Sometimes a Retentive Personality is a Good Thing

October 12th, 2010

Japanese Les Pauls Pretty Inside and Out

Today I had some fun putting Harmonic Design Z90 pickups in my History Les Paul clone. These are P90-style pickups, made to fit a humbucker hole.

I noticed a few things.

First of all, the Japanese use pretty dubious electronics. The potentiometers were very small, and the tone capacitors were super-cheap ceramics. I keep reading complaints about cheap tone capacitors. It’s hard for me to believe they make a difference, but you can get very good Vishay capacitors for about $3.00 each, so what’s the point in going cheap?

Second thing: the woodwork is even better than I thought. The guitar is a solid piece of very nice mahogany with a thick maple cap and a very thin piece of sycamore veneer. It’s not as expensive as a high-end Les Paul with a cap of fancy wood and no veneer, so I thought there might be some difference in the instrument’s performance. Now that I’ve seen the inside of it, I tend to doubt the veneer makes a difference.

The cavities in the guitar are finished very well, and they’re painted with what looks like shielding paint, and the plastic covers have metal foil in them. Most expensive guitars look pretty bad once you open them up. This one shows a surprising level of meticulousness.

The pickups did not work. At least the bridge pickup didn’t. Someone who tried the guitar a month or two back told me something about a problem with the selector switch, but I think the real problem was the bridge potentiometer. I tested everything as well as I could, and I believe the bridge potentiometer is shot. Maybe it’s corrosion from the Japanese climate. The other pot acts funny, too. The resistance goes infinite when you turn it to 10.

I went to a website and found myself some full-size American pots to replace the small Japanese ones. The cavity is big enough. I ordered four. Why wait for the tone pots to poop out? I ordered some Orange Drop capacitors, too. I’ll stick this stuff in the guitar, and I may fix the wiring so pickups can be switched without soldering. Might as well. I don’t think you need soldered connections in a guitar. After all, the cord is the biggest connector, and it has solderless jacks on each end.

This has taught me a little bit about Japanese guitars. If I were buying a new Les Paul clone, I’d order a Fujigen gold top off Rakuten for about a thousand dollars. At that price point, you get Japanese wood and Japanese electronics. American electronics add over $300 to the price. I’d dump the Japanese electronics and pick the American electronics myself. For $60, I’d have something better than the higher-end guitar. And because I’ve seen the guts of Fujigen Les Pauls, I think I could be confident that the instrument itself was top quality.

I’m not sure, but I think a person who did this would end up with an instrument surpassing a Custom Shop Les Paul, for under $1500. I don’t know enough about Gibsons to say. I do know Fujigen has better quality control, so when you buy one over the web, it’s not the crapshoot a Gibson would be. If you got one with a flamed top instead of gold, you’d have veneer, which (I assume) is not what you get from the Gibson Custom Shop, but with a gold top or a black guitar, who cares? I doubt Gibson is putting bookmatched flamed or quilted maple under gold and black paint.

I believe you have to go with the Custom Shop to get a Gibson with a properly set neck with a long tenon, but that’s not the case with Fujigen products. I think they find it difficult selling cheap woodwork to discerning Japanese consumers. This is the country where they used to buy American cars, take them apart, fix the problems, put them together, and THEN sell them.

I may be nuts, but it’s starting to look like a smart consumer buys Japanese wood and American electronics, unless he’s willing to pop for a used top-tier American guitar in great shape.

It’s sad that you have to become a luthier in order to make an electric guitar work, but I guess it’s better than the hassle and expense of paying other people to do the work.

Maybe I’ll post photos when I get the electronics fixed.

6 Responses to “Sometimes a Retentive Personality is a Good Thing”

  1. Kyle Says:

    Could you simply order the components that you want and assemble yourself, rather than getting a complete guitar, then gutting it?

  2. Steve H. Says:

    I don’t know a whole lot about it. I know you can do that with a Telecaster, but I don’t see how it could be done with a set-neck guitar. The work I’m doing isn’t a big deal. If it were, I wouldn’t be able to do it!

  3. Kyle Says:

    Good point! I do know that off-brand components are usually how the “parts kits” are managed. I look forward to reading about your progress!
    .
    I have an old Squire Bullet that was made in 1989. I need to have the nut replaced because I decided after several years’ dormancy to try to learn to play left-handed to improve my picking… the problem was that my fingering was awful and I lost patience with the re-learning process. The nut became somewhat bored out and lost a lot of the tension on the smaller-gauge strings and sounds bad now. But I don’t play much so my laziness has not been an issue.

  4. walt Says:

    Very interesting. I redid the electronics on my American made 1972 Telecaster (new: $270.00!) some years ago as I was having hum and noise issues. I cleaned up those problems nicely. Why Japanese guitar electronic components would be of low quality when most other Japanese electronics are state-of-the-art top-quality is something I would not have expected.

  5. Alex Says:

    Re: the bridge potentiometer resistance going to infinity when you turn it to 10: I think that’s what it’s supposed to do (depending on the max. resistance measurement of your multimeter).

    (You are measuring between lugs 1 and 3 of the pot, right? If that’s the resistance between lug 1 and lug 2, which goes to the output jack (through the tone pot), then that would be a problem.)

    Your volume pot works by shunting a portion of the signal to ground through lug 3 (assuming lug 1 is connected to the hot lead from the pickup). When the pot is on 0, the resistance between lugs 1 and 3 is very low (something close to 0 ohms, if not quite 0), and almost all your pickup signal goes to ground through lug 3 instead of to the output jack (or tone pot) through lug 2. When the volume pot is on 10, then the resistance will be the full resistance of the pot — usually 250K, 300K, or 500K ohms (usually 500K for humbucking pickup guitars).

    If 500K ohms is bigger than your ohmmeter will read, then it might read infinity. A real “infinity” reading would essentially be the same as no connection passing through the pot — which would

    When your volume pot’s on 10, only a tiny, tiny bit of your pickup’s signal from the hot wire is being shunted to ground. Even that tiny bit can take off a little bit of the high-end of your signal, which is why higher-resistance pots are used for humbuckers (which have less treble in the signal than single-coils) and 250K is usually used for single-coil Strat-type pickups (which are very trebly and don’t suffer much from that tiny bit of signal bleed).

    Pardon me if you already know this; don’t mean to tell you the obvious if you’ve figured this out already.

  6. Alex Says:

    Actually, my comment above is not fully accurate. What varies between 0 ohms and 500K ohms is the resistance between lugs 1 and 2 and between lugs 2 and 3.

    A pot is just a variable voltage divider — when it’s all the way counterclockwise one measurement will be 0 and the other will be 500K, and when it’s all the way clockwise those measurements will be reversed. Sorry for any confusion. See this discussion in case it’s useful:
    http://www.thegearpage.net/board/showthread.php?t=131593