Cort G250 HSS | Part 2

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Part 1 | Part 2 | Part 3 | Part 4

Neck and Fretboard

I've disassembled the G250 in order to evaluate each and every component closely, and determine what needs to be done. We'll start off by detaching the neck, then. As mentioned previously, the hard maple neck is attached to the body via four anodized black wood screws and bushings. It's hardly been a year, but these eight components are already in poor shape. Let's hope a good long soak in MultiLube and scrubbing dispels the unwanted residue and tarnish. Meanwhile, the tremolo claw isn't doing any better. I thought the strange discoloration was merely overspray from the finishing process, but no; it's basically the same gunk that's coating the neck screws. Trying to scrape it off is not a viable option, so I'm going to go ahead and replace the claw and screws.

Neck Screws and Bushings

Tremolo Claw, Springs and Block

Tremolo Claw and Screws

Moving back to the neck, let's examine the neck heel. Right off the bat, I must comment on how snugly the heel fits into the pocket. It's not too tight that you have to force it in, and not so loose that the neck doesn't stay in place. This shows just how tight tolerances are at the Cort plant, kudos to them. Once freed from the pocket, the neck heel reveals a few interesting details, such as the truss rod "barrel" anchor nut. Viewed from the top, this nut looks like a metal disc. You'll also notice the 22nd fret fretboard extension, which is most prominent when viewing the heel from either side. One more little detail, then. Looking straight at the butt end of the neck, the grain pattern suggests that this neck is flat sawn. 

Neck Pocket

Truss Rod Barrel Anchor Nut

Fretboard Extension - Left

Fretboard Extension - Right

Butt End Grain Pattern

 

We now shift our focus to the headstock, or more precisely, its end. As it is at the butt end, the grain pattern here runs nearly horizontal; which is characteristic of a flat sawn neck. Do note that the tuners and string trees have already been discussed, so I won't be rehashing that. What's left is the truss rod, namely the access channel and adjustment socket. The access channel features a black plastic plug which looks a lot like walnut, and is a classy touch. As for the adjustment socket, it turns smoothly in either direction, which is a huge relief. I forgot to note down the hex wrench size though, my bad.

Headstock End Grain Pattern

Truss Rod Channel, Plug and Adjustment Socket

Finally, we examine the jatoba fretboard. As measured, the radius is 14 inches, and not 9.45 as stated on the official product page. Lack of maintenance has left it dry and grimy, to put it mildly. The frets are in much better shape, albeit a tad tarnished. I believe a good scrub with naphtha, conditioning with lemon oil, and fret clean/polish should set things right. Turning the neck on its side, one notices that the synthetic nut is well seated. There's not even the slightest gap or trace of filler to be seen. Equally impressive are the smooth fret end bevels, recessed fret tangs and white side dot markers. Good job, Cort!

Grimy Jatoba Fretboard

14" Fretboard Radius

Nut is Well Seated

Side Dot Markers