Retro-Rama
1969 Rickenbacker 4001
Fab gear! The Rickenbacker 4001 is an American classic that was brought to worldwide prominence by a pair of British rockers in the late ’60s and early ’70s. Extremely distinctive in look and sound, the 4001 first appeared in 1962, and although it has had its share of subtle variations and refinements over the years, it’s remained essentially unchanged from the original design. Renowned German luthier Roger Rossmeisl created the 4001 for Rickenbacker as a “deluxe” version of the single-pickup Model 4000, which debuted in 1957.
The 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.
This 1969 model is in great shape, and its natural finish and sparkly triangular fret markers have aged nicely to a golden color. The “cresting wave” body shape still stands out in the crowd, and the checkerboard binding and unusual pickguard are both signature Rickenbacker touches—as is the unique headstock shape, with its contrasting walnut wings. Rossmeisl’s neck-through design was not the first of its type, but it’s certainly an elegant example of this construction method, which requires a high level of craftsmanship to execute properly. The hefty bridge offers a decent amount of intonation adjustment. The rear “horseshoe” pickup originally came with a cover that has long since lost its way on this bass.
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!
