NGD - Yamaha 611VFM - now arrived!

TTBZ

Looks great, I played the hardtail equivalent the other day and they're really nice guitars not just "for the money" - like the hum/p90 combo as well really versatile. I have my SG like that but the pickups I have don't match in terms of output as well as the ones in the pacifica.

ICBM

Voxman said:

When you say 'binding' sorry to be thick, but can you clarify exactly what you mean & what I'm looking for/testing?

Voxman said:

Should the trem be set-up such that it's level rather than dipping forward towards the pick-ups?

If the six pivot screws are too tight, the bridge will bind or rub against the top where that angle is just behind the screws. This is a common problem because people tighten the screws too much - there's also a myth that the bridge pivots on this angle. It doesn't - it pivots on the screws just under their heads, and the bridge does *not* touch the top there except when it's pulled fully back - if it does then it's set wrong.

How to adjust it right:

Slacken the strings slightly so the bridge rests on the top. The six pivot screws should then be adjusted so they *just* pull the whole bridge down flat, and not cause the back edge to rise - if they do they're too tight. It is certainly easiest to do it by starting with the outer two, and then doing the middle four afterwards, but other than laziness there's no reason to leave the middle four too high, it doesn't result in less friction or anything - again contrary to myth.

Now, when you tune up, the bridge should lift about 3mm up at the back - which will also lift that angle clear of the body by a tiny amount. It does actually look like it's about right in your pic, but check that it isn't just slightly too tight - you should be able to pull the bridge back to flat with the arm without feeling any extra resistance.

Another myth derived from laziness is that fitting the three springs in a 'fan' is better - it isn't, it's worse, but it's easier to hook the two outer springs onto the claw . Set them straight for the least friction - if they're in a fan the outer ones have to twist slightly on the hooks as they move and thus can also cause friction.

And don't set the claw at an angle either... there's some idea that you should because the bass strings are under more tension. This is also nonsense because the bridge can't move independently on either side - the tension of the three springs is simply summed no matter how they're individually adjusted. You can set the claw at an angle if you think it looks cooler, but it won't change anything else .

Voxman

Thanks @ICBM , yup the same messages re 'fan' & offset claws were in the vids I watched when I set up my Strat (2-point). I've had a good look and don't think there's any binding, and from other pics I've found I think the set-up is about right.  When I change the strings to 9/42's (10's currently) I'll see what effect this has and whether I need to tweak anything.  Thanks as always for your help and the time you take to explain everything - much appreciated! 

BYW, any thoughts re the tone knob resistance?  

skinfreak

I think your logic in getting a 611 is spot on. If I ever get into gigging I would be following your example (I sure as hell wouldn't gig my DGT!). I have always had a soft spot for Pacificas as I learned on a 112. I unfortunately flogged it for a Jackson Dinky EX when I probably should have upgraded to a better spec'd Yamaha guitar. 

ICBM

Voxman said:

BYW, any thoughts re the tone knob resistance?

Not a lot you can do about that, on a push-pull. On a standard one you can wrap a bit of string or something around the shaft under the knob, but obviously that won't work with this.

Changing to a higher-quality pot is the only real answer.

polotska

Regarding a case—sounds like you figured out a solution, but I thought I’d mention that Hiscox does currently make a case specifically for the Pacificas, for £100 (see e.g. here).

bingefeller

DLM said:

Voxman said:

Yamaha Pacifica 611VFM   

As a long-standing Pacifica fan, I'm pretty sure that stands for "value for money".

you are serious?  

DLM

bingefeller said:

DLM said:

Voxman said:

Yamaha Pacifica 611VFM   

As a long-standing Pacifica fan, I'm pretty sure that stands for "value for money".

you are serious?  

This sexy beast?
http://vignette3.wikia.nocookie.net/harrypotter/images/7/75/Sirius_Black_profile.jpg

I wish. I'd start the next Led Zep and drown in groupies.

I'm more of a Peter Pettigrew, TBH.

http://2.bp.blogspot.com/-RENHpAjXej8/TdAZPDX1g2I/AAAAAAAACZQ/LwIJvS5ni2M/s1600/WormtailDH.jpg




Yes, I think Pacificas represent excellent VFM. No, I don't think that VFM in this case stands for Value For Money. Yes, my WiFi password is also an Ibanez guitar model designation.

cbilly22

skinfreak said:

I think your logic in getting a 611 is spot on. If I ever get into gigging I would be following your example (I sure as hell wouldn't gig my DGT!). I have always had a soft spot for Pacificas as I learned on a 112. I unfortunately flogged it for a Jackson Dinky EX when I probably should have upgraded to a better spec'd Yamaha guitar. 

Seen a few posts like this recently. I appreciate the value involved but to own a guitar that is so suited to gigging regularly and choosing to keep it tucked up safe while spending more money on a 'suitable' gigging guitar strikes me as very odd. 
I've gigged pricey Gibsons and 1500 quid Fenders in some highly unsavoury places and never really worried about it...it's what they are for. Not a dig or a criticism, just an observation on something that seems to pop up regularly when discussing gear.

skinfreak

cbilly22 said:

Seen a few posts like this recently. I appreciate the value involved but to own a guitar that is so suited to gigging regularly and choosing to keep it tucked up safe while spending more money on a 'suitable' gigging guitar strikes me as very odd. 
I've gigged pricey Gibsons and 1500 quid Fenders in some highly unsavoury places and never really worried about it...it's what they are for. Not a dig or a criticism, just an observation on something that seems to pop up regularly when discussing gear.

You are probably not at all wrong but for me spending the amount of money that I did on a DGT for what amounts to a hobby was a big step. Who knows what the future holds though...I may actually turn into a mediocre guitarist one day ;-)

Gassage

steamabacus said:

???? Certainly looks like six in the picture.  The basic principle is to set the middle 4 up a bit higher (loose) so it operates like a two-point on the outer two screws.

Quite why anyone would want to make a great vintage trem sound like a 2 point is beyond me.

On strats, nothing takes away more strattyness than a 2 point trem.

Voxman

cbilly22 said:

skinfreak said:

I think your logic in getting a 611 is spot on. If I ever get into gigging I would be following your example (I sure as hell wouldn't gig my DGT!). I have always had a soft spot for Pacificas as I learned on a 112. I unfortunately flogged it for a Jackson Dinky EX when I probably should have upgraded to a better spec'd Yamaha guitar. 

Seen a few posts like this recently. I appreciate the value involved but to own a guitar that is so suited to gigging regularly and choosing to keep it tucked up safe while spending more money on a 'suitable' gigging guitar strikes me as very odd. 
I've gigged pricey Gibsons and 1500 quid Fenders in some highly unsavoury places and never really worried about it...it's what they are for. Not a dig or a criticism, just an observation on something that seems to pop up regularly when discussing gear.

Biggest themes are if I need to leave it in the boot of my car unattended, and also have a single guitar that can cover everything I play without having to keep changing guitars, especially at rehearsals.  For gigs I'd probably still use my LP Custom or SG & Strat or Tele - but it's nice to have options!  The 611 is very easy to replace if it got pinched or broken, my other guitars aren't.  Anyway, it's a nice excuse for another guitar - I particularly like the H/B & P90 mix!  

Voxman

ICBM said:

Voxman said:

BYW, any thoughts re the tone knob resistance?

Not a lot you can do about that, on a push-pull. On a standard one you can wrap a bit of string or something around the shaft under the knob, but obviously that won't work with this.

Changing to a higher-quality pot is the only real answer.

Yup, I kind of figured that was likely to be the case, but thought I'd ask anyway! 

Voxman

Gassage said:

steamabacus said:

???? Certainly looks like six in the picture.  The basic principle is to set the middle 4 up a bit higher (loose) so it operates like a two-point on the outer two screws.

Quite why anyone would want to make a great vintage trem sound like a 2 point is beyond me.

On strats, nothing takes away more strattyness than a 2 point trem.

I've played both and honestly can't tell very much difference - all this business about greater contact, more sustain etc etc - My hardtail 69 has no trem cavity yet stll manages to sound incredibly stratty.  I think it's one of those things that you might be sensitive to when playing it clean at home with regards resonance etc - but at a gig, in a band mix, I think you'd struggle to tell the difference, especially if there's crunch or distortion.  And if you think you can I'd love to challenge you to a blind test to listen to three 2 points, three 6 points, and 3 hardtails - because I've played enough Strats in my life and sorry mate....  

Funkfingers

The two grub screws at the front edge of each saddle adjust its height.

The screw at the back edge of each saddle sets its intonation compensation.

The screw/washer on the top of each saddle locks it into place once adjusted.

In the instructions for the original VS100, Trev Wilkinson recommends setting the two E string saddles right down on the base plate. Adjust the other four saddle heights to match your fingerboard radius. 

Voxman

Funkfingers said:

The two grub screws at the front edge of each saddle adjust its height.

The screw at the back edge of each saddle sets its intonation compensation.

The screw/washer on the top of each saddle locks it into place once adjusted.

In the instructions for the original VS100, Trev Wilkinson recommends setting the two E string saddles right down on the base plate. Adjust the other four saddle heights to match your fingerboard radius. 

Thanks for replying @Funkfingers - although it was actually the trem unit set-up rather than the bridge saddles/intonation that I was trying to find some clear instructions on (or preferably even a video). 

Voxman

Adjusted the h/b p/up height and tweaked the trem setup.  Haven't yet restrung with 9-42s so been playing with the 10's that it came with.  

Lovely guitar to play and a great tonal range...been having loads of fun with the h/b and P90 combinations.  Looking forward to trying this puppy out at band practice on Thursday.

mbe

The 611s come from the factory with 9s so that might explain the difference between yours and the one on the Yamaha shop.

 The previous owner might have just gone up a gauge to 10s without making any changes to the vibrato* bridge.

*I refuse to call it a tremolo. It's the only thing Leo Fender got wrong. 

Voxman

mbe said:

The 611s come from the factory with 9s so that might explain the difference between yours and the one on the Yamaha shop.

 The previous owner might have just gone up a gauge to 10s without making any changes to the vibrato* bridge.

*I refuse to call it a tremolo. It's the only thing Leo Fender got wrong. 

I wonder if that's been changed now @mbe as all the 611's and 612's I tried at Yamaha Music were strung with 10's too. 

mbe

Voxman said:

I wonder if that's been changed now @mbe as all the 611's and 612's I tried at Yamaha Music were strung with 10's too. 

I dunno, my 611 is a hard tail and it came new with 9s.