Mymozika Frankenstrat Build | Part 3

Part 1 | Part 2 | Part 3 | Part 4

This is the third instalment of a series regarding a very challenging Mymozika Frankenstrat Build. In Part 1, pickguard electronics were installed and tested. Then, in Part 2, the various components were carefully positioned as they should be; and all unused holes plugged and trimmed flush.

Now, it was time to do lots of drilling; and hopefully be able to affix the neck and bridge. To start off, pilot holes for the neck screws were drilled from the inside of the neck pocket using the neck plate as a guide. Following this, the actual holes were drilled; and the rims chamfered with a larger-sized bit.

Test-fitting the neck in its pocket revealed one big problem. The neck was sitting way too low. So low, in fact, that the action would be too high even with the bridge saddles at minimum height. After thinking things out awhile, I chose to resolve the issue by fashioning a tapered wooden neck pocket shim of suitable thickness. 

I'm glad to say that after inserting this shim, the neck was sitting much higher in its pocket; and at the desired angle (neck pitch). The next step, then, was to mark and drill the neck screws; and finally screw on the neck. Whew, what a relief!

Having finalized the position, alignment, and angle of the neck; pickguard and bridge-mounting screw holes were marked and drilled, and the bridge attached. Looking from below, it's a rather tight fit. I believe that some wood will have to be removed from underneath the bridge plate to accommodate tremolo block movement. Well folks, that's it for this post. Thanks for dropping by. Stay safe, stay healthy; and wear a mask whenever you have to venture outdoors.

Note: Fender®, Stratocaster®, Strat®, Telecaster®, Tele®, P Bass®, Precision Bass®, and the distinctive headstock designs of these guitars are registered trademarks of Fender Musical Instruments Corporation.

 

 

ESP LTD M-10 Electric Guitar: Part Three

Quick Links: Part One | Part Two | Part Three

In Part One of this series, we identified the main issues that needed to be addressed whilst tackling this ESP LTD M-10 repair/restoration/upgrade job. Next, in Part Two, I proceeded to handle the various tasks involved in getting this guitar back into shape again; so to speak.

Since then, I've restrung the guitar with Ernie Ball Super Slinkys and given it a proper set up. Loosened the truss rod to give the fretboard a smidgen of relief; as it was as straight as an arrow even under string tension. The action was also unplayably high even with the bridge posts screwed all the way down. 

This problem was solved by inserting a shim in the neck pocket below the neck heel. For more information about modifying neck angle/pitch via shims, check out this enlightening Premier Guitar article by John LeVan.

You know, I've never really gotten into the specs of this ESP LTD M-10. So, here we go. Can't determine what material was used to construct the body; but it seems to be three pieces of solid wood. The bolt-on neck is definitely maple, and the fretboard; rosewood. 

The fretboard features a 22.5" scale, 12" radius (I measured), 22 nicely-dressed jumbo frets, dot inlays; and an attractive pearloid 12th fret inlay etched with the characters "M-10." The contoured and slanted neck/body bolt-on joint is less obtrusive than most; and makes playing the highest frets not at all uncomfortable.

Hardware is some kind of black-plated metal. I think ESP should have stuck to simple nickel or chrome-plated hardware. It's quite obvious that the black plating wears off and tarnishes easily; making cleanup extremely time-consuming. Meanwhile, stringing is through-body, and the bridge; a generic tune-o-matic clone. That would be just about all I've noted about the M-10.  

In this third and final installment, I'll share with you a couple pics of this rejuvenated M-10. I've also uploaded a YouTube video of owner Zinuun Tojid trying out his axe. Do give it a view. Thanks for dropping by, and hope to see you again real soon :)

Flood Victim #4 - SX Vintage Series Jazz Bass Copy

This happened to be the fourth victim of the great flood of December 2013 that had come my way to date. The earlier three were a Washburn XB125, Yamaha RBX775 FSL and '70s Fender Jazz Bass. This particular SX Vintage Series Jazz Bass Copy was well built and oozed a '70s vibe: 3-bolt neck plate, maple neck/fretboard with block inlays, solid wood body finished natural, chunky open-gear tuners; and a Fender-ish headstock profile.

The owner confided in me that after salvaging the bass from flood waters, he'd cleaned and dried it the best he could. However, of late, it had become increasingly difficult to play due to high action and malfunctioning electronics.

After closely examining the bass and trying it out for a couple days, I identified these main issues:
(i) excessively high action at the bridge even with the saddles at their lowest,
(ii) totally corroded metal components,
(iii) frozen saddle height adjustment screws,
(iv) excessive neck relief,
(v) incorrect neck/body angle -- the neck was tilting upwards,
(vi) grimy, cruddy, rusty and tarnished hardware and plastic components; and
(vii) barely functioning pots and output jack, even after servicing.

To address these issues, the bass was first disassembled down to the"nuts and bolts," so to speak. Following this, hardware and plastic components were cleaned of crud, grime and rust as thoroughly as possible. The pickguard, control plate, and saddle height adjustment screws were replaced as they were beyond saving. The bridge was lubed thoroughly so that it would be functional once more.

The truss rod was still working, thank goodness. I was able to tighten it to where the neck was straight without any strings on. To correct the neck/body angle, I inserted a shim of appropriate thickness; and the neck now tilted downwards slightly.

As the electronics were shot, I rewired the bass with new Alpha A250K pots, a 0.033uF tone cap, and Neutrik/Rean NYS229 output jack. After putting the bass back together, I was able to set it up with the lowest possible action sans buzz. Plugging this SX Vintage Series Jazz Bass Copy into a bass amp produced growly, midrangey tones that evoked memories of other '70s Jazz Basses I'd had the pleasure of working on. They sure don't build 'em like they used to!

Achtung Riders Tele

The action on this guitar was way too high even with the saddles bottomed-out. Turned out the neck angle was the culprit. Thanks to thin wood veneer generously donated by Roka Dyer Maker, I was able to fashion a shim and get the neck angle just right. Action & intonation adjustment was a breeze after that. The electronics were also upgraded to full-sized Alpha pots and a Sprague cap. Nuff' said, then. Onto the pics.