In Part 1, I also mentioned that I would be installing KTS Titanium Saddles. Which didn't go too well as I'll detail later.
Taking a Strat's pickguard off to check for cracks in the body wood is something I have been doing since buying my very first Stratocaster on 1989. I had returned home in the evening after a day of guitar shopping and was plugging in my new pride and joy, a black, rosewood-neck Japanese Fender Stratocaster into my 60-watt Ibanez IBZ amplifier. It sounded great as I put it through its paces and explored its different tones while 'Good Morning Vietnam' was showing on TV.
But over Robin Williams' histrionic dark humor, something told me to take a look under the pickguard. And lo and behold, there was a huge break in the wood where the neck pocket meets the front pickup. The bare wood was visible through the black finish. It was as if someone had dropped the guitar head first, which would have also left a huge dent in the headstock at the very least. Oddly enough, there wasn't a single mark.
What made me look under the pickguard? It was just one of those things -- something I can't explain to this day. And somehow, that memory still haunts me whenever I buy a new Strat-type guitar. And checking under the pickguard of any bolt-on guitar I might buy, regardless of manufacturer, has become a ritual of sorts.
The happy ending to this story was that I brought the guitar back to the store the next day, expecting to show the damage to the store's owner and have to explain that the guitar was already damaged when I bought it. Surprisingly, he didn't even ask to look at the guitar but offered me an immediate exchange. I asked how much a Fender American Standard would cost -- four extra bills -- and went with one of those, a black Strat with a rosewood fingerboard.
The store owner fetched it himself from the storeroom, the guitar in a molded black Fender ABS hardcase, still in the factory sealed cardboard carton. I offered to open up the carton myself and had to ask for a pair of pliers to remove the large brass staples. I didn't even have to try another American Standard to compare it with. It just felt right and it definitely had that Hendrix at Monterey vibe.
That black American Standard Stratocaster became my main workhorse instrument for many years and is a guitar I still own. Some things are just meant to be, I guess.
But back to my latest acquisition.
|Brass nut and chrome bullet truss rod nut|
Popping the pickguard off, I noticed no splits, cracks or breaks in the wood -- phew.
I also noticed that despite the pickguard having been on for two decades, the paintwork underneath was the same shade of yellow cream as the rest of the body. I was expecting a 'shadowing', where the paint under the guard would be a much lighter color than the rest of the body that was exposed to light for 20 years. Interesting.
|The pickup cavity of the ST72-80SC|
|Note additional grey magnets underneath the middle and bridge pickups|
DiMarzio HS-3 pickups, Yngwie's personal choice at the time, came standard on model ST72-950SC in the bridge and neck positions. The ST72-950SC is identical to the ST72-80SC in specifications except for the pickups.
The wiring on the ST72-80SC features Japanese-made Alpha potentiometers, ubiquitous green capacitor and typical cheapo plastic 5-way switch. No fancy cloth-covered vintage wire here. If you ask me, even the soldering is a little sloppy.
|Alpha potentiometers and ubiquitous green Fender Japan capacitor|
Perfectly functional, but I might upgrade the circuitry at a later point with a CRL 5-way switch, Bourns 250k pots and a nice paper-in-oil capacitor. And yes, some braided cloth-covered wire, just for kicks.
I found out that the Fender Japan ST72-80SC and ST72-950SC were not official Malmsteen models -- hence the absence of Yngwie's signature at the headstock. Although the US-made Fender Yngwie Malmsteen model had already been around for a few years, Fender Japan had yet to strike up a deal with the Swedish maestro and were producing these unofficial Malmsteen models for sale in Japan's domestic market only. And the best part is that they were more like Yngwie's famous 'Duck - Play Loud' 70's Stratocaster, than the American Standard-style Strats that passed for the official Malmsteen signature model at the time.
An unofficial Ritchie Blackmore model, the asymmetrically scalloped ST72-75SC was also available at the time, decades before the current Mexican-made Fender Blackmore signature. No surprise really, seeing as how popular both Messrs Blackmore and Malmsteen were in Japan.
|Scalloped, lightly figured maple fingerboard|
Speaking of scalloping, the ST72-80SC is not as evenly scalloped as the current USA Yngwie signature models. Fender Japan seems to have played it a little safe and the scallop starts about 1mm after the fret, leaving each fret on a slight ledge. Not a bad thing really, it's just something I noticed when taking these pictures up close. And since each fret is on its own ledge, it might actually be easier to refret should I ever need to.
|Closeup of scalloping|
|A ding to the bare wood shows how thin this finish actually is.|
And about those KTS Titanium saddles..
These KTS saddles were a gift to me some years ago by a good friend of mine, but I never had a Strat lying around that needed a saddle replacement. I'd always been a GraphTech guy and would replace the stock bent steel or diecast saddles on a newly acquired Strat as a matter of course.
|KTS Titanium saddles|
|Original die-cast saddles and KTS titanium set|
|Saddles starting to fan out|
Nothing to do then but to put the old die-cast saddles back on. I used the different hex screw heights on each saddle to determine their original order on the bridge and also so I wouldn't have to do a massive readjustment re-setting the saddle heights.
Stay tuned for Part 3 where I will upgrade the electronics and pickups on the ST72-80SC.