Gibson Les Paul Studio 2015: Part Two

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This is the second instalment of a three-part series on a Manhattan Midnight Gibson Les Paul Studio 2015. For detailed specs on this guitar, kindly visit the Gibson Legacy Archive.

I'd previously removed the stock Gibson G FORCE™ Tuning System and Zero Fret Adjustable Nut, so the headstock was now bereft of any hardware. After preliminary cleaning, I was able to test-fit the replacement tuners. They dropped in easily without any peghole reaming; so all I had to do was drill holes for the mounting screws and fasten the securing nuts.

Besides this, the Zero Fret Adjustable Nut was dismantled down to the screws, scrubbed as clean as possible, polished with Autosol; and lubed. Polished brass is a thing of beauty, I tell you. The rosewood fretboard was also degrimed and reconditioned with lemon oil, and the frets cleaned and polished. 

I did notice that the covers of the "57 Classic" neck and "57 Plus" bridge humbuckers appeared to be brushed steel [actually satin nickel-plated]; which was quite unlike any of the Gibson pickup covers I'd come across so far. These were relatively easy to clean and polish compared to the rest of the body and hardware.

While removing the black "supreme grip" speed knobs, it became obvious that both volume pots were of the push/pull variety; implying that both pickups could be coil-tapped for single-coil tones. Meanwhile, the broken black ABS output jack plate was replaced with one from StewMac, while the whole body, back of the neck and headstock were cleaned and polished with Gibson Pump Guitar Polish. Once everything was spick and span, the Les Paul was put back together again, strung with Ernie Ball Super Slinkys, tuned; and set up for low action and maximum playability.

Gibson Les Paul Studio 2015: Part One

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Part One | Part Two | Part Three

This is the first instalment of a three-part series on a Manhattan Midnight Gibson Les Paul Studio 2015. For detailed specs on this guitar, kindly visit the Gibson Legacy Archive. 

This guitar was sent in for a thorough clean and polish; as well as electronics servicing. I remember being really impressed by the futuristic-looking "Gold Molded" hardshell case and its ultra plush interior. The owner wanted the stock Gibson G FORCE™ Tuning System removed, no questions asked.

Seems that the Les Paul was bought used from a US seller, minus the Li-Polymer Charger [don't ask me how that happened]. Sadly, the poor guy had never been able to try out the tuning system as the Gibson G FORCE™ Battery was dead on arrival. Long story short, there was no way to charge the battery; so he'd brought along a set of unbranded locking tuners and asked that they be installed.

To remove the Gibson G FORCE™ Tuning System, I first had to loosen the tuner caps, unwind the strings from the tuner posts; and then loosen the tuner nuts. Seriously, after removing these nuts, the tuners slipped out really easily; and the whole tuning system just separated from the back of the headstock. No, I didn't go right ahead and install the new locking tuners. The whole guitar was covered in dust and grime, so I'd have to clean it up good before installing anything.

I have to say that the cryogenically-treated brass "Zero Fret Adjustable Nut" was something to behold; though it was tarnished and had an unsightly blob of some metallic substance sticking to it. This nut consists of two sections. The bottom section sits in what would normally be the nut slot, and is secured to the headstock via two small screws. 

This section has an elongated recess to keep the top section in place. The top section, meanwhile, has guide slots for each string and a raised ridge that serves as a zero fret. The whole top section can be raised or lowered via two small black hex screws, so you can easily adjust string action at the nut; and also the angle of the nut itself.

I also unscrewed the black "stainless steel polycarbonate" control cavity and switch covers [looks like textured black plastic] for a quick peek at the innards. The three-way toggle switch seemed to be of high quality and was neatly soldered; but finding a PCB board in the control cavity was a real bummer. It evoked painful memories of the PCB board in a 2014 Gibson LPJ once owned; which was the first thing to go when I upgraded it. 

Last but not least, unscrewing the broken black ABS output jack plate revealed something special: an "improved contact" output jack with not one; but two tip [hot] spring contacts. Cool! Okay then, it's time to look at some pics.

1984 Ibanez RoadstarII RS130 Fret Dressing

The first time I worked on this vintage RS130 was way back in 2016. That was a major overhaul involving a full refret and refinish, as I recall. Since then, I've worked on the guitar a couple times, one of them to replace the stock Super 5 pickups with a set of Fender Tex-Mex™ Strat single-coils.

It was now here for a fret dressing [level, recrown and polish] as the guitar had seen a lot of use and the frets were not only full of divots; but worn flat in numerous places. After straightening the maple neck with a little judicious truss rod tweaking, the fretboard was taped off. The frets were then leveled using an aluminum sanding beam, with extra effort taken to incorporate a "fall-away" into the upper frets. Following this, the tops of the frets were re-crowned carefully; and the frets abraded and polished. Finally, the guitar was strung with Ernie Ball Super Slinkys and set up in the usual manner.

Besides fretwork, this guitar's electronics needed a thorough check-up. As it turned out, everything worked fine after servicing, save for the five-way switch; which was replaced. Then there was the matter of rusty pickup height adjustment and pickguard screws; which had to be put out to pasture. Oh yes, the Tex-Mex pickups were also treated to a fresh set of pickguard tubing.

Let's see. Have I left anything out? No, I think not. And so, I humbly take my leave. Thanks for checking in, I deeply appreciate your doing so. Till we meet again, stay home, stay safe; and God bless :)

Chord Solidbody Bass Upgrade and Makeover

Happy New Year folks :) This is my first post for 2021, and it features a "Chord" solidbody bass that looks a lot like a typical Jazz Bass. Construction-wise, this bass sports a plywood body, three-ply white/black/white pickguard, bolt-on maple neck; and 12" radius rosewood fretboard with 21 frets. The electronics consist of two single-coil pickups wired to two volumes and a master tone.

As the owner didn't quite like the stock red finish, he requested that the bass be refinished in flat black. He also wanted the "Chord" headstock label removed, for obvious reasons. And so, the headstock face was sanded down to bare wood; and refinished in Tru-Oil. Meanwhile, any visible dings and gouges in the body were filled with Elmer's Wood Filler and sanded flat. Then, after scuff-sanding the whole body, it was refinished in flat black; with a top coat of flat clear for added protection.

Although the stock electronics were working fine, I was instructed to upgrade them, and while I was at it; shield the body cavities with conductive shielding paint. New components added included Alpha 250K pots, a Russian K40Y-9 0.033uF tone cap; and Neutrik/Rean NYS229 output jack.

Hardware-wise, all rusty components were replaced. Luckily, the bridge, as well as control and neck plates; were still in useable condition. They were given a good de-gunking, lube and polish; and reused. The open-gear "elephant ear" tuners, however, just had to go. The gears were worn and would not turn smoothly even after servicing. One of them even had a loose ear which would not stay in place. As such, they were honorably discharged; and a new set installed. And, as expected; it was not a simple drop-in job. The old tuner mounting screw holes had to be plugged and trimmed flush, new holes drilled; and the tuner holes reamed a bit to accommodate the slightly-larger tuner posts.

Well, folks, that's it for this post. Thanks for visiting, and do drop by again soon. Meanwhile, stay home, stay safe; and God bless :)