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've never seen any specific documentation, but I was told that Roger did attend the Mittenwald school for at least a brief period. The story goes that his father, Wenzel Rossmiesl — himself a highly regarded German luthier who had built a strong reputation in Mittenwald-style craftsmanship — was concerned for his son's safety either in the run-up to or in the early days of World War II, and managed to secure him some kind of position there. Roger almost certainly didn't complete a full program, and it's possible he served only as an assistant or apprentice. Still, however brief his time there, the classic Mittenwald aesthetic — with its distinctive inlay work, elegant headstock shapes, and refined European archtop sensibility — left a clear and lasting imprint on his own personal design language, elements of which would later find their way into some of the most iconic Rickenbacker models and others.
The original inlay material, sourced from Japan, was supplied by a company that among other things produced pearlescent sheet goods used on drum shells. A sample chart showing the full range of available colors and patterns hung on the wall of the small shop adjoining the factory manager's office at the Kilson Street factory. Decades later we tried to track the company down, only to find they had long since gone out of business. I've always suspected someone in the vintage drum world might remember the name of the firm — but I'm afraid it's lost to me now. When I began traveling regularly to Japan in the 1980s, I was constantly putting out feelers for the source. We seemed to be getting close when I turned up the raw material in Okinawa, but it was ultimately a dead end.
I really enjoyed this one Andy!
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.
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.
I've never seen any specific documentation, but I was told that Roger did attend the Mittenwald school for at least a brief period. The story goes that his father, Wenzel Rossmiesl — himself a highly regarded German luthier who had built a strong reputation in Mittenwald-style craftsmanship — was concerned for his son's safety either in the run-up to or in the early days of World War II, and managed to secure him some kind of position there. Roger almost certainly didn't complete a full program, and it's possible he served only as an assistant or apprentice. Still, however brief his time there, the classic Mittenwald aesthetic — with its distinctive inlay work, elegant headstock shapes, and refined European archtop sensibility — left a clear and lasting imprint on his own personal design language, elements of which would later find their way into some of the most iconic Rickenbacker models and others.
The original inlay material, sourced from Japan, was supplied by a company that among other things produced pearlescent sheet goods used on drum shells. A sample chart showing the full range of available colors and patterns hung on the wall of the small shop adjoining the factory manager's office at the Kilson Street factory. Decades later we tried to track the company down, only to find they had long since gone out of business. I've always suspected someone in the vintage drum world might remember the name of the firm — but I'm afraid it's lost to me now. When I began traveling regularly to Japan in the 1980s, I was constantly putting out feelers for the source. We seemed to be getting close when I turned up the raw material in Okinawa, but it was ultimately a dead end.