Rickenbacker Model 4001S Solid Body Electric Bass Guitar (1963)
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Rickenbacker Model 4001S Model Solid Body Electric Bass Guitar (1963), made in Los Angeles, serial # CC409, black lacquer finish, laminated maple body and neck, padouk fingerboard, original silver tolex hard shell case.
This instrument is one of the most interesting and historically important Rickenbacker basses we have ever encountered; it literally re-writes the book on the development the Rickenbacker bass. While appearing to have had some work done long ago, in every way this remains an exceptionally rare instrument.
The serial # CC-409 stamped on the jackplate indicates completion in March 1963, the earliest production period for the then-new "slimmed down, new look" Rickenbacker basses. This revised lighter, handier and sleeker design was developed in mid-late 1962, as the company moved into their new factory in Santa Anna. Along with a thinner body, these basses had a longer upper body horn to improve the balance. As 1962 rolled into 1963 the look of the bass changed dramatically with a restyled newly shaped white pickguard replacing the old swooping gold-backed piece. At the same time the cast aluminum "gap-toothed' tailpiece/bridge replaced repurposed 6 string tailpieces, both changes giving the Rickenbacker bass the look it maintains to this day. This bass is one of the earliest known "new look" Model 4000s and 4001s; in this period they were made in miniscule quantities and only a very limited number are known to exist.
In the early '60s Rickenbacker offered a single pickup 4000 bass with "standard" features (dot inlay, unbound body) and a "Deluxe" 2-pickup 4001 with a bound body and neck, but not this unadorned 2-pickup model. This bass pre-dates the famous twin-pickup left-handed custom specifically built for Paul McCartney by about 10 months which has previously been the first known Rickenbacker with this specific set of features. In early 1964 Rose-Morris in England ordered 101 two pickup "standard" models in Fireglo similar to McCartney's instrument, now highly collectible. This bass' black finish is also unusual; we believe it to have been overfinished long ago but all indications are the original finish was black. At least one or two other 1962-3 Rick bass exist in this color, but the official options were limited to natural or Fireglo.
When we first saw this bass, we initially assumed it was an early Model 4000 later upgraded to 4001S spec by adding a neck pickup and 4-knob pickguard to the originally single-pickup instrument. It was common in the 1970s for players desiring an almost impossible to find 1960s "Squire-McCartney" style 4001s to so modify a 4000. On close examination however, the twin pickups, unique body routs and wiring components all appear absolutely original to the instrument making it a true 4-string unicorn.
The rout for the neck position pickup and controls is a mode specific to Rickenbacker in the early 1960s, done by hand with a round Forstner bit. Converted basses virtually never duplicate this telltale eccentric woodworking. The finish in the cavities appears to be original 1963 lacquer, confirming the originality of the routs. The diagonal rout between the cavities was enlarged later, but still bears marks if its original configuration.
All hardware on the bass remains original with specific details dating the pieces to 1963. Both pickups are the correct early style, the center horseshoe in the early hand-cut metal flange. The two matched sets of pots date from the 47th week of 1962 and 6th week of 1963. A telltale point is the tone knobs are wired in reverse, as correct at Rickenbacker until later 1963; a reworked 4000 would never have duplicated this eccentricity. The somewhat cheap and sloppy looking wiring is also correct for this period.
The pickguard is original and all mounting holes line up beneath; the screw pattern is eccentric with one screw being extra long as it is positioned over an open part of the cavity. The pickguard has no Lucite finger rest as is typical earlier in 1963. Another true eccentricity is the small-barrel Kluson tuners are mounted without grommets, as the older large barrel units used through 1962 were. This odd transitional feature is another point no counterfeiter would ever have thought to fake! The large chrome bridge is the earliest version of the then-new casting with the integral adjustable mute; the saddles are hand-rounded unlike the more pointed 1964 pieces.
There is no 1963 catalog listing or model designation for this plain trim, twin pickup instrument, later called the 4001S. Rickenbacker's July 1962 price list (current when this bass was made) lists the 4000 at $349.50 and the 4001 ("two pickups, white binding, Fireglo finish") at $389.50. The case added $59.50; the basses were back on page 4, at the very end of the instrument listings. These were very expensive instruments at the time, a major reason so few were ordered.
This bass was re-discovered in Peru (!) over a decade ago; it had apparently been there since the 1960s or 70s. Brought to the US at the time it has only recently been forensically examined in detail. Very few of these early pre-1964 Rickenbacker basses have been well documented; this one appears to be unique, whether a custom ordered piece or an experimental prototype. We may never know its full story but it is s truly stunning instrument to behold, exceptionally elegant in its Beatle reminiscent tuxedo livery and a 4-string enigma for the ages.
Overall length is 45 1/2 in. (115.6 cm.), 13 1/4 in. (33.7 cm.) wide at lower bout, and 1 3/16 in. (3 cm.) in depth, measured at side of rim. Scale length is 33 1/2 in. (851 mm.). Width of nut is 1 11/16 in. (43 mm.).
This bass is a unique and unusual piece; while it is likely not absolutely original it is an authentic, possibly one-off instrument and any work evident was done decades ago. It has been VERY closely inspected by several vintage Rickenbacker bass experts, and all agree the critical components including the double factory pickup routs, horseshoe and "toaster" pickups and ALL hardware are original period correct and in particularly well preserved condition. The only area of disagreement concerns the finish, which we have examined in very careful detail.
We believe there is an old black overfinish to the body, back of the neck of the neck and both sides of the headstock, but the instrument DOES appear to have been originally factory finished in black. The fingerboard shows an original clear finish (visibly masked off along the edge) while the electronics cavities show the unadulterated original black finish. This overfinish is very professionally done and quite old, but cannot be verified as Rickenbacker factory work. The two layers react differently under blacklight examination; the fingerboard and cavities match other period Rickenbacker instruments exactly while the bulk of the exterior finish presents a somewhat more muted, milkier appearance. Overall the bass is very clean, and where there are small dings and chips the original finish underneath can be clearly seen fluorescing differently under UV.
The overfinish MAY be related to the appearance of the tip of the lower body horn which is a separate piece of wood spliced on. It is possible this is factory work (this extended body style had only JUST been developed by early 1963) but that cannot be verified. The grain in this small section runs diagonally as opposed to the lateral orientation of the lower body wing; there is also evidence of a dowel run through the tip of the added section. Dowel reinforcement was not standard factory practice at Rickenbacker, but in this early period many oddities may be encountered. This small graft either represents a factory re-work to save a damaged or overcut piece (possibly why the bass was finished black in the first place!) or a later extremely professionally done repair to some sort of damage in action.
The only definite alteration to the bass is the diagonal rout between the neck pickup cavity was amateurishly enlarged at some point and is unfinished bare wood, but the original factory Forstner bit markings can still be seen along the bottom. Several other small areas in the main control cavity have been chipped away and at least one small has some wood putty and a spot of silicone (or somesuch) added for no obvious reason. When the bass was re-discovered all these cavities had been elaborately lined with copper shielding foil; this largely useless addition was recently removed to allow full inspection of the interior.
ALL hardware remains original including both pickups, the pickguard, pots, switch and wiring (with some sloppy solder a couple of splices, likely related to the shielding work) the bridge/mute unit, no-grommet Kluson tuners, headstock logo plate and strap buttons. There are no altered or replaced pieces except for one pickguard screw. The original frets show very little wear and both truss rods are functional. Like nearly all Rickenbacker basses from this era the neck angle to the body has compressed over time; the action is currently 3/16" on both sides and cannot be appreciably lowered without modification to the bridge. With low-tension flatwound strings fitted the bass is a solid player and has the bright, powerful sound Rickenbacker basses are revered for. It resides in the VERY rare original first-pattern silver Tolex case with the blue interior and case pocket lid, a sought-after piece in its own right. Overall Excellent Condition.
This instrument is one of the most interesting and historically important Rickenbacker basses we have ever encountered; it literally re-writes the book on the development the Rickenbacker bass. While appearing to have had some work done long ago, in every way this remains an exceptionally rare instrument.
The serial # CC-409 stamped on the jackplate indicates completion in March 1963, the earliest production period for the then-new "slimmed down, new look" Rickenbacker basses. This revised lighter, handier and sleeker design was developed in mid-late 1962, as the company moved into their new factory in Santa Anna. Along with a thinner body, these basses had a longer upper body horn to improve the balance. As 1962 rolled into 1963 the look of the bass changed dramatically with a restyled newly shaped white pickguard replacing the old swooping gold-backed piece. At the same time the cast aluminum "gap-toothed' tailpiece/bridge replaced repurposed 6 string tailpieces, both changes giving the Rickenbacker bass the look it maintains to this day. This bass is one of the earliest known "new look" Model 4000s and 4001s; in this period they were made in miniscule quantities and only a very limited number are known to exist.
In the early '60s Rickenbacker offered a single pickup 4000 bass with "standard" features (dot inlay, unbound body) and a "Deluxe" 2-pickup 4001 with a bound body and neck, but not this unadorned 2-pickup model. This bass pre-dates the famous twin-pickup left-handed custom specifically built for Paul McCartney by about 10 months which has previously been the first known Rickenbacker with this specific set of features. In early 1964 Rose-Morris in England ordered 101 two pickup "standard" models in Fireglo similar to McCartney's instrument, now highly collectible. This bass' black finish is also unusual; we believe it to have been overfinished long ago but all indications are the original finish was black. At least one or two other 1962-3 Rick bass exist in this color, but the official options were limited to natural or Fireglo.
When we first saw this bass, we initially assumed it was an early Model 4000 later upgraded to 4001S spec by adding a neck pickup and 4-knob pickguard to the originally single-pickup instrument. It was common in the 1970s for players desiring an almost impossible to find 1960s "Squire-McCartney" style 4001s to so modify a 4000. On close examination however, the twin pickups, unique body routs and wiring components all appear absolutely original to the instrument making it a true 4-string unicorn.
The rout for the neck position pickup and controls is a mode specific to Rickenbacker in the early 1960s, done by hand with a round Forstner bit. Converted basses virtually never duplicate this telltale eccentric woodworking. The finish in the cavities appears to be original 1963 lacquer, confirming the originality of the routs. The diagonal rout between the cavities was enlarged later, but still bears marks if its original configuration.
All hardware on the bass remains original with specific details dating the pieces to 1963. Both pickups are the correct early style, the center horseshoe in the early hand-cut metal flange. The two matched sets of pots date from the 47th week of 1962 and 6th week of 1963. A telltale point is the tone knobs are wired in reverse, as correct at Rickenbacker until later 1963; a reworked 4000 would never have duplicated this eccentricity. The somewhat cheap and sloppy looking wiring is also correct for this period.
The pickguard is original and all mounting holes line up beneath; the screw pattern is eccentric with one screw being extra long as it is positioned over an open part of the cavity. The pickguard has no Lucite finger rest as is typical earlier in 1963. Another true eccentricity is the small-barrel Kluson tuners are mounted without grommets, as the older large barrel units used through 1962 were. This odd transitional feature is another point no counterfeiter would ever have thought to fake! The large chrome bridge is the earliest version of the then-new casting with the integral adjustable mute; the saddles are hand-rounded unlike the more pointed 1964 pieces.
There is no 1963 catalog listing or model designation for this plain trim, twin pickup instrument, later called the 4001S. Rickenbacker's July 1962 price list (current when this bass was made) lists the 4000 at $349.50 and the 4001 ("two pickups, white binding, Fireglo finish") at $389.50. The case added $59.50; the basses were back on page 4, at the very end of the instrument listings. These were very expensive instruments at the time, a major reason so few were ordered.
This bass was re-discovered in Peru (!) over a decade ago; it had apparently been there since the 1960s or 70s. Brought to the US at the time it has only recently been forensically examined in detail. Very few of these early pre-1964 Rickenbacker basses have been well documented; this one appears to be unique, whether a custom ordered piece or an experimental prototype. We may never know its full story but it is s truly stunning instrument to behold, exceptionally elegant in its Beatle reminiscent tuxedo livery and a 4-string enigma for the ages.
Overall length is 45 1/2 in. (115.6 cm.), 13 1/4 in. (33.7 cm.) wide at lower bout, and 1 3/16 in. (3 cm.) in depth, measured at side of rim. Scale length is 33 1/2 in. (851 mm.). Width of nut is 1 11/16 in. (43 mm.).
This bass is a unique and unusual piece; while it is likely not absolutely original it is an authentic, possibly one-off instrument and any work evident was done decades ago. It has been VERY closely inspected by several vintage Rickenbacker bass experts, and all agree the critical components including the double factory pickup routs, horseshoe and "toaster" pickups and ALL hardware are original period correct and in particularly well preserved condition. The only area of disagreement concerns the finish, which we have examined in very careful detail.
We believe there is an old black overfinish to the body, back of the neck of the neck and both sides of the headstock, but the instrument DOES appear to have been originally factory finished in black. The fingerboard shows an original clear finish (visibly masked off along the edge) while the electronics cavities show the unadulterated original black finish. This overfinish is very professionally done and quite old, but cannot be verified as Rickenbacker factory work. The two layers react differently under blacklight examination; the fingerboard and cavities match other period Rickenbacker instruments exactly while the bulk of the exterior finish presents a somewhat more muted, milkier appearance. Overall the bass is very clean, and where there are small dings and chips the original finish underneath can be clearly seen fluorescing differently under UV.
The overfinish MAY be related to the appearance of the tip of the lower body horn which is a separate piece of wood spliced on. It is possible this is factory work (this extended body style had only JUST been developed by early 1963) but that cannot be verified. The grain in this small section runs diagonally as opposed to the lateral orientation of the lower body wing; there is also evidence of a dowel run through the tip of the added section. Dowel reinforcement was not standard factory practice at Rickenbacker, but in this early period many oddities may be encountered. This small graft either represents a factory re-work to save a damaged or overcut piece (possibly why the bass was finished black in the first place!) or a later extremely professionally done repair to some sort of damage in action.
The only definite alteration to the bass is the diagonal rout between the neck pickup cavity was amateurishly enlarged at some point and is unfinished bare wood, but the original factory Forstner bit markings can still be seen along the bottom. Several other small areas in the main control cavity have been chipped away and at least one small has some wood putty and a spot of silicone (or somesuch) added for no obvious reason. When the bass was re-discovered all these cavities had been elaborately lined with copper shielding foil; this largely useless addition was recently removed to allow full inspection of the interior.
ALL hardware remains original including both pickups, the pickguard, pots, switch and wiring (with some sloppy solder a couple of splices, likely related to the shielding work) the bridge/mute unit, no-grommet Kluson tuners, headstock logo plate and strap buttons. There are no altered or replaced pieces except for one pickguard screw. The original frets show very little wear and both truss rods are functional. Like nearly all Rickenbacker basses from this era the neck angle to the body has compressed over time; the action is currently 3/16" on both sides and cannot be appreciably lowered without modification to the bridge. With low-tension flatwound strings fitted the bass is a solid player and has the bright, powerful sound Rickenbacker basses are revered for. It resides in the VERY rare original first-pattern silver Tolex case with the blue interior and case pocket lid, a sought-after piece in its own right. Overall Excellent Condition.