Cool and classic basses

Rickenbacker 4003

PRODUCED : 1979 - Current

ORIGIN : USA

TYPE : Twin cutaway solid body, 4-string passive

BODY : Bound, Maple wings aside the neck block

NECK : Maple, through neck, 20 jumbo frets

SCALE LENGTH : 844.6mm (33 ¼ -inch)

FINGERBOARD : Rosewood, lacquered with perloid triangle inlays sometimes called Sailfins

HARDWARE : Chrome, Rickenbacker solid bridge/tailpiece, Schaller open gear 'shamrock' tuners, string damper

PICKUPS : 2 Rickenbacker Singlecoils

CONTROLS : Volume & Tone for each pickup plus 3-way selector switch

FEATURES : Bound body, Mono and Rick-O-Sound stereo outputs, distinctive white scratchplate

FINISHES : Fireglo, Jetglo, Mapleglo, Midnight Blue, White

COMMENTS: When Rickenbacker introduced the 4003 bass the 4001 was still in production, in fact it lasted until 1985 and with relatively little between the two visually and general sound characteristics, its very existence may seem curious.

The truth is, the 4001 had a few design problems - particularly with the truss rod adjustment cavity at the headstock. As the neck was very slim there was actually very little wood around this cavity, headstock breaks were always a danger (personal experience here) and neck bowing could be a problem.

The 4003 was designed to take care of that by adding extra meat to the whole neck. Of course this gave it a rather more substantial feel, so the new designation was justified. Rickenbacker also improved the dual truss rod system and altered the electronics by removing the bridge pickup capacitor and improved 'hotter' pickups, which are much better balanced than on the 4001.

Later versions of the 4003 would include a push/pull pot to engage this replaced capacitor. This bass masters the iconic looks and sound that Rickenbacker basses are known for, particularly when engaging Rick-O-Sound, which provided a stereo output jack so that you can run each pickup into a designated amplifier. But whether mono or stereo this will grunt and growl like no other, although as McCartney proved it can also sound very sweet. Also available as the 4003S unbound mono version, 4003FL fretless, 4003S/5 unbound 5-string and 4003S/8 unbound 8-string, with all S-versions having dotted inlays.

Hofner 500/1 Violin Bass

BASS EXPO Could there be any better way to celebrate the glory of the bass guitar than with a series of profiles of some of the most iconic instruments ever to grace stages and recording studios across the globe? We don't think so. Kicking off our series of bass profiles is the four-string that a certain mop-topped Liverpudlian used to take the world by storm in the early 1960s...

Hofner 500/1 Violin Bass

PRODUCED: 1956 – current

ORIGIN: Germany

TYPE: Hollow violin-shaped body, 4-string

BODY: Spruce top, flamed maple back & sides, fully bound

NECK: Maple, glued-in neck, 22 fine frets plus zero fret

SCALE LENGTH: 762mm (30-inch)

FINGERBOARD: Rosewood, white dot inlays

HARDWARE: Chrome trapeze tailpiece, rectangular pearloid control plate and matching scratchplate (often removed), rosewood bridge has slots in the top to take four small lengths of fret wire to act as crude string saddles, small guitar-sized open gear tuners

PICKUPS: Two Hofner ‘staple’ units on this 1962 version

CONTROLS: Two volume controls and three slide switches

FEATURES: The rosewood bridge has slots in the top to take four small lengths of fretwire to act as crude string saddles, although the body and headstock are bound the fingerboard is not

FINISHES: Brown Sunburst

COMMENTS: By the time that Paul McCartney popularised the Violin Bass it had already undergone several changes. By 1961 most notably the oval control plate was replaced by a rectangular one, extra switches were added and the smooth black single coil pickups were replaced by the staple ones we see here.

Initially these two new pickups were placed close together towards the neck but by spreading them apart as here. At the outset there were 20 frets, then 21, but when it reached 22 the bass finally came of age and has remained in production ever since. Along the way it’s been called the Beatle Bass and the Cavern Bass, had gold fittings, ebony fingerboard and even active circuitry but that’s just gilding the lily in our opinion. Classic is best.

Hear it here: The Beatles - I Saw Her Standing There

Burns Black Bison Bass

ORIGINALLY PRODUCED: 1962-64

ORIGIN: UK

TYPE: Solidbody, Passive 4-string

BODY: Sycamore, twin cutaway

NECK: Maple, bolt-on, 22 medium frets plus zero fret at nut

SCALE LENGTH: 851mm (33.5-inch)

FINGERBOARD: Ebony, bound, white dot inlays

HARDWARE: Chrome, 4-saddle bridge, fully adjustable, Van Ghent open gear tuners with large black plastic buttons

PICKUPS: Three Burns Ultra Sonic Bass units

CONTROLS: Volume, tone, 2-way selector (A/B) & 4-way tone selector (Wild Dog, Treble, Tenor, Bass)

FEATURES: The cutaway horns curved upwards from the flat plane of the body, cover plate over bridge, string damper fitted

FINISHES: Predominantly black (hence name) but white with white scratchplate and custom colours were also available

COMMENTS: This was the first full-scale bass produced by Jim Burns and in spite of its considerable weight it became very popular with session players of the time. This was the first of many variations and was produced as a companion to the Bison guitar.

The original guitar had four pickups but the bass only ever had three, fortunately! In keeping with the theme, black flatwound strings were fitted as standard and contributed to the very powerful and big booming sound. However clear notes were never a problem thanks to the legendary Wild Dog Treble setting!

Fender Precision Bass

PRODUCED: 1951-1954

ORIGIN: USA

TYPE: Solidbody, passive 4-string

BODY: Twin cutaway slab, ash

NECK: Solid maple, U-profile, skunk stripe covers truss rod, 20 fine frets

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: No separate board, part of the maple neck, black dot inlays

HARDWARE: Chrome, 2-saddle bridge, open reverse gear tuners

PICKUP: Exposed single-coil 4-pole

CONTROLS: Volume & tone on separate chromed control plate

FEATURES: Telecaster-style headstock, large single-ply black pickguard, separate chromed metal control plate, through-body stringing, chrome cover plates over bridge and pickup, finger rest with single screw in centre, edge mounted jack socket

FINISHES: Blonde

COMMENTS: This is the original design for the Precision so had the job to convince upright bass players to change allegiance! The connection to the Telecaster is obvious but the additional upper cutaway was introduced in order to give the instrument much better balance.

It had its faults however so was comparatively short-lived in this early format but it was the beginning of the most successful bass guitar ever produced. It’s been continually tweaked over the years as we shall see but remains as an iconic and magnificent instrument.

Hear it here: Elvis Presley - Jailhouse Rock

Steinberger XL-2

PRODUCED: 1980-present

ORIGIN: USA

TYPE: Headless solidbody, 4-string, active electronics

BODY: Synthetic, one-piece neck/body although separate body top was bolted on

NECK: 24 jumbo frets & fretless available

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: Phenolic, white dot inlays

HARDWARE: Black, fully adjustable 4-saddle bridge/tuner tailpiece

PICKUPS: Two humbucking EMG units

CONTROLS: 2 volumes & 1 tone

FEATURES: Swivel strap holder at back plus a hinged leg rest on lower body edge, uses double ball-end strings, no lighter in weight than a conventional bass

FINISHES: Predominantly black although other colours are available. The early white ones were termed albinos.

COMMENTS: For synthetic read epoxy resin reinforced with carbon graphite and glass fibre. This was the Ned Steinberger model that caused excitement throughout the industry. A tiny full-scale bass by anyone’s standards at only 38-inches overall length but with a monster sound in spite of its minimalist looks.

Initially four models were available the H1 & H2 (high impedance with one or two DiMarzio pickups) and the L1 & L2. These were low impedance, active basses with a dominating sound that literally blew the H models away! The L-2/5 five-string version was introduced in 1982 and both models were replaced by the XL-2 in 1984. And in spite of a company buyout in the late '80s it’s the XL-2 that’s still with us today.

Warwick Thumb five string

PRODUCED: 1985 - Current

ORIGIN: Germany

TYPE: Carved double-cutaway body, laminated neck-through, active 5-string

BODY: 2-piece bubinga

NECK: 7-piece afzelia & wenge, 26 medium frets

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: Wenge, no poison markers on fretboard, ebony and fretless also available

HARDWARE: Black fully adjustable bridge, Brass ‘Just-A Nut,

PICKUPS: Two MEC J-style units

CONTROLS: Stacked Volume & active mid range cut/boost, push/pull active/passive switching, stacked tone with bass & treble cut/boost, panning control

FEATURES: Bridge has separate tailpiece, Straplocks fitted, batteries housed in control cavity, distinctive angle on the tuners

FINISHES: Natural and colours

COMMENTS: Warwick are well known for their quality of build and general attention to detail and like much of their bass range the Thumb is available in several different configurations as far as woods used, pickup types and their positioning is concerned.

However the twin pickup, electronics and general neck through construction remains and although the original 4-string Thumb was something of a beast a general slimming down on proportions and the introduction of the 5-string has undoubtedly made it the flagship instrument for the company. Available in 4, 5 & 6-string versions and with bolt-on construction.

Gibson EB-0 Bass

ORIGINALLY PRODUCED: 1959-61

ORIGIN: USA

TYPE: Solid slab body, twin cutaway, 4-string

BODY: Mahogany

NECK: Mahogany, set neck, 20 medium frets

SCALE LENGTH: 775mm (30.5-inch)

FINGERBOARD: Rosewood, white dot inlays

HARDWARE: Chrome bridge/tailpiece, single-saddle bridge with strings anchored on baseplate, banjo-style tuners

PICKUPS: One large double-coil humbucker with black cover

CONTROLS: Volume & tone

FEATURES: The ‘banjo’ style headstock means that the tuning keys face backwards

FINISHES: Cherry red only

COMMENTS: This was the first version of the EB-0 and modelled on the Les Paul Junior guitar. When the guitar became the SG the EB-0 was given the same facelift. With the single humbucking placed against the neck this had a big fat sound further enhanced by the significant mass of the slab mahogany body. Its weight was certainly one of its downfalls.

Although popular in America it was not so easy to find in the UK however Glen Cornick of Jethro Tull used one for a while and that certainly increased the interest level over here. Occasionally these appear with a chrome plate over the strings to support the wrist, but the earliest versions don’t have one. The EB-1 came first but this was cheaper, hence the EB-0 model number in keeping with Gibson's price-related standard.

Fender Coronado II Bass

PRODUCED: 1966-1971

ORIGIN: USA

TYPE: Hollowbody, twin cutaway, 4-string

BODY: Bound arched

NECK: Maple, bound, set neck, 21 medium frets

SCALE LENGTH: 775mm (30.5-inch)

FINGERBOARD: Rosewood, bound, white pearloid block inlays

HARDWARE: Fancy trapeze tailpiece with Fender F, chunky bridge with individual saddles, open gear tuners with oval blades (although some sported regular ‘shamrock’ blades)

PICKUPS: Two single-coil DeArmond units with adjustable pole pieces

CONTROLS: 2 x volume, 2 x tone, selector switch

FEATURES: Bound f-holes, rounded off Fender headstock finished in black, symmetrical thumb/finger rests

FINISHES: Candy apple red, tobacco sunburst, three-tone sunburst, antigua, custom colours with matching headstocks and this was also the time of natural wildwood

COMMENTS: No prizes for guessing that this hollow body was Fender’s answer to the popular Gibson EB-2. Two models were made, the single pickup Coronado I and the tonally superior Coronado II. They were designed by Roger Rossmeisl who was known for his outlandish Rickenbacker designs from the 1950s.

Coronado basses were not overly popular at the time and prone to feedback so this lack of initial interest makes it hard to find one today. Roscoe Beck used one for a video shoot with Robben Ford and it looks very cool in action. These basses were light in weight and fitted with La Bella flat wound strings as standard. Used with modern EQ pedals or compression can sound really fat.

Danelectro Longhorn Bass

ORIGINALLY PRODUCED: 1958-69

ORIGIN: USA

TYPE: Hollowbody, passive 4-string

BODY: Masonite, lyre-shaped, vinyl edging strip

NECK: Maple, bolt-on, 24 fine frets

SCALE LENGTH: 749mm (29.5-inch)

FINGERBOARD: Rosewood, white dot inlays

HARDWARE: Bridge is a single rosewood saddle mounted onto a chrome plate.

PICKUPS: Two lipstick tube pickups

CONTROLS: Two dual concentric volume/on-off, original wooden ‘pointer’ knobs were soon replaced by round ones

FEATURES: Coke bottle headstock, regular guitar tuners, aluminium nut

FINISHES: Bronze & white sunburst

COMMENTS: The body construction is a laminated pinewood frame with hardboard (masonite) back and front stuck in place. Curiously the neck pocket was extended from the body further up the back of the neck for added stability.

Longhorns were very wallet friendly at the time and a significant quantity of instruments were sold in Sears Roebuck catalogues in the States under the Silvertone brand. The Lipstick pickups really were purchased lipstick cases and featured an alnico bar magnet core with the coil wound around, which was then covered in tape before inserting into the metal casing.

Initially both pickups were placed close together towards the neck but they were soon moved to bridge and neck positions for hollower sounds. They were adjusted for height from the back of the body. The bridge adjustment was equally as crude using the three screws that connected it to the body, but it worked.

Yamaha SB-Series bass

PRODUCED: 1966-71/72

ORIGIN: Japan, Nippon Gakki factory

TYPE: Solidbody, reversed twin cutaway, 4-string

BODY: Alder

NECK: Maple, bolt-on, 20 medium frets & fretless available

SCALE LENGTH: 800mm (31.5-inch)

FINGERBOARD: Rosewood, bound, white dot inlays

HARDWARE: Chrome cover-over bridge/tailpiece, 4-saddle bridge, open gear tuners

PICKUPS: Two single-coil units with white plastic surrounds

CONTROLS: Volume, tone & balance

FEATURES: string mute fitted, headstock colour matches body, finger rest below strings for thumb playing

FINISHES: 3-tone sunburst, various sparkles

COMMENTS: The original SB-2 had a more conventional twin-cutaway body but it was the reverse body design of the revamped SB-2A that really caught the attention. In spite of the reverse body shape this is a relatively well-balanced bass thanks to the slim headstock and it was this distinctive shape that earned it the epithet of the Yamaha Samurai Bass!

Curiously, Yamaha used to stamp the serial number into the rosewood fingerboard towards the body end. With such a widespread for the positioning of the pickups this bass is capable of producing super hollow and funky sounds, but its delivery is generally full and warm as the angled neck pickup is set to favour the neck for the top strings.

Music Man StingRay - pre Ernie Ball

ORIGINALLY PRODUCED: 1976-1980

ORIGIN: USA

TYPE: Solidbody, active 4-string

BODY: Alder for sunburst or coloured finishes, ash for naturals, twin cutaway

NECK: Maple with walnut skunk stripe, bolt-on, 21 medium frets

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: Maple with black dot inlays, rosewood optional and ebony on fretless versions

HARDWARE: Chrome, raised tail 4-saddle bridge, separate metal control plate

PICKUP: Trademark double-poled hum-cancelling unit with black or white cover

CONTROLS: Volume, active treble & bass

FEATURES: 3/1-tuner placement on headstock, individual adjustable string dampers

FINISHES: Natural, sunburst and custom colours

COMMENTS: This was the first production line active bass and the Leo Fender influence is unmistakable, earning it the ‘Active Precision’ nickname on its launch. This was the first time we saw the unusual tuner placement but it cleverly provides a straight pull for each string and reduces the mass of the headstock, thus giving better instrument balance.

The truss rod makes use of the bullet adjuster at the headstock end and the classic ‘elephant ear’ tuners feature a very short stem. This early active circuit was covered in a black tar-like substance to prevent copying by other manufacturers. The classic Music Man humbucking pickup was a revelation, very powerful and with eight massive alnico pole pieces, it has become an icon in its own right.

Fender Jazz Bass

ORIGINALLY PRODUCED: 1960-62

ORIGIN: USA

TYPE: Solidbody, passive 4-string

BODY: Ash, offset-waist twin cutaway

NECK: Maple, bolt-on, medium frets

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: Rosewood, dot inlays

HARDWARE: Chrome, 4-saddle raised-tail bridge

PICKUPS: Two single-coil, 8-poles apiece

CONTROLS: Volume & tone for each pickup from dual concentric controls

FEATURES: Controls and jack socket on chrome-plated ‘bell’ plate, two cover plates, muting rubber block stuck underneath bridge cover plate

FINISHES: Sunburst and custom colours with matching headstock

COMMENTS: This was the first version of the amazing Jazz Bass that was advertised initially as ‘the long awaited two pickup Precision’ however it was hardly that, in fact it was something quite unique.

Fender were already experimenting with offset bodies for the Jazzmaster but as horns gave basses much better instrument balance the Jazz Bass had them, thus giving it a look all of its own.

Although the dual concentric controls gave tremendous volume and tonal blending opportunities the components of the time were not up to the task and were notoriously unreliable, so were dropped in 1962 for the three-control version.

Wal Pro 1 & Pro 1E Bass

ORIGINALLY PRODUCED: 1978-82

ORIGIN: UK

TYPE: Solidbody, active (E) or passive 4-string

BODY: Ash three-piece, twin cutaway, other woods as ordered

NECK: Maple & mahogany laminated, bolt on, 21 medium frets

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: Rosewood with white pearl dot inlays

HARDWARE: Chrome, adjustable four-saddle bridge/tailpiece assembly

PICKUP: Wal humbucker with two rows of four pole pieces with a separate coil for each of the eight

CONTROLS: Volume, tone, active/passive slide switch

FEATURES: Modular FET active circuitry, body edge plate featured a regular jack or an alternative balanced line XLR for low impedance connection. This was popular with seventies session players but it also allowed the use of much longer leads for those stadium gigs! Schaller tuners with ‘crescent’ gear covers, large plastic scratchplate

FINISHES: Natural, black, colours to order

COMMENTS: The first British production line active bass the Pro Bass was offered with one or two pickups and a passive version was also offered, although relatively few of these were made. Mostly the bodies were ash with the best wood used for the natural finished models, as this was very much in fashion at the time.

If body wood appears unattractive then it was originally a coloured body that has been stripped by the owner! Early versions featured the ungainly ‘spade’ headstock, which was later reduced and reshaped. Passive models could be converted to the active E model if required by fitting the alternative ‘active’ scratchplate that included the battery compartment and the slide switch.

Gibson EB-2 Bass

ORIGINALLY PRODUCED: 1958-61

ORIGIN: USA

TYPE: Archtop semi-hollowbody, 4-string

BODY: Maple faced 4-ply top, twin cutaway, bound with f-holes

NECK: Mahogany, glued-in, 20 jumbo frets

SCALE LENGTH: 775mm (30.5-inch)

FINGERBOARD: Rosewood with white dot inlays

HARDWARE: Chrome, 4-saddle bridge, Kluson rear facing ‘banjo style’ tuners with plastic keys, single saddle bridge/tailpiece

PICKUP: Single humbucker, black faced with screw type adjustable pole pieces initially to one end of the pickup then moved to the centre

CONTROLS: Volume, tone and baritone tone switch

FEATURES: Black laminated plastic floating scratchplate,

FINISHES: Natural and sunburst mostly although Gibson’s classic cherry red did appear occasionally

COMMENTS: Introduced as the bass version of Gibson’s popular ES-335 guitar the EB-2 has a narrow neck with a 38mm nut and substantial depth. Although semi-hollow the body construction features a large central core that makes it heavier than it looks and gives it a neat combination of solid and acoustic bass sounding elements.

The baritone switch appeared about 1959 and was originally a push button but soon became a regular switch. The banjo tuners disappeared during 1960 to be replaced with the more common sideways ‘elephant ears’ open gear design. The rather basic bridge/tailpiece offered little adjustment values and originally the strings were anchored over a foam strip to offer damping. Like all early basses they were supplied with tapewound strings so the bass had a plummy but substantial thud of a sound.

Vox Phantom IV Bass

PRODUCED: 1962–64 (UK) 1965-69 (Italy)

ORIGIN: UK & Italy

TYPE: Solid asymmetrical pentagonal body, 4-string

BODY: Sycamore

NECK: Sycamore (very early models) or maple, bolt-on, 20 medium frets

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: Rosewood or ebony with white dot inlays

HARDWARE: Chrome cover over 4-saddle raised tail bridge, open gear tuners

PICKUPS: Two single-coil units with 4 pole pieces and chrome surrounds initially then white plastic

CONTROLS: Volume, tone and three-position pickup selection lever switch

FEATURES: Capstan-style truss rod adjuster at body end of neck, most models had a pointless finger rest set near the neck, some headstocks matched body colour

FINISHES: Polyester Black or White although some other colours are known to exist

COMMENTS: It was president Tom Jennings who commissioned the London Design Centre to produce a unique body design for Vox in 1961 and the Phantom was born. Initially the bass version was built in the UK but production was soon sub contracted to EKO in Italy although, unlike today, these models sold at a higher price.

Amazingly when first introduced the Phantom sold for more than a Fender Precision in the UK! The Italian-built models also included a Gretsch style removable padded back cushion with pop-on studs.

Earliest versions had Phantom on the headstock not Vox and as much of the body was covered by a similarly shaped white scratchplate the colour was largely unimportant. The pickups were modelled on the original Fender P-Bass design and worked surprisingly well as a pair. Sadly the Phantom IV has atrocious balance but the good solid sound and unique appearance are still appealing.

Jaydee Supernatural Classic Series 1 Bass

ORIGINALLY PRODUCED: 1984-current

ORIGIN: UK

TYPE: Solidbody, active/passive 4-string

BODY: Mahogany wings, laminated centre block, twin cutaway

NECK: Maple/walnut/mahogany laminate, glued-in, 21 hard nickel alloy frets

SCALE LENGTH: 864mm (34-inch)

FINGERBOARD: Ebony, bound, white dot inlays

HARDWARE: Chrome, 4-saddle bridge, brass nut, Schaller M4 tuners

PICKUPS: Custom wound hum-cancelling units (SN2000’s currently) with laminated polished hardwood cases

CONTROLS: Active/passive switch, volume & tone for passive mode, 4-position rotary pickup selector and three centre notched EQ rotaries

FEATURES: Strings are anchored in a pair of dual keyhole chrome discs

FINISHES: Natural satin

COMMENTS: Jaydee stands for John Diggins, the British luthier responsible for these high quality instruments. The laminated neck wood is mirrored at the centre of the body thus presenting a neck-through-body appearance.

Having a cannon as well as a jack socket on the bass was used as a means to connect directly into the PA. Stadium bands used this idea a lot during the seventies, as being low impedance the cable could be much longer than a regular jack to jack.

Whilst some Classics had dot markers others had a set of distinctive oval inlays. This particular bass belonged to Mark King and was signed and donated by him for a charity auction in 1988. We wonder where it is now...

Gibson EB-1 Electric Bass

PRODUCED: 1953-58

ORIGIN: USA

TYPE: Solid violin shaped arched body, 4-string

BODY: Mahogany

NECK: Mahogany, set neck, 20 fine frets

SCALE LENGTH: 775mm (30.5-inch)

FINGERBOARD: Rosewood, pearl dot inlays

HARDWARE: Chrome bridge/tailpiece, single-saddle bridge, banjo style tuners with rear-facing knobs

PICKUPS: Single alnico magnetic pickup with brown Royalite cover

CONTROLS: Volume & tone

FEATURES: Telescopic endpin for upright playing

FINISHES: Natural brown lacquer with painted f-holes

COMMENTS: This was the first electric bass from Gibson hence the name. However it was rechristened the EB-1 after the introduction of the EB-0 in 1956. It was Gibson’s tradition of organising model numbers by their price that caused the EB-0 to undercut this designation because it was cheaper!

The EB-1 briefly resurfaced in 1970 with a few cosmetic changes but by 1972 it was gone again! With its violin shape and endpin it was definitely aimed at bridging the gap between an upright bass and a bass guitar. The earliest versions with a brown pickup cover had a huge single-coil unit inside that was actually mounted on its side. This gave it a cleaner and better-defined sound than the 1958 versions that were given a regular bass humbucker.

Rickenbacker 4000 Bass

PRODUCED: 1957–1984

ORIGIN: USA

TYPE: Flamboyant 'cresting wave' twin cutaway solidbody, 4-string

BODY: Maple wings stuck to mahogany neck-through core

NECK: Mahogany or walnut, through-neck, 20 medium frets

SCALE LENGTH: 851mm (33.5-inch)

FINGERBOARD: Rosewood, dot markers

HARDWARE: Nickel or chrome, bridge/tailpiece included a string damper assembly, Schaller BM nickel tuners

PICKUPS: Huge horseshoe magnet pickup featuring a distinctive gap in the wrist rest section where the magnets oppose each other

CONTROLS: Volume and tone, chrome plated or black 'flying saucer' knobs

FEATURES: Clear plastic bridge borders, clear plastic finger rest, gold back-painted clear plastic pickguard with alternative white available around 1958. When the 4001 appeared the scratchplate adopted that design, gold was dropped and later black was introduced

FINISHES: Mapleglo and old-style Fireglo (2-tone brown sunburst)

COMMENTS: Like Fender’s Precision Bass, Rickenbacker almost got it right first time with their visually startling 4000 model. It was the first bass to feature through-neck construction where the bridge pickup, neck and headstock were all on the same piece of wood so effectively maximising on resonance and sustain.

This mahogany centre core had maple ‘wings’ stuck to it to form the ‘cresting wave’ body shape named after the famous Japanese painting, and also used for the headstock. Designer Roger Rossmeisl had introduced this manufacturing technique on the Combo 400 guitar the previous year.

Earliest versions had a fixed modified bridge with a standard guitar string anchor leaving two slots unused. This was soon replaced by a movable bridge with string mute. Of all the early bass guitars, the 4000 was the closest to Fender’s 34-inch scale and also benefited by the more vibrant sound this length seems to magically produce.

Although it doesn’t possess the classic Rickenbacker growling sound that we know and love today, it gives a robust delivery that is still mighty appealing. The 4000FL fretless version was also available from 1960 but only as a special order.

Framus Star Bass 5/150

4 out of 5

PRODUCED: 1959-68

ORIGIN: Bavaria

TYPE: Semi-acoustic body, 4-string

BODY: Mahogany top and back, maple sides, white binding, single cutaway, two f-holes

NECK: Maple, set neck, 20 medium frets

SCALE LENGTH: 775mm (30.5-inch)

FINGERBOARD: Rosewood, bound with white dot inlays

HARDWARE: Chrome tailpiece and scratchplate, guitar sized tuners with plastic keys

PICKUPS: Two four-pole pickups mounted on metal floating scratchplate

CONTROLS: Volume & tone, plus rotary pickup selection lever switch

FEATURES: Single-saddle rosewood bridge, separate heavy duty chrome plated tailpiece, painted headstock, lever style control knobs

FINISHES: Black Rose or Shaded Blonde

COMMENTS: In the 1950s when American instruments were almost impossible to get many British groups used Framus basses and the first bass superstar, Jet Harris, used his on many of the early D