Showing posts with label colortone. Show all posts
Showing posts with label colortone. Show all posts

Thursday, July 09, 2020

Yamaha ERG121C Makeover: Part One

Related Posts
Part One | Part Two | Part Three

What do we have here? It's a used Yamaha ERG121C HSH rock machine in ... wait for it ... shocking pink. I assume the previous owner was responsible for the paint job, and also some nice upgrades. He'd put in a trio of Seymour Duncans: SH-2N Jazz Model (neck), APS-1 Alnico Pro II (middle), and SH-4 JB Model (bridge). 

He'd also wired in a CRL 5-way switch, CTS 500K pots, and Switchcraft #11 jack socket. The bee's knees, I'd say. Only problem was that the wiring was a little suspect, and the ERG121C wasn't "sounding as it should" (current owner's words, not mine).

And so, besides requesting a complete rewiring job, the current owner would like to have the body stripped down to bare wood and refinished natural. Okey dokey, it's another heat gun and scraper job for me. Underneath the pink was black (the original color, I guess), a silver undercoat, thick layer of sealer; and some kind of veneer. I sanded the body down to bare wood and was pleased to discover that it was a solid 3-piece job; not plywood or something similarly distasteful. 

The next step was filling the grain with good ole' Elmer's Carpenter's Natural Wood Filler. Left it to dry overnight, and sanded off the excess the next day. Then it was time to stain the body with StewMac ColorTone Liquid Stain (#5030 - Vintage Amber). Once the stain had set, it was time to settle any woodwork before proceeding with refinishing.

Stock, the ERG121C features two ring-mounted humbuckers and a direct-mounted single coil. However, the previous owner had done away with the rings and direct-mounted the SH-2N and  SH-4 using wood screws that were too short and of all things; Strat pickup rubber tubing instead of springs or foam inserts. As you can guess, the humbuckers' height could not be adjusted.

To solve this issue, I first plugged the pickup height screw cavities with slightly over-tall glued-in wooden blocks. After the glue had dried, I pared down these wooden plugs until they were level with the cavity bottom. Following this, I reattached the neck, put the humbuckers in their respective routs, and strung up the high and low E strings. 

This was just a mock-up that helped me to align the polepieces and strings. The SH-2 lined up okay, but the SH-4 was a "little" off (to put it kindly). Someone should have told the poor guy that he needed a TB-4 JB Model Trembucker, and not an SH-4 (standard spacing) for correct string-polepiece alignment at the bridge.

Resigning myself to the fact that there was no budget for a new bridge humbucker, I proceeded to drill pilot holes for the new pickup height screws (shortened P-bass pickup height screws) and did a test run with Strat conical pickup springs in place. All went well, thankfully, and I sealed the deal by gluing small metal washers around each screw hole. These washers will help to keep the screws from wandering around when it's finally time to reinstall the pickups.

I'm now in the middle of refinishing the body in Tru-Oil. Stay tuned for later updates. See you soon :)














Tuesday, June 30, 2020

StewMac Delivers Yet Again

For the last couple of years, StewMac has been numero uno in my book whenever it comes to luthier tools and supplies. My latest order took less than a month to arrive via USPS First Class International Parcel. Thank you, StewMac :)


Thursday, March 05, 2020

1983 Ibanez AR30 Restoration | Part One


Preamble

This restoration is still in progress, so in this post; I’ll detail the work done so far. However, before we get into that, let’s peruse some information concerning this beat-up black “Crafted in Japan” guitar. For starters, The Guitar Dater Project has confirmed that it was made in May 1983 at the “Terada Plant.” Next, concerning background information and specs; I’ve found the Ibanez Wiki to be a wellspring of knowledge. Let’s get right into it, then. It seems that the AR30 was a “spot model” that never featured in any Ibanez catalog. Only produced between September 1982 and August 1983, it was offered in two finish options: Black (BK) or Brown Sunburst (BS).

Factory Specs

Body: Laminated wood center block with Japanese Ash (Sen) “wings”
Neck: Three-piece Maple (set-in joint)
Fretboard: Rosewood/24.75” scale/12” radius/22 medium frets/acrylic dot inlays/bone nut
Hardware: Fixed bridge/Quik Change tailpiece/Smooth Tuner II tuners/Sure Grip II knobs
Pickups: Two Super 70 humbuckers
Electronics: Two volume pots/master tone pot/three-way toggle/mini-DPDT master phase switch/mini-DPDT master coil split switch

Work Done and Comments

Right off the bat I noticed that the guitar had recently been refretted with jumbo frets and the original knobs replaced with generic black “speed knobs.” A previous owner had also added foil shielding to the pickup and control cavities, which was beginning to crumble in places. I made a mental note to remove the existing shielding and use shielding paint instead. The pickups needed to be replaced, as did the stock electronics and wiring. After several discussions with the owner, it was decided that we replace all the components and ditch the two mini-DPDT switches. In short, we’d be going with a straightforward volume/volume/tone configuration.

The black finish was in terrible shape; and the body sported numerous dings, scratches, gouges and bare wood spots. It was no surprise then, that the owner wanted the body and neck stripped and refinished as a sunburst. I decided to go for a dark crimson burst violin-style hand-rubbed finish using suitable shades of StewMac ColorTone Liquid Stain and Tru-Oil. I’d also be sealing the two existing holes for the mini-DPDT switches as they wouldn’t be part of the new wiring scheme.

To date, I’ve completed about 90% of the refinish job. Once this part of the restoration is complete, we should be able to move on to rewiring and hardware installation. But that’s a story for another post.