Not really a Rick repair story, but hopefully some folks will enjoy it anyways...
In 1975, after using my singer's fireglo Rick for a number of months, I liked the slightly shorter scale of the Rick so I saved up the money to buy my own. Around this time, our singer had decided to leave the band and ended up joining the Genesis tour as Daryl Sturmer's guitar tech. My Fender Jazz had so many dead spots in the neck, the band would no longer allow me to use it, so I knew I had to do something.
After a well-publicized gig at the Cellar Door, i found out that I had several big-time fans who happened to work at Chuck Levin's Washington Music Center. Chuck's was the superior local choice for bass gear at the time. I told him that I wanted to buy my own 4001 and he stopped me cold. He said, "Look - I don't want to rain on your parade - but there is a HUGE difference in 4001's from bass to bass. They simply are not consistent. Every neck seems to be a new experience in feel - and the fit and finish can vary a lot." He asked me how much time I had and I told him I wanted to get it done within a week or two.
I was so amazed and delighted when he called me early in the week and said - "Look, we have about a dozen 4001s in the warehouse, if you can give us until saturday, we will track them all down, make sure they have good set-ups and let you in upstairs to play them all to your heart's content." Of course, I set my sights on saturday and told him my favorite finish was the mapleglo, but I wouldn't let that make my final decision. But I did want to be sure he had all the mapleglo's in the room for me. I hate paint, I am a natural wood guy.
So on saturday, I spent several hours, painstakingly going through all of the Rick's (my name is Rick, they will always be Rick's to me - Ric doesn't work.) I found that exactly what they said was true. I couldn't believe the differences in the neck profiles. It was wild how varied they were. Call me crazy, but how cool that a major bass manufacturer didn't have cookie-cutter necks. I considered this an asset at the time.
Also some sloppy finish work and a couple they had trouble setting up properly. They both buzzed badly even after their tech's spent a good amount of time trying to set them up properly. I gravitated to a mapleglo - with the widest and yet thinnest neck I had ever played. I just kept going back to that one, and eventually rang the cash register with it. I hope this isn't a disrespect to this thread in any way - I owned the bass for only a year, and used it on 7 of the 8 tunes on our initial release "Happy the Man" which was produced by Ken Scott. I ended up giving the bass to Paul Reed Smith, but that is an entirely different story. Suffice it to say, the bass held up without problems for about a year and served me well. No issues, nothing odd, even with that ridiculously thin neck.
So that is my story and I am sticking to it. The Rick was replaced with PRS #11, which was medium scale and changed my life:
Paul Reed Smith #11 | Vintage Guitar® magazine
PRS #11 was the only bass I owned, and the only bass I played for over 20 years.
Loved Chuck’s. Bought many amps there. I took my 4001 there in the 70’s and had its tune up done and new Roto 66’s put on. I can’t remember the main man in the shop, but we “fought”. about putting the Roto’s on every time it was in the shop. “Too much stress on the neck”. Never said a word about the fret wear “issues”. I still put them on. I bought the Ric like many players in that era, thanks Chris Squire. And wanted that Roundabout tone like many did. Great store. You could pull out as many amps and cabs as you wanted and try them all day long.