SKU: 69430801130

Rectifier Regulator 6J8-81960-00 Fit for Yamaha 6hp - 50hp 1990 - 2013 Outboard

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Description

Rectifier Regulator 6J8-81960-00 Fit for Yamaha 6hp - 50hp 1990 - 2013 OutboardVoltage Regulator Rectifier Fit For Yamaha Outboard 6J8 81960 00 FEATURES: Direct replacement to your original unit. Plug and play, direct fit, easy installation. No assembly required. Higher grade of electric components. Improved heat sink and charging capabilities. The quality exceeds or meet the OEM equipment. All products shipped are tested. SPECIFICATIONS: Condition: Aftermarket 100% Brand New Quanity: 1 PC Type: Voltage Regulator Rectifier

Voltage Regulator Rectifier Fit For Yamaha Outboard 6J8-81960-00

FEATURES:
Direct replacement to your original unit.
Plug-and-play, direct fit, easy installation.
No assembly required.
Higher grade of electric components.
Improved heat sink and charging capabilities.
The quality exceeds or meet the OEM equipment.
All products shipped are tested.

SPECIFICATIONS:
Condition: Aftermarket 100% Brand New
Quanity: 1 PC
Type: Voltage Regulator Rectifier

Dimensions:
Length: 55.2mm / 2.17 inches
Width: 34.8mm / 1.37 inches
Height: 21mm / 0.83 inches

Other Specifications:
Number of plug interface pins: 6
Number of Plugs: 6
Number of Wires: 4

REFERENCE PART NUMBER(S):
6J8-81960-00

FITMENT:
Fit for Yamaha 6C MHS/L 2010
Fit for Yamaha 6C MHS 2010-2012
Fit for Yamaha 6C MHL 2011-2012
Fit for Yamaha 6C EMS/L 1990/1993-1994/1996
Fit for Yamaha 6D EMS/L 1990/1993-1994/1996
Fit for Yamaha 6C M(W)HS/L 1997-1998/2001-2012
Fit for Yamaha 6D M(W)HS/L 1997-1998/2001-2007

Fit for Yamaha 8C MHS 2010-2012
Fit for Yamaha 8C MHL 2011-2012
Fit for Yamaha 8C MHS/L 1997-1998/2001-2012
Fit for Yamaha 8C EMS/L 1990/1993-1994/1996

Fit for Yamaha 9.9F MHS 2010-2017
Fit for Yamaha 9.9F MHL 2011-2014
Fit for Yamaha 9.9F MHS/L 1995-2017
Fit for Yamaha 9.9D MHS/L 1990/1992-1995

Fit for Yamaha 13.5A MHS/L 2003-2004

Fit for Yamaha 15F WCS/L 1999
Fit for Yamaha 15D WHS/L 1990/1992-1993
Fit for Yamaha 15F WHS/L 1995-1998
Fit for Yamaha 15F MCS/L 1999-2001
Fit for Yamaha 15F MHS/L 1999/2002-2017
Fit for Yamaha 15D EHS/L 1994-1995

Fit for Yamaha 20D M(W)HOS/L 2005
Fit for Yamaha 20D EMS/L 1991-1994
Fit for Yamaha 20D MHOS/L 1990-1998/2001-2011
Fit for Yamaha 20C MHS/L 1990/1992-1993/1997/2001-2002
Fit for Yamaha 20D MHS/L 1990/1992-1993/1996-1998/2001-2002

Fit for Yamaha 25 S/L 1997-2002
Fit for Yamaha 25V MHS/L 2001
Fit for Yamaha 25V (E)MHS/L 1996
Fit for Yamaha 25V MHS/L 1997/2001
Fit for Yamaha 25B MHS/L 2001-2007
Fit for Yamaha 25D (E)MHS/L 1990/1992
Fit for Yamaha 25N EMOS/L 1990-1994/1997
Fit for Yamaha 25Q EOS/L 1990-1994/1996-1998
Fit for Yamaha 25N MHOS/L 1991-1998/2001-2016
Fit for Yamaha 25J ETOS/L 1990/1992-1993/1997-1999/2001

Fit for Yamaha 30 MS/LH 1999-2001
Fit for Yamaha 30 ES/LH 1999-2001
Fit for Yamaha 30 ES/LR 1999-2001
Fit for Yamaha 30G M(E)HS/L 1996-1998
Fit for Yamaha 30A MHS/L 1990/1992
Fit for Yamaha 30D MHS/L 1990/1992-1993/1996-1999/2001-2002
Fit for Yamaha 30D EOS/L 1993
Fit for Yamaha 30D MS/LH 2000-2001
Fit for Yamaha 30D ETOS/L 1992/2003/2005-2009
Fit for Yamaha 30D MHOS/L 1990/1998/2010-2013/2001-2004/2006-2012

Fit for Yamaha 40V MHOL 2011-2017
Fit for Yamaha 40V MHOS 2010-2017
Fit for Yamaha 40V MHOS/L 2010/2012-2016
Fit for Yamaha 40H M(E/O)S/L 1990-1994
Fit for Yamaha 40Y M(E/T/H/O)S/L 2001-2006
Fit for Yamaha 40V M(H/E/T)OS/L 1995-2004/2006-2013

Fit for Yamaha 50D EMTOS/L 1990-1994
Fit for Yamaha 50H M(E/D/T/H/O)S/L 1995/2000
Fit for Yamaha 50H M(W/E/D/T/H/O)S/L 1995-1998/2000

Fit for Yamaha F8B M(E)HS/L 1990-1997/1999

Fit for Yamaha F9.9B M(E)HS/L 1990-1997/1999
Fit for Yamaha F9.9C M(E)HS/L 1998/2000-2008

Fit for Yamaha F13.5A EHS/L 2002

Fit for Yamaha F15A M(E/W)HS/L 1998/2000-2007

(Compatibility Chart is for Reference ONLY!!!)
(Please Compare with Your faulty unit and the image we provided to Decide Fitment)

PACKAGE INCLUDES:
1x Voltage Regulator Rectifier

NOTICE:
Before installing your new voltage regulator rectifier;

Check the AC output of the stator.
Replace any burned or corroded connectors on stator and regulator/rectifier
Check and repair any melted wiring.
Use hi-temp dielectric grease on all connectors.

Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
  • Except Preorder products are shipped in 48 hours.
  • Delivery to the USA:
  1. Standard Shipping : 3-10 business days
  • If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
  • We offer a 30-day return/exchange service after receiving.
  • Final sale items are not eligible for returns or exchanges.
  • To process your return/exchange, please contact us at [email protected]
  • Please click here for more details>>> Return & Exchange Policy
SKU: 69430801130

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4.2 ★★★★★
Based on 5 reviews
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Product Reviews
M
Verified Purchase
MB
Carnegie, US
★★★★★ 5
Hydrating
New fav. My teenager loves it
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 10, 2026
R
Verified Purchase
Ruth
Battle Creek, US
★★★★★ 3
It’s okay
I use it for a month. I saw no difference. It does give you a glow for a few minutes and it does hydrate. No scent and it didn’t break me out.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 19, 2026
L
Verified Purchase
Lana
Grantham, US
★★★★★ 5
Good
Good
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Reviewed in the United States on January 22, 2026
D
Verified Purchase
dra
Massapequa, US
★★★★★ 5
Fractured pop art masterpiece
Walker (Lee Marvin) and Mal Reese (John Vernon) stage a robbery, stealing a bag of cash from some crooks conducting a delivery by helicopter in deserted Alcatraz. Reese double crosses Walker and leaves him for dead, taking off with the cash and Walker's wife. Walker survives, escapes from the island, and comes after Reese, and all the rest of his criminal organisation, with the mantra, "I want my $93,000." On this third or fourth viewing, I was struck less by what an exemplary action film this is (Marvin, the hardest man in the history of the movies, was at least as mean and relentless in The Killers), and more by how deeply artiness is infused into its structure and design. The recurrent flashing back and forward in time, especially at the start between the planning - not in the traditional meticulous heist film set up, just a series of fractured, barely linked brief meetings and conversations - and the robbery, but also Walker's thoughts returning to his betrayal, feed the predominant critical interpretation that Walker was fatally wounded on Alcatraz, and the whole film is his trying to process this and his fantasy of revenge. Boorman addresses this directly in the commentary, to the extent that he refuses to commit and says it's intended to be ambiguous. I'm now firmly in the dying-flashback camp, because of Walker's almost magical powers. (On reflection, it's like the question of whether Deckard is a replicant - you can enjoy debating it and looking for clues, but in the end the answer is yes.) He appears in new scenes and locations with no evidence of having travelled, and generally in a spiffy new outfit (more of this later) despite carrying nothing but his revolver, and, particularly in the central sequence, he evades being apprehended either by coincidence (the lift he's in opens and closes while the baddies waiting for the same lift are distracted by a commotion) or by the sheer application of cool (waiting immobile but scarcely invisible in an underground car park while his pursuer is gunned down by police). He also has an advisor/mentor, played by Keenan Wynn, who pops up in scenes like a cartoon character (he looks like a sort of dome shaped, bristle headed man in a suit who might appear in Ren and Stimpy) and gives Walker his next mission, while the two of them assiduously avoid eye contact as if one or both aren't really there. From Walker's re-emergence in the first of a series of natty suits, Point Blank is constructed as a series of set pieces. The first is the oddest, continuing the flashbacks and playing with chronology. Walker is seen striding intently down a corridor, and we hear the sound of his footsteps over a series of scenes of his meeting his wife, and the two of them sharing innocent good times with Reese. He confronts his wife, fires six shots into her bed before realising Reese isn't there. A scene later, she's dead after an apparent overdose. A scene after that, the body is gone, the apartment is bare, and Walker has boarded himself inside. Did Walker even see his wife? Had she died already? A messenger arrives from whom Walker extracts a name, and he's off chasing the next link. Walker meets care dealer Big John, whose yard has enormous signs in a jazzy '50s font. He asks for a test drive, buckles his seatbelt, and smashes the car between pillars (c.f. The Driver) until John spills the next name. The most self-consciously art-directed scene follows, in which Walker visits a nightclub which features both a bikini-clad go-go dancer and a trio playing something between jazz and James Brown. Tipped off by a flirtatious waitress that he's being followed, he ducks behind the stage, and fights two baddies while giant faces are projected on a huge screen behind him. In a moment that suggests Tarantino watched this while writing Inglourious Basterds, Walker pulls down a rack of celluloid canisters to trap one pursuer, and then returns things to some kind of action movie orthodoxy by subduing the other one with a haymaker to the groin. In the centrepiece, Walker meets his sister-in-law Chris (Angie Dickinson). Grief and his mission of revenge don't mean he misses the chance to share her bed, and emerge, manhood serenely unthreatened, in her borrowed yellow shortie robe. The colour scheme gets turned up to 11 at this stage, with Walker in a mustard shirt-sports jacket combo (his outfits get truly creative whenever he's bedded Angie - later, he sports a shirt somewhere between salmon and ruby grapefruit - which I guess is the wardrobe equivalent of Joseph Gordon Levitt's post-coital dance routine in (500) Days of Summer), Angie in a rockin' yellow shift dress and matching '60s mid-length coat (let down soon after by wearing something striped like a bee), and Reese in a light tan, crushed velour t-shirt that might be the least flattering male garment in cinema until Borat's mankini. Walker even finds a sightseeing telescope painted lemon yellow, which he casually dislocates from its moorings to scope out Reese's penthouse lair. Once Reese is dealt with, the movie shifts into an early example of crime-as-big-business. Reese's boss is Carter, whose sleek Mad Men-style office and threads are matched by his resemblance to that series' Ted. According to IMDb, Lloyd Bochner, who plays Carter, was doing voice-over work from age eleven, and between him, Vernon's baritone (you know how it sounds - like Dean Wormer: "Fat, drunk and stupid is no way to go through life, son."), and Marvin's basso profundo, there's a meeting of male voices unmatched until, say, Brideshead Revisited. Around this point the architecture of LA attracts more and more focus, both modernist glass towers and the concrete culvert of the LA River, where a sniper lurks who might have inspired the climactic shooter in Get Carter. The commentary is conducted as a dialogue between Boorman and Soderbergh, who, if you've seen this, early Nic Roeg (Performance and Don't Look Now), and were already acquainted with the colour yellow, seems less original than he otherwise might. He has the decency to open by talking about how many times he's stolen from Point Blank. He's not the only one though. Point Blank deconstructs and toys with the action film as knowingly as anything in the 45+ years since, up to and including Archer and the entire oeuvre of Shane Black. Just when it's in danger of becoming too clever to be satisfying as a genre piece, it gets your attention with a pistol whipping, a punch to the groin, or the rarely-shown actual end result of the villain-takes-a-long-fall thing. And of course there's Marvin, who, whether dressed like a dandy, wearing a robe, or looking baffled when the next corporate criminal explains that they just don't have $93,000 to hand over, can't be beat. Seriously, you're not obliged to love it, but you have to see it at least once.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 3, 2014
J
Verified Purchase
J. H. Haley
Natrona Heights, US
★★★★★ 4
Lee Marvin's best
Finally it's in dvd. Been looking for it for years. Point Blank is Lee Marvin's best movie, the best character for him, and has his best tag line. I'll leave that for you to find. (It has to with seat belts.) The movie is aptly named. The plot is steam-roller direct, but the director uses some arty time-lapse devices that either distract by conflicting with the directness of the character and the plot, or enhance by providing depth and interest, I can't decide. But they do jarr a little and seem dated. I suppose I do like the uniqueness they add. It's a really good Lee Marvin movie, and Angie Dickinson to boot. Who remembers her answer when Johnny Carson asked her whether she dressed to please herself or others? Memorable.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on September 25, 2007

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