Mymozika Frankenstrat Build: Part Three

Quick Links: Part One | Part Two | Part Three | Part Four

Howdy folks :) This is the third instalment of a series regarding a very challenging Mymozika Frankenstrat Build. In Part One, pickguard electronics were installed and tested. Then, in Part Two, the various components were carefully positioned as they should be; and all unused holes plugged and trimmed flush.

Now, it was time to do lots of drilling; and hopefully be able to affix the neck and bridge. To start off, pilot holes for the neck screws were drilled from the inside of the neck pocket using the neck plate as a guide. Following this, the actual holes were drilled; and the rims chamfered with a larger-sized bit.

Test-fitting the neck in its pocket revealed one big problem. The neck was sitting way too low. So low, in fact, that the action would be too high even with the bridge saddles at minimum height. After thinking things out awhile, I chose to resolve the issue by fashioning a tapered wooden neck pocket shim of suitable thickness. 

I'm glad to say that after inserting this shim, the neck was sitting much higher in its pocket; and at the desired angle (neck pitch). The next step, then, was to mark and drill the neck screws; and finally screw on the neck. Whew, what a relief!

Having finalized the position, alignment, and angle of the neck; pickguard and bridge-mounting screw holes were marked and drilled, and the bridge attached. Looking from below, it's a rather tight fit. I believe that some wood will have to be removed from underneath the bridge plate to accommodate tremolo block movement. Well folks, that's it for this post. Thanks for dropping by. Stay safe, stay healthy; and wear a mask whenever you have to venture outdoors.

Note: Fender®, Stratocaster®, Strat®, Telecaster®, Tele®, P Bass®, Precision Bass®, and the distinctive headstock designs of these guitars are registered trademarks of Fender Musical Instruments Corporation.

 

 

Fender Classic Series '70s Jazz Bass

According to The Guitar Dater Project, this three-color sunburst Jazz Bass was made at Fender's Ensenada Plant in "2012 or 2013." Based on my own observations as well as information sourced from Buffalo Music and Reverb; let's take a look at a few specifications.

Body
Alder
Three-color sunburst

Neck
Maple
Skunk stripe
1970s “C” profile
“Bullet” truss rod system.

Fretboard
Bound rosewood
7.25” radius
20 vintage-style frets
Pearloid block inlays
Side dot markers
Binding extends over the fret ends (fret nibs).

Electronics
Vintage-style Alnico Jazz Bass single-coil pickups (neck/bridge)
Neck Volume/Bridge Volume/Master Tone
CTS 250K pots (audio taper/solid shaft)
0.05uF tone capacitor
Shielded control cavity (conductive shielding paint)

Hardware
Chrome
Vintage-style four-saddle bridge
Four-bolt neck plate
"Fender" stamped open-gear tuning machines
Jazz Bass knobs with set screws
Three-ply B/W/B pickguard

1981 Ibanez Blazer BL-400: Part Four

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Part One | Part Two | Part Three | Part Four

This is the fourth and final instalment on a lovely Ibanez BL-400. Now that the electronics and hardware had been dealt with, it was time to fit a new bone nut. The old nut finally came off after putting up a good fight, no thanks to the copious amount of glue employed.

It was then that I realized something peculiar, in that the top of the bullet truss rod nut was protruding from the bottom of the nut slot. As the repairman before me had cleverly filed a slightly rounded recess into the bottom of the nut to accommodate the protrusion; I did the same. Following this was the normal run-of-the-mill procedure: tracing of the first fret height/profile, marking and filing of the nut slots, final shaping; and sanding/polishing.

As the new nut was now ready; the "stunt" strings were taken off and the neck, fretboard and frets given a good clean/polish. While cleaning the maple fretboard of gunk and grime, I actually discovered what looked like dried blood. How did it get there? When I casually mentioned this to the owner, he just laughed. Aha, so I guess it was blood after all!

The BL-400 was then strung with Ernie Ball RPS Super Slinkys (009-042) and set up in the usual manner. It's been a great adventure overhauling this gorgeous instrument, and I thank you for being with me all the way. Until we meet again, stay home, stay healthy; and God bless.

 

 

1981 Ibanez Blazer BL-400: Part Three

Quick Links:    Part One | Part Two | Part Three | Part Four

In this third instalment on a droolicious Ibanez BL-400, let's take a look at what was done electronics-wise. Now, as the guitar was unshielded save for some foil underneath the pickguard; a full shielding was installed utilizing conductive shielding paint, aluminium foil and a grounding tab.

The wires emanating from the Super 6 pickups themselves looked a tad iffy. Seems like someone had taken a soldering iron to them somewhere along the line and left a sloppy mess of solder blobs, loosely-hanging leads and burnt insulation. The only remedy, then; would be to desolder, clean up the leads, and resolder them to the flatwork.

All the control cavity components were replaced, save for the Switchcraft #11 jack which was in immaculate shape. Nothing out of the ordinary: Alpha A500K pots, Gotoh DM-50 selector switch, NKK DPDT toggle switch; and Russian K40Y-7 0.033uF tone cap.

1981 Ibanez Blazer BL-400: Part Two

Quick Links:    Part One | Part Two | Part Three | Part Four

In Part One of this series, we took a brief introductory look at this truly fine Ibanez BL-400 solidbody. Now, in this instalment; let's discuss the big cleanup. The main idea here was to retain as many original components as possible; and write off whatever was beyond saving. 

And so began the arduous task of removing years of caked-on sweat, crud, grime, goo, rust, corrosion; and general yuckiness.  This task involved electrolysis, sodium bicarbonate, dishwashing liquid, heat, abrasives, Autosol metal polish; and lots of elbow grease. 

When it was all over, I breathed a huge sigh of relief. As expected, most of the screws and springs were beyond redemption. We thank them for their faithful service all these years; and may they enjoy a blessed afterlife.

1981 Ibanez Blazer BL-400: Part One

Quick Links:    Part One | Part Two | Part Three | Part Four

Preamble
Here's a lovely red MIJ Ibanez Blazer Series BL-400. According to Guitar Insite, this guitar was manufactured in June 1981 at the Dyna Gakki factory in Nagano. I don't believe the body sports the original finish; as red is not one of the finish options listed in the 1981 Ibanez Electric Guitars Catalog. The only available finishes at the time were BK (Black), BS (Brown Sunburst); and TV (Traditional Violin).

Specifications
Body: Solid Ash
Neck: One Piece Rock Maple
Tuners: Smooth Tuner II
Fretboard: 25.5" Scale/9.5" Radius/21 Frets
Pickups: Super 6
Controls: Master Volume/Master Tone/Five-Way Pickup Selector/Phase Switch
Bridge: Accu-Cast
Control Knobs: Solid Brass
Hardware: Nichrome

This BL-400 was refretted about three years ago, and I assume that was the last time it received a proper set up. Oh yes, the stock nut has been upgraded to one of bone. The nut's a little short of the fretboard edge on the high E-string side; and the strings are sitting way too deep in their slots. On the whole, this instrument has not been properly cared for nor maintained adequately. As such, it's caked in dust, grime, crud and rust; and hardly makes a sound when plugged into an amp. Yes folks, it's time for an overhaul!