Stagg S-Style Solidbody Needs Some Help

Folks, what we have here is a Stagg S-Style Solidbody in none too good shape. I could start off by addressing the sheer amount of grime and crud encrusting this instrument, but this time around, I've only been asked to diagnose and fix the electronics. No more and no less, as the client is always right. In the video below, I'm checking the electronics to determine what works, and vice versa.

What I've discovered is that all three pickups are in working order, as is the five-way pickup selector switch. The Master Volume control, on the other hand, works intermittently, all the while producing annoying snaps, crackles and pops. Worse still are both tone controls, which do not seem to be doing anything. Last but not least is the loose output jack, which I suspect might be further degrading the signal.

So I've popped the hood, and checked all the ground connections. They're all solid, thank goodness. Now, about that output jack. It's grimy and dusty, no doubt, but the kicker is the frayed wiring and evidence of tampering. To be blunt, someone's been in here, cut the red coaxial cable too short, and "reconnected" the ground by twisting the negative wire around the ground lug. Like, who needs solder anyway, right?

Pickups and Electronics as Received

Gnarly Output Jack Wiring

At the other end of the same red cable is the Master Volume pot. Besides burnt insulation and messy soldering, you can see how the hot and negative wires are twisted around each other. This might cause a short circuit, resulting in intermittent output. Moving on, the five-way switch and tone pots look to be in much better shape than the Master Volume, belying the fact that neither of those pots are functioning.

Pickguard-Mounted Electronics

Master Volume

Tone 1

Tone 2

Five-Way Selector Switch

Right, then. I've begun remedial work by desoldering and servicing the output jack, and rewiring it with a new grey coaxial cable. Tone 2, sadly, remains unusable despite repeated servicing, and has been replaced. Tone 1 and the selector switch, meanwhile, have been serviced and should perform as expected. Which brings us to the Master Volume pot. The original red coaxial cable has been disconnected, and the pot soldered to the grey coaxial cable from the output jack.

Remedial Work in Progress

Rewired Output Jack

Tone 2 Desoldered

New CF 500K Tone 2

Rewired Master Volume

Now, as the proof of the pudding is in the eating, let's watch and listen as I put the rectified electronics of this Stagg S-Style Solidbody through yet another sound check through the same amp (Fender Rumble 15) at similar settings. Thankfully, everything is working as it should. And, to my ears at least, there's a marked improvement in both volume and clarity. 

Adonis Acoustic Overhaul - Part 3

Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6

It's November 16, and the clamps have come off for the second time. Looks like all that steaming and clamping has done some good after all. The delaminated layers are much closer together now, and whatever gaps that remain disappear when I press down gently with a finger. I believe there's no need for any more steaming in the upper and lower areas of the soundhole.

Clamps Removed - Lower Area

A Slight Gap Remains

Clamps Removed - Upper Area

Gap Nearly Closed

 

This being the case, I'll only need to do three more things. The first would be to apply wood glue in between the delaminated layers, and clamp them back together again. Then, I'd need to fashion two wooden braces and glue them to the underside of the warped areas. This will further stabilize the top and hopefully prevent any more warpage in the future. 

To this end, I've started to fashion braces of different lengths, and through trial and error, should be able to come up with two that will fit snugly. One of the ends has to be flat and the other angled in order to fit in between the existing braces.

Braces of Different Sizes

Guess I got a wee bit careless while sawing and cut my left index finger. The blood's coming out in gobs and I need to do something immediately. Thank goodness for super glue! Two applications have sealed the cut and curbed the bleeding. For now, that is. No more sawing for today, that's for sure.

Paying for My Carelessness

Super Glue to the Rescue!

The pain has subsided somewhat, so we'll go ahead and reglue the delaminated layers with Titebond Original Wood Glue. This time around, I've taken the extra step of wrapping the lower clamping cauls in masking tape to prevent them from sticking to anything. Meanwhile, I'm fervently hoping to be able to use my left index finger again tomorrow. Wish me luck, folks!

Titebond Applied - Lower Area

Titebond Applied - Upper Area

Another Round of Clamping

In Loving Memory of Haji Efandi bin Osman

In Loving Memory of Haji Efandi bin Osman. December 26, 1959 - November 13, 2025. River Blues founding member Haji Fendi passed away in the HTAA ICU at 10:44 PM on November 13, 2025. May God rest his soul. Soundtrack ©2018 River Blues Band. All Rights Reserved.

Yamaha Pacifica PAC612VIIFMX - Part 4

Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8

Wilkinson VS50 Vibrato Bridge

The VS50 is finished in satin chrome and features a precision machined six-screw hardened steel base plate. This base plate pivots on two knife edges and two posts. String saddles are attached to the base plate with black hex screws, much like those on a Floyd Rose. Saddle height adjustment, meanwhile, is effected via two hex screws on either side of the string slot. Speaking of which, one of the height adjustment screws on the G-string saddle is loose, despite the owner's stop-gap measures.

Wilkinson VS50 Vibrato Bridge - Top

Wilkinson VS50 Vibrato Bridge - Front

Loose Saddle Height Screw (Arrowed)

Wilkinson VS50 Vibrato Bridge - Back

Wilkinson VS50 Vibrato Bridge - Right Side

Wilkinson VS50 Vibrato Bridge - Left Side

Back of Headstock and Neck

We'll start of this leg of the tour by examining the back of the headstock. Here's where you see a clear plastic model ID sticker that reads "PAC612VIIFMX," a black paper "Made in Indonesia" sticker, and most importantly, the serial number stamp (IHZ153005). And, by the way, those Grover tuners are indeed locking, despite the lack of rear-mounted thumbwheels. Moving past the headstock, we have a nicely figured unlaminated maple bolt-on neck which sports a C shape, according to Yamaha. 

PAC612VIIFMX - Back of Headstock

Model ID Sticker

"Made in Indonesia" Sticker

Serial Number Stamp

Grover Locking Tuners

Close-Up of Three Tuners

Unlaminated Maple Neck

Attractive Figuring

Back of the Body

The body of this PAC612VIIFMX is alder, and appears to comprise at least two pieces of wood. The finish is reminiscent of a Les Paul, albeit in a much lighter hue, allowing the grain to show through. The back of the body features a belly cut, and is home to a four-bolt rectangular "Yamaha" neckplate, as well as the tremolo and control cavities. 

PAC612VIIFMX Body - Back View

Belly Cut

Close-Up of Alder Body

"Yamaha" Neck Plate

Tremolo Cavity

Close-Up of Tremolo Claw

Zinc Tremolo Block

Control Cavity Electronics

The control cavity is shielded with conductive paint, and the wiring is largely coaxial, which are both plus points. However, the black plastic cover is totally unshielded, lacking any sort of metal foil. As for the pickup selector switch, it is enclosed in a metal box, and appears to be PCB-based. The master volume pot is a mini, while the master tone pot, being a push-pull, features additional circuitry housed in a metal container. Finally, we have a mono output jack wired to the master volume pot with coaxial cable.

Shielded Control Cavity

Five-Way Selector Switch

Master Volume Pot

Master Tone Push-Pull Pot

Mono Output Jack

Yamaha Pacifica PAC612VIIFMX - Part 3

Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8

Headstock and Fretboard

The headstock features a flamed maple veneer cap, similar in color to the body. On this side, one can clearly see the slotted string posts, which may be tightened with a coin or flathead screwdriver. Also evident are the Graph Tech string trees and nut.

PAC612VIIFMX - Headstock Face

Yamaha Logo

Headstock Label

Internal-Cam Locking String Posts

Graph Tech String Trees

Truss Rod Adjustment Nut

Graph Tech TUSQ Nut

Moving down, we have a an unbound rosewood fretboard with a scale length of 25.5 inches and a radius of 13.75 inches. Other appointments include pearloid dot inlays and 22 medium-jumbo frets.

Rosewood Fretboard

Pearloid Dot Inlays

Neck Joint - Right Side

Neck Joint - Left Side

Body - Top and Side-Mounted Appointments

The PAC612VIIFMX body boasts a forearm contour and maple veneer cap in a hue Yamaha terms "Fired Red" (FRD). Other noteworthy appointments include a three-ply BWB pickguard, metal strap buttons, and an chrome oval output jack plate.

PAC612VIIFMX Body - Front View

Forearm Contour

Flamed Maple Veneer Top

Three-Ply WBW Pickguard

Upper Horn Strap Button

Rear End Strap Button

Output Jack Plate

The HSS pickup configuration features Seymour Duncan SSL-1 single-coils in the neck and middle positions, plus a Seymour Duncan Custom 5 TB-14 bridge humbucker. Controls appear to be rather straightforward, with just a Master Volume and Tone. There's more than meets the eye, though, as the Tone control is actually a push-pull pot for splitting the bridge humbucker coils. In effect, you'd be able to elicit both pseudo single-coil and full-blown humbucker tones from the TB-14.

Seymour Duncan SSL-1 Neck Pickup

Seymour Duncan SSL-1 Middle Pickup

Seymour Duncan TB-14 Bridge Humbucker

Selector Switch and Controls