Another Stagg S402 HSS Solidbody

In 2017, I had the pleasure of working on a Stagg S402 HSS solidbody guitar. I say "pleasure" because it was relatively well-built and boasted quality materials; unlike most budget guitars I'd worked on. Well, folks, today's post is about another S402 that was in the shop recently. It was virtually identical to the one I'd worked on before, save for the pickups. The bridge humbucker did not have oversized adjustable pickup polepieces, while the neck and middle single-coils were Super 5s transplanted from a 1984 Ibanez RS130. You can read about the Stagg S402's full specs HERE.

So, why was it in the shop? Well, it was grimy and sticky, and the electronics were shot. What was the remedy, then? Glad you asked that question. We gave this baby a good going-over, which included fretboard conditioning, fret polishing, hardware servicing; plus a thorough clean and polish. The guitar was also rewired with new electronic components, and set up with a fresh set of 9s. 'Nuff said, then. Let's look at some pics.

HSS Strat Copy Overhaul: Part Two

◀ Part One

In the previous post, we took a long hard look at this used and abused sunburst HSS Strat Copy; carefully evaluating all components from pickups to screws. I've since cleaned, degunked, derusted and degrimed whatever could be saved and reused.

The electronics were junked, save for the pickups. Alpha pots, a poly 0.022uF cap, five-way-switch, and Neutrik/Rean NYS229 output jack socket were wired in; and the rusty output jack plate replaced. The same fate befell the rusty pickguard, pickup height and saddle height hex screws.

As the nut needed to be replaced, three candidates were considered: black or white plastic; or bleached cow bone. The white plastic nut was a little loose in the slot, so it was rejected outright. The black plastic and bone nut fit equally well, but the former won the vote due to cost considerations.

This sunburst HSS Strat Copy was finally reassembled, strung with 10s and given a proper setup. If cost had not been a major consideration, I'd have liked to have given the frets a good dressing; as they were quite worn down. In any case, the owner recorded and sent me a short VIDEO of himself zipping up and down the fretboard with glee. He seems to be having the time of his life, and knowing that fills me with pure bliss. Well, that's it for this post. Stay safe, and see you again real soon :)

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.

HSS Strat Copy Overhaul: Part One

Part Two ▶

According to the guy who sent it in, 'someone' left this sunburst HSS Strat copy lying in a corner uncovered (nekkid) for two years. Seems that almost every part of this instrument is covered in dust, grime, rust; and stains from some kind of liquid (your guess is as good as mine). Yes, folks; it's time for an overhaul!

So far I've dismantled most everything that needs to be cleaned, serviced; or replaced. The saddle height hex screws will definitely be junked; if I can somehow remove them. Same goes for the nut, output jack plate and electronics. I'll be keeping the trem springs and strap buttons, though; as they have a certain mojo.

The pickups are working, thank goodness. The white tape protecting the coils of the humbucker has started to disintegrate; so I've gingerly removed it and done a re-wrap with proper black cloth pickup tape. Looking at the pics I've posted might not be a pleasant experience, I realize. 

However, I believe that the onus is on me to show readers just what outright neglect can do to a guitar in time. Thanks for checking out this post. See you real soon in Part Two, and don't forget to give your guitars lots of TLC :)

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.

1983 Ibanez AR30 Restoration | Part Four

Part One | Part Two | Part Three | Part Four

In Part One of this series, we took a look at the early stages of restoration work done on this 1983 Ibanez AR30. Then, in Part Two, the refinishing process was completed; and the AR30 left aside for a month. Next, in Part Three, we saw electronics, shielding and related issues being taken care of.

We are now at the fourth and final part of this series. It's been nearly a year since I started this restoration, and I'm eager to send it back to the owner for final testing. As it turned out, I met him just a few hours ago at his rehearsal studio, handed him his AR30; and was treated to a 15 minutes of blazing guitar work.

After putting the guitar back on its stand, he looked at me and gave me the thumbs-up. I heaved a huge sigh of relief, I tell you. Well folks, that concludes the saga of how this 1983 Ibanez AR30 was restored. Who knows, one of these days another AR30 might just come my way.

1983 Ibanez AR30 Restoration | Part Two

Part One | Part Two | Part Three | Part Four

In Part One of this series, we took a look at the early stages of restoration work done on this 1983 Ibanez AR30. We are now at about 30 coats of Tru-Oil, with wetsanding having been carried out after every three coats or so. It has been a laborious process, but well worth the effort. Along the way, the two holes meant for the mini-DPDT switches have been sealed, and a spot finish touch-up carried out. So its now basically neck pup volume, bridge pickup volume, 3-way toggle switch; and master tone. I've decided to conclude the refinishing stage of this restoration here, and allow the Tru-Oil to cure for at least a month before proceeding.