re: "This is an old German design, favored by many of the Mittenwald School luthiers, such as Roger Rossmiesl...". Well, Rossmiesl didn't attend Mettenwald...
It would be cool to show/discuss that the initial crushed inlays that 'looked like Ibanez inlays'... IE the '61 and initial '64 inlays don't look much like those that followed at all. And that is prob proof enough that the 'sheets' or supplier of the crushed inlays changed over time, or that RIC was making the sheets; who knows... But they are distinctly different inlays.
I really enjoyed this one Andy!
this is one of your best articles!
Some observations:
re: "This is an old German design, favored by many of the Mittenwald School luthiers, such as Roger Rossmiesl...". Well, Rossmiesl didn't attend Mettenwald...
It would be cool to show/discuss that the initial crushed inlays that 'looked like Ibanez inlays'... IE the '61 and initial '64 inlays don't look much like those that followed at all. And that is prob proof enough that the 'sheets' or supplier of the crushed inlays changed over time, or that RIC was making the sheets; who knows... But they are distinctly different inlays.
Great article, really enjoyed the detailed photos of the different era inlays and the beautiful guitars.
I’ve only ever owned one deluxe version 4001, a used ‘72 with the fwi and cb binding. This was around 1976, and I was really surprised
(and dismayed) to see the new smaller (and much duller looking) inlays on the current showroom basses. And they kept them for decades! 😅
That, and my issue with the discomfort of body binding, pushed me towards the more ergonomically comfortable S models for good.
And Ultimately the 4004 models, which I’m looking forward to your article about.