Friday, June 11, 2021

2002 Fender Standard Stratocaster | Part 4

Related Posts
Part 1 | Part 2 | Part 3 | Part 4

Further Upgrades

Nice to see you again folks, and thanks for dropping by. We're still on the topic of the ageless beauty that is this 2002 Sunburst Fender Standard Stratocaster. If you would recall, Part 3 was dedicated to the refret job carried out on the guitar. Now, in this post, I'll briefly describe what else was done to revitalize this fine specimen of MIM-ness.

However, before going any further, I must point out the attractive checking that had developed naturally over the years on both the front and back of this guitar. The checking has a surreal almost 3D quality to it if viewed at a certain angle. It's one of those little things about a guitar that's been around the block many a time and been played by countless people over the years; that you'll not find on a brand-new instrument.

Alright then, let's talk about electronics. Those familiar with MIM Strats would know that the stock pots, five-way switch and output jack socket are similar to what you'd find on an American Standard Stratocaster. In this case it was CTS 250K pots, Oak Grigsby switch; and Switchcraft #11 jack.

The pots and switch needed to be replaced, but the output jack just required a little servicing. Thus said, new CTS 250K pots and an Oak Grigsby switch were installed with vintage-correct Gavitt cloth-covered wire. The owner really wanted Gavitt wire to be used; as the leads of the new pickups I'd be installing were also cloth covered. Aha, yes; we have new pickups :)

The new trio were in fact Fender Custom Shop Fat '50s Stratocaster® Pickups with pure white covers. However, as the owner was quick to point out; those pure white covers didn't quite fit in with the vintage vibe of the guitar. He was also not too fond of the pearloid pickguard, maybe it was a little too mother-of-toilet-seat for his tastes.

As luck would have it, a kind-hearted man on the wrong side of 59 was able to procure three pre-loved white US Strat pickup covers and matching pickguard; all of which had turned the perfect shade of yellow after numerous nights in smoky bars. Then, it was discovered that the stock knobs would not fit onto the shafts of the new CTS pots for some peculiar reason. I mean, the stock pots' shafts were CTS with 24 splines. The knobs seemed to fit okay before, but why not on these new pots? 

Cutting to the chase, new US-spec cream knobs, plus the aforementioned naturally-aged plastic parts; were eventually installed on this 2002 Sunburst Fender Standard Stratocaster. Needless to say, the owner was overcome with joy upon seeing these favorable cosmetic changes; and thanked his lucky stars that the mojo of his beloved instrument had now grown by leaps and bounds.

Once everything was in place, the guitar was strung with Ernie Ball Regular Slinkys, given a proper setup; and plugged into my trusty Fender Champion 40 amp for a sound check and pickup height fine-tuning. I must say that Fender isn't kidding when it says that these Custom Shop Fat '50s Stratocaster® Pickups "deliver the single-coil 1950s Stratocaster sound you know and love." Now, as hearing it with your own ears is believing; I've uploaded a short YouTube Video containing audio samples of all five pickup positions. Do give it a listen, folks.

With that, I bid you adieu. Until we next meet in cyberspace, take care; and always be excellent to one another :)

















2002 Fender Standard Stratocaster | Part 3

Related Posts
Part 1 | Part 2 | Part 3 | Part 4

Another Full Refret

I was first introduced to this 2002 Sunburst Fender Standard Stratocaster way back in 2013. The guitar badly needed lots of TLC, and part of of that involved a full refret with Dunlop Accu-Fret 6110 Jumbo Fret Wire. Since then, it's changed hands and now the new owner wants a couple upgrades and another refret with "smaller frets" as he's not a fan of jumbo frets. To simplify matters, I'll be dedicating this post to the refret job per se; and the next post to the various upgrades effected. That being said, let's talk about the refret job; shall we?

After detaching the neck from the body and removing the nut, tuners and string tree; the maple fretboard was cleaned with naphtha (Zippo Lighter Fluid). Then, the fretboard was lightly scored along both sides of each fret with a scalpel blade. This was done to minimize fretboard finish chipping when the frets were removed later.

Following this was fret removal. Each fret was first gently heated with a soldering iron; as I'd used super glue on the last refret. A neat trick is to apply solder to the area being heated as if you were actually soldering something. Then, when the solder melts on the fret, you'll know that you've applied enough heat. Subsequently, a pair of flush-ground nippers was carefully used to "walk" each fret out of its slot.

Once all the frets had been removed, the fretboard was lightly scuff-sanded. I'd have liked to fully prep the fretboard with a 9.5" radius sanding block, but the owner was adamant about me not altering the appearance and ruining the "mojo" of the worn fretboard. Yes folks, worn spots, bare maple and bacteria all contribute to a high score on the mojo scale. 

After fretboard prep, the fret slots themselves were cleaned of any debris and checked for proper depth with a StewMac Fret Slot Depth Gauge. This time round, StewMac #149 Wide/Medium Fretwire would be used, and these had a tang depth of 0.067 inches. The slots were deepened where necessary, and the top of each slot tapered with a small triangular file. This was to aid fret insertion.

Now, as the fretboard radius was 9.5 inches, 2-foot lengths of the fretwire were radiused to slightly less than that of the fretboard using a StewMac FretBender. The fretwire was then cut to the appropriate length for each slot and stuck onto a home-made "fret keeper" wooden block.

The next task was installing the frets in the usual manner. You know, tap to seat both ends, then tap tap tap until the whole fret is properly seated. And as is my normal practice, super glue was wicked in from both ends of each fret to fill in any gaps between the fret tangs and sides of the fret slots.

Once the super glue had cured, it was time to trim the fret ends and file them flush with the sides of the fretboard. Following this was fret end beveling, which was also done using a file. Each fret end was then rounded over with a small file and sandpaper to remove any burrs and sharp edges.

This having been done, strips of StewMac Orange Multi-Purpose Tape were applied to the fretboard to protect it from any damage during subsequent procedures. I really like this tape as it does not leave a lot of sticky residue when removed; unlike store-bought masking tape.

The tops of the frets were then marked with a black permanent marker pen, and leveled with a diamond sharpening stone. It was easy to identify any low spots because they would still have black marker on them. After re-marking the fret tops, the leveling process was repeated until there were no more low spots left.

Periodically, the frets were checked for uniform flatness, three at a time; with a fret rocker. Any high spots were immediately dealt with using a small file and sandpaper. Besides this, "fall away" was also created in the higher registers by applying five layers of masking tape to the area around the 12th fret and re-leveling subsequent frets. The end result was a slight downward taper from the 12th to 22nd frets.

What was left then was to re-crown the fret tops. I used a combination of a small edge-ground three-cornered file and StewMac Z-File Fret Crowning File to accomplish this task. With re-crowning taken care of, the frets were abraded and polished with successively-finer grits of sandpaper and 0000 steel wool.

The final step in the refret process was the application of several light coats of Tru Oil to seal the maple fretboard from sweat and grime. I'd have liked to refinish the fretboard with several coats of clear, but that would have destroyed its mojo; and the owner wasn't having any of that.

That's about it for this post, folks. In Part 4, we'll see how this 2002 Sunburst Fender Standard Stratocaster was upgraded; and admire a couple pics of the revitalized six-stringer.


















Tuesday, June 08, 2021

2010 Gibson Les Paul Custom Shop LPR5 | Part Two


This post concludes my report on a very rare and lovely 2010 Gibson Les Paul Custom Shop 55 Standard Refinish LPR5. In Part One, we looked at the LPR5's external features. Now, in this episode, we'll get up close and personal with this exemplary specimen of guitarhood.

Let's start with case candy, then. First up is the TonePros Locking Bridge system mini-wrench, which you'll need to unfasten the "TonePros long steel anchors and long locking studs" holding the stopbar tailpiece in place. Then there's a genuine Gibson AIGG-925 Polishing Cloth, which was as yet unopened when received. No, I didn't have the heart to use it.

Documentation-wise, there's a Gibson Gold Warranty, Pre and Final Pack Checklist, Gibson Historic Collection Guarantee Card, various tags, and last but not least; a Gibson Custom Shop Certificate of Authenticity.

On to the pickups now. As mentioned in Part One, the neck pickup is a Burstbucker 1, and the bridge; a Burstbucker 2. According to the Gibson Custom Shop, the BurstBucker 1 "replicates the sounds from Gibson's original Patent Applied For pickups, are slightly underwound," and produce a "medium vintage output." The BurstBucker 2, meanwhile, is wound "in the range of Gibson's '57 Classic; and "slightly hotter" than the BurstBucker 1. Both humbuckers feature "unpolished magnets and non-potted coils, just like the original."

Stuck to the underside of both humbuckers are two rectangular labels. The smaller of the two is black with the words "PATENT APPLIED FOR" in gold font. The larger one is just plain white paper with badly-faded greyish print. Truth be told, I was only able to read the text after a lot of Photoshopping. And so, here is what I managed to decipher:

BurstBucker 1 Neck Humbucker
BB#1
(Wound by PS)
03/26/10 0594

BurstBucker 2 Bridge Humbucker
BB#2
(Wound by PS)
03/17/10 0446

For starters, I'm making an educated guess that "BB#1" is the acronym for "BurstBucker 1" and "BB#2;" "BurstBucker 2." Next, both humbuckers were probably hand-wound by someone with the initials "PS" (Paul Stanley?). I am also fairly certain "03/26/10" refers to the date of manufacture of the neck humbucker; namely March 26th 2010. Likewise, "03/17/10" most likely indicates that the bridge humbucker was manufactured on March 17th 2010. Finally, "0594" and "0446" are most probably batch numbers. What do you think, folks?

The control cavity is unshielded, as per 1955 specs; and houses four full-sized pots hooked up to two "Bumblebee" tone capacitors. The output jack is, thankfully; a genuine US-made Switchcraft #11. Frankly, I was half-expecting to find a Neutrik/Rean NYS229 in there. Two thumbs up to the Gibson Custom Shop for keeping things authentic!

If you have the time, do check out the two audio files I recorded of this 2010 Gibson Les Paul Custom Shop 55 Standard Refinish LPR5 being (i) played clean through a Fender Champion 40, and (ii) overdriven through a Marshall half stack. Thanks for dropping by; and I'll see you again real soon :)




















2010 Gibson Les Paul Custom Shop LPR5 | Part One


Hi there! Today we take a good look at a 2010 Gibson Les Paul Custom Shop 55 Standard Refinish LPR5. According to the Gibson Custom Shop, this particular guitar ".. is an extremely rare prototype." Still listed, but marked as sold on Reverb, it's now owned by a mild-mannered chap named Fizan.

The LPR5 came into the shop for a string change and setup a few months ago, and I wasted no time in taking lots of pictures to share with you. I've also managed to record audio of this 2010 Gibson Les Paul Custom Shop 55 Standard Refinish LPR5 being played clean through a Fender Champion 40, and overdriven through a Marshall half stack. Do give both recordings a listen if you will.

In this post (Part One), I'll share with you the main features of the guitar without taking it apart. Next, in Part Two; we'll get to see what's actually inside. With that, it's time to highlight some specs. Although most of the information presented is straight off the Reverb listing; I have also added a few observations of my own.

  • Also known as: Gibson Custom Shop LPR5
  • Made by the Gibson Custom Shop
  • Issued in 2010
  • Comes with a Gibson Custom Shop OHSC
  • Serial Number is "Proto #1"
  • Weight is about 8 lbs 8 oz
  • Mahogany Body and Neck
  • Maple Top finished in "Rich Amber Sunburst"
  • 24-3/4” Scale
  • Set-In Neck Joint
  • BurstBucker 1 Neck Humbucker
  • BurstBucker 2 Bridge Humbucker
  • Soft Shoulder '55 Neck Profile
  • Bound Rosewood Fretboard
  • 12” Radius, 22 Frets
  • 1-11/16" Nut Width
  • ABR-1 Tune-O-Matic Bridge
  • Stop Bar Tailpiece
  • TonePros Locking Bridge System
  • 2 Volume/2 Tone Controls
  • 2 Bumblebee Tone Capacitors
  • 3-Way Pickup Selector
  • Switchcraft #11 Output Jack Socket
  • Kluson "Gibson Deluxe" Tuners
  • Nickel Hardware
  • Gold Bell Knobs with Knob Pointers
  • Engraved metal "Gibson Custom" toggle switch cover