You are here


In the first place, I make electric guitars for design aficionados and touring musicians who call the big stages their home: handcrafted, exclusive rock guitars for genuine stars and the great show – just show guitars of the superlatives.

I can just appeal to guitarists and bands over and over again: your audience have got ears and eyes ... To add an optical trademark to your fantastic sound may substantially boost your musical career – just think of Rammstein, Kiss, or ZZ Top. And it is much fun – for both artist and audience.

This is exactly why I have developed these fantastic, absolutely show-proof series. Also for guitarists that may have already lost their hearts to a tele or strat I have fantastic models on offer. My '181', for example, is similar to a Telecaster, but in the unmistakable Rischke style with humbucking pickups, reverse headstock, tremolo system – it will be announced within the next few months on my Facebook site. And it's a real eye-catcher, too.

The sound spectrum of Rischke guitars ranges from metal and rock to blues and C&W. I have designed some models especially for the ladies of rock.

I will also make bass guitars in the future. All basses will have similar features as the Rischke guitars: alder or ash body, maple neck, tremolo system and both humbucker and single-coil PUs.
I'm almost done with the first bass model. Only certain precision parts such as the tremolo system and bridge, which are exclusively manufactured for the Rischke models by hand-picked suppliers, are missing. The basses will be of top-quality too, and will be presented in the magazines in due time.

I much love US red alder, swamp ash or korina for the body, combined with necks from Canadian maple.
I share this preference with many stars from Hendrix to Zappa. For necks, I prefer high-grade figured, quarter-sawn Canadian maple. The hardness of the Canadian maple gives the sound more edge and presence. The fact that the wood is quarter-sawn, i.e. the tree rings are perpendicular to the thickness, results in a better vibration behavior and also allows a very low action. The wood comes from carefully selected and professionally stored stock. Depending on the model, the bodies come in one or two pieces.
Rischke guitars are much flexible sound-wise, thanks to the light solid-body construction and the combination of humbucker and single-coil PUs. I pay much attention to the overall weight, as well as the right wood for optimum vibration behavior. The widely heard opinion that only a heavy guitar can produce a fat sound is not true. Instead, the best sound is created at least material condition.

The pearlescent finishes are a real eye-catcher. The model '262' in Crystal White with rosewood fretboard is just fantastic in this combination – the true queen of this series. Particularly in the spotlight, this marvelous pearlescent finish unfolds its brilliant fascination.
But also the models in Red Gold Inferno with maple fretboard are irresistibly beautiful. The gold mother of pearl gives the finish a brilliant depth, unrivaled luster and a noble look.
The painting consists of 7 to 8 wafer-thin layers of acrylic lacquer. The elaborate finish gives the guitar, in addition to its outstanding looks, excellent vibration characteristics, tonal stability and a fresh, solid tone. My tests could not confirm the opinion that nitrocellulose lacquer must be used for an exceptionally sounding guitar. The acrylic lacquer I use is just perfect for my models: even after long and hard touring, hardly any scratches are visible – everyone well knows the problem buckle vs. body back –, and the finish is absolutely color stable over decades.

Fretting and nut
I use Dunlop medium jumbo frets from nickel silver or stainless steel.
The fretboards are made of ebony, rosewood, or maple, with 6 mm mother-of-pearl dot inlays. My favorite fretboard radii are 12 ", 14", and 16", but 10" or 9.5 " are also possible. Every guitarist should find 'his' neck with perfect playability. Some customers opt for a compound radius: the fretboard becomes flatter in the high positions, which allows low string action, speedy play, and wide bendings. However, a compound radius is not a condition for a low action and good playability – for me, for example, a consistent 12" radius is just perfect.
Necks and maple fingerboards are coated with a special hard glaze – not only for a very nice look, but in order to have neck and fretboard providing a familiar, safe play from the outset. A lacquered fretboard or neck would sound harder and may render playing with sweaty hands more difficult.
The nut from 10,000 to 20,000 year old mammoth ivory (older than all Rolling Stones together!) offers a particularly good transmission of the string vibration to the neck and promotes a strong, smooth sustain. It is standard on all Rischke models. The three-layer binding and the inlaid brass star on the headstock are, apart from the signature, also distinctive Rischke guitars features.

Neck humbuckers sounded never particularly good to me. A single-coil in the neck position is more flexible while still providing sufficient punch, and together with a humbucker or split humbucker sounds much more defined and transparent. The pickup comes from the renowned workshop of Harry Häussel and are manufactured exclusively for the Rischke guitars. In particular, the humbuckers and single-coils with chrome rim round off the design.

Tremolo system
I make special systems in different materials for the series, steel being the best and most exclusive material.
The steel block gives the tone a crisp attack and also makes it somewhat denser. However, also brass or aluminum
may be used, depending on which sound the customer prefers. No matter whether steel, brass or aluminum, all tremolo
systems of Rischke models are carefully chrome plated, which rounds off both the design and the sound.
I do not use stop tailpieces; all my models come with tremolo system.

Manufacturing and distribution
All my guitars are handcrafted from the headstock to the strap button – each instrument is unique and patented worldwide.
No detail is left to chance; I have been experimenting, improving, and optimizing the workflow for years.

The vintage tremolo and the pickups by Harry Häussel are custom-made, exclusively manufactured for Rischke guitars. Only the best CTS potentiometers, Eyb 5-way switches, capacitors and the best vintage cable are used. The control cavity is completely shielded against interference noise with silver lacquer, and on request also with copper foil. All neck and switch plates are specially made, hand-polished and chrome-plated. The lettering is engraved by hand of course. The processing of the Rischke cutaway is the most extensive: with special cutters only a small portion can be preprocessed, the much greater part is done manually.

My instruments are not available in retail or online stores, and should be directly ordered from Rischke Guitars. The same applies to individual components and spare parts. So every buyer will receive a very exclusive instrument.

Their unique looks and flexibility let Rischke guitars figure among the most exciting models worldwide.