1991 Yamaha RGX521 | Part 4

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TRS-101 Bridge Setup

We're into the home stretch now, and all that's left is to string and set up the Takeuchi TRS-101 double-locking tremolo bridge. Easier said than done, though. I've just discovered that the high and low E saddles are cracked, rendering the string lock mechanism inoperable. Yes, these saddles need to be replaced. 

Dunlop DEN0942 Strings

Cracked Saddles

Now, I have two old Floyd Rose-licensed bridges lying around, both missing numerous parts; but with their saddles intact. And wouldn't you know, the saddles from one of them are a perfect fit for the TRS-101. After a few rounds of mix and match, we've finally managed to achieve a saddle radius of 16 inches, which complements that of the fretboard. Lucky me!

The Saddle Donor

G and D String Saddles Replaced

Fretboard Radius is 16"

16" Saddle Radius Achieved

Locking Nut Setup

The fret dressing carried out previously would have lowered fret height considerably, increased string clearance at the first fret; and eliminated the possibility of open string buzzing. However, that's not the case with this guitar. Tuned to pitch, open string buzz is apparent, especially on the wound D, A and E strings. This means that the strings are sitting way too low, and the entire locking nut needs to be raised. Glad to report that installing two brass shims beneath the locking nut has done the trick. No more open string buzz, folks!

Brass Locking Nut Shims

Brass Shims in Place

Locking Nut Reinstalled

Photo Shoot

The Yamaha RGX521 is as ready as it will ever be. As a finishing touch, the neck has been waxed, and the body lovingly buffed with Gibson Guitar Polish. The owner says that he's on the way here from Temerloh, and should arrive later this evening. This leaves me with lots of time to snap some pics for your viewing pleasure.

1991 Yamaha RGX521 | Part 3

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Hardware Servicing

Now that we've become acquainted with this RGX521, it's time to take it apart and address each and every malady plaguing it. We'll begin with the tarnished, corroded and rusty hardware. After a warm sodium bicarbonate bath, brushing, cleaning, and lube job; parts that can be saved will be polished and reused. As for components that are too far gone, well, they'll have to be replaced.

Hardware Disassembled for Servicing

Straightening the Neck

The maple neck suffers from way too much relief, even with the truss rod tightened to the max. This has resulted in uncomfortably high action, especially in the middle of the fretboard. The most viable solution would be to loosen the truss rod completely and then gradually force the neck into a back-bow, as shown in the image below. Once the neck has developed sufficient back-bow, the truss rod will be fully tightened, and the clamps released. You should now be able to get the fretboard fairly level after a little truss rod tweaking.

Back-Bowing the Neck

With the fretboard level, I've been able to identify quite a number of high frets, warranting a full fret level and dress. However, fretwork will have to wait until I scrape the back of the neck and sand it down to raw wood in preparation for refinishing. Wouldn't you know, sanding has revealed minor cracks in the wood just above and below the scarf joint line. These have been sealed with super glue, and should be stable enough not to cause further problems. In the image below, the blackish streaks are where the cracks lie.

Neck After Scraping and Sanding

Fretwork

Having taken care of initial neck refinishing prep, we can now proceed with fretwork in the usual manner. I believe you're familiar with the drill: leveling, creating fall-away in the upper frets, recrowning, fine sanding; and polishing. This fret job has proven to be very challenging and time-consuming, no thanks to the 24 jumbo stainless steel frets. These fellas are definitely harder to work on than your run-of-the-mill nickel silver frets, I tell ya!

High Frets Identified and Marked

Fretboard Masked Off

Fret Leveling in Progress

Fret Leveling Completed

Recrowning the Frets

Fret Polishing in Progress

Refinishing the Neck

What's next, then? Refinishing, of course. For this neck, I've decided to go with a water-based sanding sealer base coat to fill any voids or imperfections in the raw wood. This will be followed by top coats of Minwax Antique Oil Finish. Granted, I've been using Tru-Oil for hand rubbed finishes thus far, and this will be my first experience with this product. The switch was inevitable as Minwax Antique Oil Finish is available locally, and therefore more cost effective than Tru-Oil; which can only be purchased from foreign sellers on eBay. No complaints, though, as I've found the application process, curing time plus final look and feel of Minwax Antique Oil Finish to be not all that different than Tru-Oil.

Refinishing in Progress

The Refinished Neck

Pickup Reconfiguration

To recap, this guitar was received with two working G&B humbuckers and a dead middle single-coil. Which suits the owner fine, as he's never been fond of the HSH configuration, and truly desires a simpler dual humbucker setup. The single coil will not be wired into the circuit, but retained merely for appearances' sake. This being the case, I've cleaned and polished the humbuckers and their rings, and also replaced all associated screws and springs.

Cleaned and Polished Neck Humbucker

Cleaned and Polished Bridge Humbucker

Electronics Upgrade

Upgraded components include two Alpha A500K full-sized pots, an Oak Grigsby three-way switch, a Russian K73-16 0.022uF tone cap, and a Switchcraft #11 output jack. Shielding grounds have also been added, connecting the shielding paint in the pickup cavities to that of the control cavity; terminating in a ground lug screwed into the control cavity wall.

Upgraded Electronics and Wiring

Switchcraft #11 Output Jack

Electronics Upgrade Completed

1991 Yamaha RGX521 | Part 2

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Further Exploration

Picking up where we left off in the previous post, let's examine the back of this RGX521 now. First off, you'll notice the Yamaha "Super Playability Joint System." Appearance-wise, it is largely similar to the Ibanez All Access Neck Joint [AANJ]. However, the main difference is that instead of a screw/bushing combo, the neck is secured to the body via two recessed oblong metal blocks and four screws. Moving on, we see what might be the most telling feature on the back of this instrument, the silver script decal that reads "... Made by Kaohsiung Yamaha Co., Ltd. in Taiwan ..." With this, any doubts concerning the origins of this RGX521 are dispelled.

RGX521 Body - Rear View

Super Playability Joint System

Close-Up of Upper Block

Kaohsiung Yamaha Decal

 

The tremolo cavity cover is missing, most probably by choice. Exposed to view are the tremolo spring claw, claw ground wire, three tremolo springs, and the Takeuchi tremolo block. They've all seen better days, but should clean up nicely after a good soak and scrub. Thankfully, the control cavity cover is still in place, secured with three screws. Removing this cover reveals a shielded control cavity housing full-sized generic volume and tone pots, an Oak Grigsby five-way switch, a treble bleed circuit, Sprague Orange Drop tone cap; and generic output jack. Nothing works, by the way, courtesy of a really gnarly wiring job.

Tremolo Cavity

Control Cavity

Output Jack Plate

Generic Output Jack

The pickups and electronics have now been desoldered for further inspection. According to the original owner, none of the pickups are stock. These comprise two Korean G&B humbuckers and a generic Alnico single-coil. The humbuckers are still functioning, but the lone single-coil is as dead as a dodo. This pickup looks like something out of Stranger Things, with its messy wiring mods, haphazardly rearranged polepieces, melted bobbins, and mangled cover.

Pickups and Electronics Desoldered

The Lone Single-Coil

1991 Yamaha RGX521 | Part 1

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Introduction

This post is the first of four on a metallic yellow Yamaha RGX521 bearing the serial number HX18221. The serial number and decal on the back of the body indicate that this guitar was manufactured at the Yamaha plant in Kaohsiung, Taiwan in either 1991 or 2001. However, as the original owner recalls buying it new in the early '90s, it's definitely a 1991 model. Since then, it has undergone a pickup and electronics upgrade, been refretted with stainless steel frets, handed down to a younger sibling, and by the looks of it; left in a corner to rot. Fast forward to today, where the current owner wants me to take care of the numerous ailments plaguing his RGX521. Yes, folks, an overhaul is definitely on the cards. Before we get to that, though, let's spend some time getting to know this instrument. 

Yamaha RGX521 - Front View

Yamaha RGX521 - Rear View

RGX521 Headstock Label

Locking Nut and Truss Rod Cover

Truss Rod Adjustment Socket

Serial Number

Yamaha Tuning Machines

Rosewood Fretboard

Side of Neck

Back of Neck

Neck Heel Stamp

Body - Front View

Neck Pocket Stamp

HSH Pickup Configuration

Takeuchi TRS-101 Bridge

Bridge - Side View

Bridge - Rear View