridge exactly. It would be an easy swap to put the original bridge back on when you sell it…but who’d be crazy enough to sell their Ric??? I’m going to have mine buried with me.

I imagine installing the Hipshot would void the warranty, but I don’t care because I want my Ric the way I want it and if it voids the warranty so be it. I’ll pay for the repairs in the unlikely event that it needs any.

Posts: 10    Location:     Registered: 8/15/2005
whoaitstodd

Guitar God     Posted: 3/15/2006 12:38:00 AM

Just ordered a hipshot replacement bridge for my 4001CS. I’ll report or give a review once I get it installed. I’m hoping for the best. ’cause the original ricky bridge can be a real pain despite the fact it looks so cool.

Posts: 208    Location: el cajon,cal    Registered: 2/6/2006
Pinto

Guitar God     Posted: 3/15/2006 9:31:00 PM

I’m going to take a shot at interpreting the RIC warranty in so far as the Hipshot bridge replacement is concerned.

The RIC warranty says:

“The warranty is void if, upon inspection by RIC factory personnel, the defect is determined to be the result of damage due to misuse, exposure to environmental extremes, modification, or the use of replacement parts, including strings, not in conformity with factory specifications, or due to damage not resulting from a manufacturing defect.”

Now I interpret this to mean, if you replace your stock bridge with a Hipshot and have a problem with your bass, RIC staff will inspect it and determine if the damage or defect is the result of the modification. If they determine the damage or defect IS the result of the Hipshot, your warranty is void. However, there is a chance that the defect (say the keywinds fall out) is not related to the Hipshot and RIC may well fix it for you under warranty.

If this isn’t the case, have I voided my warranty by removing the bridge pickup cover and replacing the surround with a Pickguardian?

Posts: 551    Location: Calgary, Alberta, Canada    Registered: 9/13/2005
Delberthot

Roadie     Posted: 3/16/2006 3:34:00 PM

ooh, your a bad bad man. Pickguardian eh?

Only kidding. My 4003BB has a pickguardian vintage white pick guard and treble pickup surround, I have replaced the stock neck PU with a toaster and am using D’daddario Chromes 45, 65, 85, 105 guage.

All reversible mods in the very unlikely instance that I would ever sell this fine piece of bass playing machinery.

Posts: 19    Location: Scotland    Registered: 10/29/2005
bender

Guitar God     Posted: 3/16/2006 3:54:00 PM

I just put a Hipshot on my ‘77 4001. The original bridge had an annoying habit of tilting back while playing & throwing the intonation off a bit. The bass sounded somewhat dark compared to what I thought it should be like, & the hipshot added some high mids & brightened the overall sound a bit.
A very heavy piece, & it would combat neck dive nicely if anyone’s encountered that on their bass. My 4000 is quite neck heavy. Also no worries about tailpiece lift with this puppy.
You’ll probably have to flatten your neck out a bit more if it’s not already flat, since the Hipshot is a touch higher than the stock unit, and the D & G intonation screws were about 1/4″ too long for proper intonation on mine.
They offer shorter replacement screws, I believe, but I wasn’t willing to wait & shortened the screws myself.

If you think your bass is a little heavy now, RECONSIDER!
This thing is HEAVY! Don’t put one on a 4080! Your shoulder will rebel immediately!

The hardest part of the conversion was unsoldering the original ground lead from the mute bar. My 30w soldering iron wouldn’t do the job & I ended up just cutting the wire as close to the solder as possible.

Posts: 451    Location: Amherst,N.S. Canada    Registered: 10/15/2005
ClankChris

Roadie     Posted: 3/17/2006 12:34:00 AM

I love playing right near the back of the bridge pup with a pick, and find I have to move my hand forward a little when I have to palm-mute…

I’ll wait and see if Rickenbacker comes out with a new bridge, but right now it isn’t bad enough for me to change to a hipshot..I like the way the stock bridge looks better

…I just never use that foam bridge mute….ever

Posts: 17    Location: Fern Park, Florida    Registered: 8/12/2005
bender

Guitar God     Posted: 3/17/2006 3:24:00 PM

Yeah, when the new one comes out I’m getting two! Then I’ll put the hipshot on my neck-diving 4000.
I used to use the mute occasionally, but the foam gets hard after so many years. I got new pads to put on, but the old stuff is very messy & hard to get off.

Posts: 451    Location: Amherst,N.S. Canada    Registered: 10/15/2005
whoaitstodd

Guitar God     Posted: 3/17/2006 11:42:00 PM

If you are replacing the foam on your 4000 style bridge, you may want to use some “goof off” once you peel off most of the foam. That should cut the rest of the goo left on the metal strip. So now you can replace the foam. Just make sure you do it in a well ventilated area, that stuff stinks.

Posts: 208    Location: el cajon,cal    Registered: 2/6/2006
bender

Guitar God     Posted: 3/18/2006 1:24:00 PM

I used brake cleaner. Still pretty messy & stinky. Works well enough.

Posts: 451    Location: Amherst,N.S. Canada    Registered: 10/15/2005
whoaitstodd

Guitar God     Posted: 3/22/2006 3:13:00 PM

My Hipshot bridge arrived today. After some initial messing around, got it installed and all I can say is WOW!!! It took less than 1/2 hour. Tuned up new strings, set intonation and string spacing and I’ll say it again,WOW!! Now one can adjust intonation in less than half the time it takes with the original bridge. I suggest RIC offer the hipshot as an option much like the bigsby on the 325c58. That would be great! That being said, the original still looks cooler.

Posts: 208    Location: el cajon,cal    Registered: 2/6/2006
whoaitstodd

Guitar God     Posted: 4/1/2006 5:50:00 PM

After finding a cople of slightly longer screws for the E and A saddles, I found the original G string screw a a bit too long. To remedy this, I went to the local electronic surplus store and found tiny washers that when installed on said screw, shortened the usable length just right. Now I can set intonation without bottoming out or having the saddle fall off the end of the screw. If you do the washer trick, make sure the diameter isn’t greater than the head of the screw, or it won’t fit in the hole. That Hipshot bridge (I think) is the best mod one can do for a RIC bass!!

Posts: 208    Location: el cajon,cal    Registered: 2/6/2006
THB_bassman

Guitar Tech     Posted: 4/2/2006 9:52:00 AM

Where are you guys getting the best deals on this bridge?
I want a black one for my ‘86 4003 maplego with black trim and hardware.

Posts: 73    Location: San Diego CA    Registered: 8/22/2005
whoaitstodd

Guitar God     Posted: 4/3/2006 9:39:00 PM

Check Rickenbacker on ebay…

Posts: 208    Location: el cajon,cal    Registered: 2/6/2006
All times are PST. The current date and time is 9/13/2007 10:22:47 AM     1 2

Pros: Awesome sound and build quality
Cons: Heavy, not great for slapping

I have a 4001, basically the predecessor of the 4003. I bought it for the sound - very unique, and the neck, which is very thin. As others have said, you may need to remove the treble pickup cover (I did), and it isn\’t as good as Fender\’s etc for Slapping. However, everything else it does exceptionally. Even though heavy, it is very well balanced and comfortable. Fit and finish of mine (1973 model) are superb and very few blemishes. Very highly recommended!

Review Date: Wed August 4, 2004 Would you recommend the product? No | Price you paid?: $700.00 | Rating: 0

Pros: great looking bass and a great tone
Cons: none

I owend a Deluxe Fender P-bass before i bought my Ric. In my honest opinion I can\’t find a thing wrong with the Ric. I play with my fingers and my thumb rests on the pickgaurd and i have no problems with that. I highly recommend a Rickenbacker to anyone who wants an excellent bass guitar.

Review Date: Thu September 16, 2004 Would you recommend the product? Yes | Price you paid?: None indicated | Rating: 9

Pros: That certain tone
Cons: bridges can be a little challenging

I have had about 65 of these basses over the years and I have only played one or two that I would not want back. I recently stepped back into the world of 4003 and picked up a 91 in midnight blue with black trim. This bass has been through a war but man does it sound GOOD. I restrung it with nickels and it has a bite that my 4001\’s do not have. This one will go the distance and even gets a decent slap sound. To slap on a Rick requires some tweaking of the amp settings but it CAN be done and it sounds good albeit a little different. Some people slap a P bass too ( I do!!) and it is all in how you set up the amp and the bass to make it happen. I always wanted to sound like Geddy and Chris and most of the basses that I have had will do the trick…Of course, an Ampeg SVT and/or a Marshall Super Bass don\’t hurt either!!!!

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Review Date: Thu October 7, 2004 Would you recommend the product? Yes | Price you paid?: None indicated | Rating: 10

Pros: Unique sound, looks fantastic, plays like a dream
Cons: Setting up is a bit of a pain

Bought new in November 2003. Put it through its paces in the shop & it was better than I ever expected it to be (and expectations WERE high!)
No good if you slap (IMO) but I don\’t so for me it is perfect.
Some strings simply do not suit the Rickenbacker - those supplied are nigh on perfect but are difficult to get hold of (in the UK) - had to order mine and wait six weeks (got a shed load so should be OK!)
The tone is unique, & the sustain & punch are second to none … if you want one new (again in the UK) be prepared to wait a LONG time

Review Date: Wed March 9, 2005 Would you recommend the product? No | Price you paid?: None indicated | Rating: 0

Pros: Fantastic Tone
Cons: little heavy

i have an \’84 thats my main instrument and I absolute love it. i play mostly with a pick and it just has great attack.

Review Date: Sat April 30, 2005 Would you recommend the product? Yes | Price you paid?: $800.00 | Rating: 10

Pros: Playability, punch, sustain
Cons: weight

Bought my \’85 new, 20 years ago, and will never let it go!
Mine\’s a Maple-glo (Clear) with black trim & hardware.
I\’m a converted guitarist, so I always play with a pick and I play classic rock, so slapping is not an issue. I also have relatively short fingers, so the slim neck and low action suit me perfectly.
I love the way it \”growls\” when I give it a good punch, near the bridge.

Would you recommend the product? Yes | Price you paid?: $1,000.00 | Rating: 10

Pros: Great looks, great tone, great build quality
Cons: people will always compliment you on your cool bass

96′ fireglo. Very slim neck… slimmer than the more moder 4003’s by a long shot. The biggest thing I noticed when I started playing was how easy it was to play up the neck… with neckthrough there is no heel that is typical of bolt-ons.

Amazing tone… I love it. Perfect for rock. I always get compliments for tone and for looks. A real head turner.

phenominal finish and build quality… I can’t believe RIC doesn’t charge more for these instruments. Solid like a rock.

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Review Date: Tue April 18, 2006 Would you recommend the product? Yes | Price you paid?: None indicated | Rating: 8

Pros: Ric sound, fast action, looks to die for
Cons: Single coil only = noise, narrow range of sounds

I’ve played a 1993 Fireglo 4003 as my main instrument since it was new. It is a beautiful finish that has held its looks well with TLC. It is still mint except for a bit of yellowing on the white binding, mainly where my leather strap touches. I get comments all the time about the beauty of the bass, and other musicians mention that they enjoy listening to the distinctive tone.

The Ric tone is a staple of classic rock, most known for its presence on all Yes albums (Chris Squire) and early Rush albums (Geddy Lee - although not on Tom Sawyer as many believe). The sound has a touch of growl/fuzz and is well balanced in terms of bottom and top. The tone is not all that versatile, great for rock, not ideal for jazz, funk, etc. I use it for country or other styles that like a purer tone with strong bottom by plucking above the neck pick-up or even over the high frets. I think the tone from the bridge pick-up alone is nearly unusable, but it makes harmonics sing out.

The action of a Ric feels very soft compared to other basses, and the string spacing is narrower than some. I find this makes the instrument fast and comfortable. I learned on a Peavey T40 and find the Ric 1/3 faster and much less fatiguing. As everyone says, don’t expect a Ric to slap. Somehow the height of the action and pick-ups combined with the relatively light tension on the strings (compared to many basses I’ve tried) doesn’t work for slapping. Bottoming out a string on a pick-up causes a nasty clack, something you quickly learn not to do. There is no obvious place to rest one’s thumb on a Ric, but it depends on your style whether that is a problem.

The bread and butter of a 4003 is also its weakness. The two single coil pick-ups that produce the signature sound are prone to noise. I persistently get hum and noise through them in some environments, and the only option is to cut the volume when not playing. That is an annoying trait and has me considering basses with humbuckers and perhaps active circuitry for some situations.

Review Date: Sat November 11, 2006 Would you recommend the product? Yes | Price you paid?: None indicated | Rating: 9
Pros: Tone, playbility, looks
Cons: weight, price, single coil pups

I don’t actualy own one of these, but just to let people know that you can get Seymour Duncan replacement pups that readuce noise and hum. However these are quite expensive imo at roughly $100 each, but would definately e worth the money. http://talkbass.pgpartner.com/search…uncan+srb&rd=1

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Review Date: Wed November 15, 2006 Would you recommend the product? Yes | Price you paid?: $1,300.00 | Rating: 10

Pros: Great tone, lots of sound if you know how, and lighter than my jazz!
Cons: Wish i got midnight blue!

I just got my 2006 Rickenbacker 4003. It has a push/pull pot for 4001/4003 sound. It’s light weight and has a thinner neck than older models. People say these single coil pickups are crap, but they are superb! They sound great on my crappy hartke B15, and sounds even better one a Mesa amp i tried in GC. And i’ve also read people saying the lack of range. That’s wrong.. if you know how to use the Ric-O-Sound. You need 2 amps and a stereo Y cable(rec. Monster cables.) and now you have one pickup in each amp! that’s a big range of sound right there.

But you dont need the ric-o-sound to sound great. it’s got that great rickenbacker tone and the look of the bass will get you compliments everywhere.

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Review Date: Tue January 30, 2007 Would you recommend the product? Yes | Price you paid?: $1,200.00 | Rating: 10

My 4003 is the best bass I have had the opportunity to play thus far. It’s got a classic clean sound when played without effects and the notion that some are suggesting, that it has limited tone/sound pallette is Rickdiculous! The bridge and neck pu’s sound entirely different- with the bridge giving out a warm bass tone and the neck delivering a solid twang. I’ve made this guitar sound almost sitar like while picking at the bridge PU with the push/pull high frequency boost knob engaged! And as another reviewer already pointed out, if you throw the ric-o-sound kit and effects pedals into the mix, with the stereo signal that the 4003 provides its sonic pallette simply cannot be touched.

The idea that you can’t slap on these things is also Rickdiculous- I offer you exhibit A: http://youtube.com/watch?v=wLZ-qqpJ_ik I actually learned to slap on my 4003 (with ed frieland’s help, thanks ed!) Its sounds great.

These intruments are a great deal at under 2 grand. Boutique quality at a reasonable price. Music aside they are a great investment, what other bass do you know of where you can buy it and bang it around for 5 years then sell it for more then you paid? They are always going to be desirable due to limited production vs demand. Just check out how much they go for on ebay. More then if you bought it new. Personally you will have to wrench my 4003 from my cold, rigor mortified hands. The 4003 is a must in the arsenal of any serious practicioner of the Bass arts. Just look at the number of artists who have played on these things: Beatles, Pink Floyd, Rush, Yes Metallica, Tool. Limited tone? Laughable!

Registered: February 2007
Review Date: Mon February 5, 2007 Would you recommend the product? Yes | Price you paid?: $1,200.00 | Rating: 10

Pros: Sustain, Growl, Tone, Vintage switch, Aesthetics, Skinny Fret board, ric-o-sound
Cons: not good for slapping

So I am in love with my Rickenbacker. Some complain about the odd shape but I absolutley love it, I have played many different kinds of basses and find this one to be the most comfortabley for my style. I played alot of heavy hitting riffs, and the ric delivers a magnificent growl. When I was recording we went straight into the board, thats just how good the tone is on this beast. Pickups do not feed back, I personally like a slight feedback in pickups when put near a magnet for ambient noise, but the ric will not feedback at all. The Dual truss rod is a lttle hard to get a hold of but in the long run a great tool. This thing is beautiful, at every gig I have ever played at I have gotten comments on the ric. I play this thing hard and often…i throw it around and even do bass flips with it…very durable, worth every penny for my style of playing, if you are more into popping and slapping get a jazz bass, but if you want a great sounding bass for pedaling notes and ripping off quick licks this bass is the way to go