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History of guitars
THE GUITAR IS AN ANCIENT AND NOBLE INSTRUMENT, WHOSE HISTORY CAN BE TRACED BACK OVER 4000 YEARS. MANY THEORIES HAVE BEEN ADVANCED ABOUT THE INSTRUMENT'S ANCESTRY. IT HAS OFTEN BEEN CLAIMED THAT THE GUITAR IS A DEVELOPMENT OF THE LUTE, OR EVEN OF THE ANCIENT GREEK KITHARA. RESEARCH DONE BY DR. MICHAEL KASHA IN THE 1960'S SHOWED THESE CLAIMS TO BE WITHOUT MERIT. HE SHOWED THAT THE LUTE IS A RESULT OF A SEPARATE LINE OF DEVELOPMENT, SHARING COMMON ANCESTORS WITH THE GUITAR, BUT HAVING HAD NO INFLUENCE ON ITS EVOLUTION. THE INFLUENCE IN THE OPPOSITE DIRECTION IS UNDENIABLE, HOWEVER - THE GUITAR'S IMMEDIATE FOREFATHERS WERE A MAJOR INFLUENCE ON THE DEVELOPMENT OF THE FRETTED LUTE FROM THE FRETLESS OUD WHICH THE MOORS BROUGHT WITH THEM TO TO SPAIN.
THE SOLE "EVIDENCE" FOR THE KITHARA THEORY IS THE SIMILARITY BETWEEN THE GREEK WORD "KITHARA" AND THE SPANISH WORD "QUITARRA". IT IS HARD TO IMAGINE HOW THE GUITAR COULD HAVE EVOLVED FROM THE KITHARA, WHICH WAS A COMPLETELY DIFFERENT TYPE OF INSTRUMENT - NAMELY A SQUARE-FRAMED LAP HARP, OR "LYRE". (RIGHT)
IT WOULD ALSO BE PASSING STRANGE IF A SQUARE-FRAMED SEVEN-STRING LAP HARP HAD GIVEN ITS NAME TO THE EARLY SPANISH 4-STRING "QUITARRA". DR. KASHA TURNS THE QUESTION AROUND AND ASKS WHERE THE GREEKS GOT THE NAME "KITHARA", AND POINTS OUT THAT THE EARLIEST GREEK KITHARAS HAD ONLY 4 STRINGS WHEN THEY WERE INTRODUCED FROM ABROAD. HE SURMISES THAT THE GREEKS HELLENIFIED THE OLD PERSIAN NAME FOR A 4-STRINGED INSTRUMENT, "CHARTAR". (SEE BELOW.)
THE ANCESTORS
THE EARLIEST STRINGED INSTRUMENTS KNOWN TO ARCHAEOLOGISTS ARE BOWL HARPS AND TANBURS. SINCE PREHISTORY PEOPLE HAVE MADE BOWL HARPS USING TORTOISE SHELLS AND CALABASHES AS RESONATORS, WITH A BENT STICK FOR A NECK AND ONE OR MORE GUT OR SILK STRINGS. THE WORLD'S MUSEUMS CONTAIN MANY SUCH "HARPS" FROM THE ANCIENT SUMERIAN, BABYLONIAN, AND EGYPTIAN CIVILISATIONS. AROUND 2500 - 2000 CE MORE ADVANCED HARPS, SUCH AS THE OPULENTLY CARVED 11-STRINGED INSTRUMENT WITH GOLD DECORATION FOUND IN QUEEN SHUB-AD'S TOMB, STARTED TO APPEAR.
"QUEEN SHUB-AD'S HARP" (FROM THE ROYAL CEMETERY IN UR)
A TANBUR IS DEFINED AS "A LONG-NECKED STRINGED INSTRUMENT WITH A SMALL EGG- OR PEAR-SHAPED BODY, WITH AN ARCHED OR ROUND BACK, USUALLY WITH A SOUNDBOARD OF WOOD OR HIDE, AND A LONG, STRAIGHT NECK". THE TANBUR PROBABLY DEVELOPED FROM THE BOWL HARP AS THE NECK WAS STRAIGHTENED OUT TO ALLOW THE STRING/S TO BE PRESSED DOWN TO CREATE MORE NOTES. TOMB PAINTINGS AND STONE CARVINGS IN EGYPT TESTIFY TO THE FACT THAT HARPS AND TANBURS (TOGETHER WITH FLUTES AND PERCUSSION INSTRUMENTS) WERE BEING PLAYED IN ENSEMBLE 3500 - 4000 YEARS AGO.
EGYPTIAN WALL PAINTING, THEBES, 1420 BCE
ARCHAEOLOGISTS HAVE ALSO FOUND MANY SIMILAR RELICS IN THE RUINS OF THE ANCIENT PERSIAN AND MESOPOTAMIAN CULTURES. MANY OF THESE INSTRUMENTS HAVE SURVIVED INTO MODERN TIMES IN ALMOST UNCHANGED FORM, AS WITNESS THE FOLK INSTRUMENTS OF THE REGION LIKE THE TURKISH SAZ, BALKAN TAMBURITSA, IRANIAN SETAR, AFGHAN PANCHTAR AND GREEK BOUZOUKI.
THE OLDEST PRESERVED GUITAR-LIKE INSTRUMENT
AT 3500 YEARS OLD, THIS IS THE ULTIMATE VINTAGE GUITAR! IT BELONGED TO THE EGYPTIAN SINGER HAR-MOSE. HE WAS BURIED WITH HIS TANBUR CLOSE TO THE TOMB OF HIS EMPLOYER, SEN-MUT, ARCHITECT TO QUEEN HATSHEPSUT, WHO WAS CROWNED IN 1503 BCE. SEN-MUT (WHO, IT IS SUSPECTED, WAS FAR MORE THAN JUST CHIEF MINISTER AND ARCHITECT TO THE QUEEN) BUILT HATSHEPSUTS BEAUTIFUL MORTUARY TEMPLE, WHICH STANDS ON THE BANKS OF THE NILE TO THIS DAY.
HAR-MOSES INSTRUMENT HAD THREE STRINGS AND A PLECTRUM SUSPENDED FROM THE NECK BY A CORD. THE SOUNDBOX WAS MADE OF BEAUTIFULLY POLISHED CEDARWOOD AND HAD A RAWHIDE "SOUNDBOARD". IT CAN BE SEEN TODAY AT THE ARCHAEOLOGICAL MUSEUM IN CAIRO.
QUEEN HATSHEPSUT
WHAT IS A GUITAR, ANYWAY?
TO DISTINGUISH GUITARS FROM OTHER MEMBERS OF THE TANBUR FAMILY, WE NEED TO DEFINE WHAT A GUITAR IS. DR. KASHA DEFINES A GUITAR AS HAVING "A LONG, FRETTED NECK, FLAT WOODEN SOUNDBOARD, RIBS, AND A FLAT BACK, MOST OFTEN WITH INCURVED SIDES" .
THE OLDEST KNOWN ICONOGRAPHICAL REPRESENTATION OF AN INSTRUMENT DISPLAYING ALL THE ESSENTIAL FEATURES OF A GUITAR IS A STONE CARVING AT ALACA HUYUK IN TURKEY, OF A 3300 YEAR OLD HITTITE "GUITAR" WITH "A LONG FRETTED NECK, FLAT TOP, PROBABLY FLAT BACK, AND WITH STRIKINGLY INCURVED SIDES".
THE LUTE (AL'UD, OUD)
THE MOORS BROUGHT THE OUD TO SPAIN. THE TANBUR HAD TAKEN ANOTHER LINE OF DEVELOPMENT IN THE ARABIAN COUNTRIES, CHANGING IN ITS PROPORTIONS AND REMAINING FRETLESS.
THE EUROPEANS ADDED FRETS TO THE OUD AND CALLED IT A "LUTE" - THIS DERIVES FROM THE ARABIC "AL'UD" (LITERALLY "THE WOOD"), VIA THE SPANISH NAME "LAUD".
A LUTE OR OUD IS DEFINED AS A "SHORT-NECKED INSTRUMENT WITH MANY STRINGS, A LARGE PEAR-SHAPED BODY WITH HIGHLY VAULTED BACK, AND AN ELABORATE, SHARPLY ANGLED PEGHEAD".
RENAISSANCE LUTE BY ARTHUR ROBB
CLICK ON THE PICTURE TO GO TO ART'S WEBSITE.
BEAUTIFUL INSTRUMENTS!
IT IS HARD TO SEE HOW THE GUITAR - WITH "A LONG, FRETTED NECK, FLAT WOODEN SOUNDBOARD, RIBS, AND A FLAT BACK, MOST OFTEN WITH INCURVED SIDES" - COULD POSSIBLY HAVE EVOLVED FROM THE LUTE, WITH ITS "SHORT NECK WITH MANY STRINGS, LARGE PEAR-SHAPED BODY WITH HIGHLY VAULTED BACK, AND ELABORATE, SHARPLY ANGLED PEGHEAD".
THE GUITAR
THE NAME "GUITAR" COMES FROM THE ANCIENT SANSKRIT WORD FOR "STRING" - "TAR". (THIS IS THE LANGUAGE FROM WHICH THE LANGUAGES OF CENTRAL ASIA AND NORTHERN INDIA DEVELOPED.) MANY STRINGED FOLK INSTRUMENTS EXIST IN CENTRAL ASIA TO THIS DAY WHICH HAVE BEEN USED IN ALMOST UNCHANGED FORM FOR SEVERAL THOUSAND YEARS, AS SHOWN BY ARCHEOLOGICAL FINDS IN THE AREA. MANY HAVE NAMES THAT END IN "TAR", WITH A PREFIX INDICATING THE NUMBER OF STRINGS:
DOTAR
TWO = SANSKRIT "DVI" - MODERN PERSIAN "DO" -
DOTAR, TWO-STRING INSTRUMENT FOUND IN TURKESTAN
THREE = SANSKRIT "TRI" - MODERN PERSIAN "SE" -
SETAR, 3-STRING INSTRUMENT, FOUND IN PERSIA (IRAN),
(CF. SITAR, INDIA, ELABORATELY DEVELOPED, MANY-STRINGED)
FOUR = SANSKRIT "CHATUR" - MODERN PERSIAN "CHAR" -
CHARTAR, 4-STRING INSTRUMENT, PERSIA (MOST COMMONLY KNOWN AS "TAR" IN MODERN USAGE)
(CF. QUITARRA, EARLY SPANISH 4-STRING GUITAR,
MODERN ARABIC QITHARA, ITALIAN CHITARRA, ETC)
FIVE = SANSKRIT "PANCHA" - MODERN PERSIAN "PANJ" -
PANCHTAR, 5 STRINGS, AFGHANISTAN
INDIAN SITAR
THE INDIAN SITAR ALMOST CERTAINLY TOOK ITS NAME FROM THE PERSIAN SETAR, BUT OVER THE CENTURIES THE INDIANS DEVELOPED IT INTO A COMPLETELY NEW INSTRUMENT, FOLLOWING THEIR OWN AESTHETIC AND CULTURAL IDEALS.
PERSIAN SETAR
CHARTAR ("TAR")
TANBURS AND HARPS SPREAD AROUND THE ANCIENT WORLD WITH TRAVELLERS, MERCHANTS AND SEAMEN. THE FOUR-STRINGED PERSIAN CHARTAR (NOTE THE NARROW WAIST!) ARRIVED IN SPAIN, WHERE IT CHANGED SOMEWHAT IN FORM AND CONSTRUCTION, ACQUIRED PAIRS OF UNISON-TUNED STRINGS INSTEAD OF SINGLE STRINGS AND BECAME KNOWN AS THE QUITARRA OR CHITARRA.
FROM FOUR-, TO FIVE-, TO SIX-STRING GUITAR
AS WE HAVE SEEN, THE GUITAR'S ANCESTORS CAME TO EUROPE FROM EGYPT AND MESOPOTAMIA. THESE EARLY INSTRUMENTS HAD, MOST OFTEN, FOUR STRINGS - AS WE HAVE SEEN ABOVE, THE WORD "GUITAR" IS DERIVED FROM THE OLD PERSIAN "CHARTAR", WHICH, IN DIRECT TRANSLATION, MEANS "FOUR STRINGS". MANY SUCH INSTRUMENTS, AND VARIATIONS WITH FROM THREE TO FIVE STRINGS, CAN BE SEEN IN MEDIAEVAL ILLUSTRATED MANUSCRIPTS, AND CARVED IN STONE IN CHURCHES AND CATHEDRALS, FROM ROMAN TIMES THROUGH TILL THE MIDDLE AGES. RIGHT: ROMAN "GUITAR", C:A 200 CE.
MEDIAEVAL PSALTER, C:A 900 CE.
ANGEL WITH GUITAR, ST. STEPHEN'S CHURCH, 1591.
BY THE BEGINNING OF THE RENAISSANCE, THE FOUR-COURSE (4 UNISON-TUNED PAIRS OF STRINGS) GUITAR HAD BECOME DOMINANT, AT LEAST IN MOST OF EUROPE. (SOMETIMES A SINGLE FIRST STRING WAS USED.) THE EARLIEST KNOWN MUSIC FOR THE FOUR-COURSE "CHITARRA" WAS WRITTEN IN 16TH CENTURY SPAIN. THE FIVE-COURSE GUITARRA BATTENTE (LEFT) FIRST APPEARED IN ITALY AT AROUND THE SAME TIME, AND GRADUALLY REPLACED THE FOUR-COURSE INSTRUMENT. THE STANDARD TUNING HAD ALREADY SETTLED AT A, D, G, B, E, LIKE THE TOP FIVE STRINGS OF THE MODERN GUITAR.
IN COMMON WITH LUTES, EARLY GUITARS SELDOM HAD NECKS WITH MORE THAN 8 FRETS FREE OF THE BODY, BUT AS THE GUITAR EVOLVED, THIS INCREASED FIRST TO 10 AND THEN TO 12 FRETS TO THE BODY.
5-COURSE GUITAR BY ANTONIO STRADIVARIUS, 1680
A SIXTH COURSE OF STRINGS WAS ADDED TO THE ITALIAN "GUITARRA BATTENTE" IN THE 17TH CENTURY, AND GUITAR MAKERS ALL OVER EUROPE FOLLOWED THE TREND. THE SIX-COURSE ARRANGEMENT GRADUALLY GAVE WAY TO SIX SINGLE STRINGS, AND AGAIN IT SEEMS THAT THE ITALIANS WERE THE DRIVING FORCE. (THE SIX-STRING GUITAR CAN THUS BE SAID TO BE A DEVELOPMENT OF THE TWELVE-STRING, RATHER THAN VICE VERSA, AS IS USUALLY ASSUMED.)
IN THE TRANSITION FROM FIVE COURSES TO SIX SINGLE STRINGS, IT SEEMS THAT AT LEAST SOME EXISTING FIVE-COURSE INSTRUMENTS WERE MODIFIED TO THE NEW STRINGING PATTERN. THIS WAS A FAIRLY SIMPLE TASK, AS IT ONLY ENTAILED REPLACING (OR RE-WORKING) THE NUT AND BRIDGE, AND PLUGGING FOUR OF THE TUNING PEG HOLES. AN INCREDIBLY ORNATE GUITAR BY THE GERMAN MASTER FROM HAMBURG, JOAKIM THIELKE (1641 - 1719), WAS ALTERED IN THIS WAY. (NOTE THAT THIS INSTRUMENT HAS ONLY 8 FRETS FREE OF THE BODY.)
AT THE BEGINNING OF THE 19TH CENTURY ONE CAN SEE THE MODERN GUITAR BEGINNING TO TAKE SHAPE. BODIES WERE STILL FAIRLY SMALL AND NARROW-WAISTED.
6-STRING GUITAR BY GEORGE LOUIS PANORMO, 1832
THE MODERN "CLASSICAL" GUITAR TOOK ITS PRESENT FORM WHEN THE SPANISH MAKER ANTONIO TORRES INCREASED THE SIZE OF THE BODY, ALTERED ITS PROPORTIONS, AND INTRODUCED THE REVOLUTIONARY "FAN" TOP BRACING PATTERN, IN AROUND 1850. HIS DESIGN RADICALLY IMPROVED THE VOLUME, TONE AND PROJECTION OF THE INSTRUMENT, AND VERY SOON BECAME THE ACCEPTED CONSTRUCTION STANDARD. IT HAS REMAINED ESSENTIALLY UNCHANGED, AND UNCHALLENGED, TO THIS DAY.
GUITAR BY ANTONIO TORRES JURADO, 1859
STEEL-STRING AND ELECTRIC GUITARS
AT AROUND THE SAME TIME THAT TORRES STARTED MAKING HIS BREAKTHROUGH FAN-BRACED GUITARS IN SPAIN, GERMAN IMMIGRANTS TO THE USA - AMONG THEM CHRISTIAN FREDRICH MARTIN - HAD BEGUN MAKING GUITARS WITH X-BRACED TOPS. STEEL STRINGS FIRST BECAME WIDELY AVAILABLE IN AROUND 1900. STEEL STRINGS OFFERED THE PROMISE OF MUCH LOUDER GUITARS, BUT THE INCREASED TENSION WAS TOO MUCH FOR THE TORRES-STYLE FAN-BRACED TOP. A BEEFED-UP X-BRACE PROVED EQUAL TO THE JOB, AND QUICKLY BECAME THE INDUSTRY STANDARD FOR THE FLAT-TOP STEEL STRING GUITAR.
AT THE END OF THE 19TH CENTURY ORVILLE GIBSON WAS BUILDING ARCHTOP GUITARS WITH OVAL SOUND HOLES. HE MARRIED THE STEEL-STRING GUITAR WITH A BODY CONSTRUCTED MORE LIKE A CELLO, WHERE THE BRIDGE EXERTS NO TORQUE ON THE TOP, ONLY PRESSURE STRAIGHT DOWN. THIS ALLOWS THE TOP TO VIBRATE MORE FREELY, AND THUS PRODUCE MORE VOLUME. IN THE EARLY 1920'S DESIGNER LLOYD LOAR JOINED GIBSON, AND REFINED THE ARCHTOP "JAZZ" GUITAR INTO ITS NOW FAMILIAR FORM WITH F-HOLES, FLOATING BRIDGE AND CELLO-TYPE TAILPIECE.
THE ELECTRIC GUITAR WAS BORN WHEN PICKUPS WERE ADDED TO HAWAIIAN AND "JAZZ" GUITARS IN THE LATE 1920'S, BUT MET WITH LITTLE SUCCESS BEFORE 1936, WHEN GIBSON INTRODUCED THE ES150 MODEL, WHICH CHARLIE CHRISTIAN MADE FAMOUS.
WITH THE ADVENT OF AMPLIFICATION IT BECAME POSSIBLE TO DO AWAY WITH THE SOUNDBOX ALTOGETHER. IN THE LATE 1930'S AND EARLY 1940'S SEVERAL ACTORS WERE EXPERIMENTING ALONG THESE LINES, AND CONTROVERSY STILL EXISTS AS TO WHETHER LES PAUL, LEO FENDER, PAUL BIGSBY OR O.W. APPLETON CONSTRUCTED THE VERY FIRST SOLID-BODY GUITAR. BE THAT AS IT MAY, THE SOLID-BODY ELECTRIC GUITAR WAS HERE TO STAY.
THE SOLE "EVIDENCE" FOR THE KITHARA THEORY IS THE SIMILARITY BETWEEN THE GREEK WORD "KITHARA" AND THE SPANISH WORD "QUITARRA". IT IS HARD TO IMAGINE HOW THE GUITAR COULD HAVE EVOLVED FROM THE KITHARA, WHICH WAS A COMPLETELY DIFFERENT TYPE OF INSTRUMENT - NAMELY A SQUARE-FRAMED LAP HARP, OR "LYRE". (RIGHT)
IT WOULD ALSO BE PASSING STRANGE IF A SQUARE-FRAMED SEVEN-STRING LAP HARP HAD GIVEN ITS NAME TO THE EARLY SPANISH 4-STRING "QUITARRA". DR. KASHA TURNS THE QUESTION AROUND AND ASKS WHERE THE GREEKS GOT THE NAME "KITHARA", AND POINTS OUT THAT THE EARLIEST GREEK KITHARAS HAD ONLY 4 STRINGS WHEN THEY WERE INTRODUCED FROM ABROAD. HE SURMISES THAT THE GREEKS HELLENIFIED THE OLD PERSIAN NAME FOR A 4-STRINGED INSTRUMENT, "CHARTAR". (SEE BELOW.)
THE ANCESTORS
THE EARLIEST STRINGED INSTRUMENTS KNOWN TO ARCHAEOLOGISTS ARE BOWL HARPS AND TANBURS. SINCE PREHISTORY PEOPLE HAVE MADE BOWL HARPS USING TORTOISE SHELLS AND CALABASHES AS RESONATORS, WITH A BENT STICK FOR A NECK AND ONE OR MORE GUT OR SILK STRINGS. THE WORLD'S MUSEUMS CONTAIN MANY SUCH "HARPS" FROM THE ANCIENT SUMERIAN, BABYLONIAN, AND EGYPTIAN CIVILISATIONS. AROUND 2500 - 2000 CE MORE ADVANCED HARPS, SUCH AS THE OPULENTLY CARVED 11-STRINGED INSTRUMENT WITH GOLD DECORATION FOUND IN QUEEN SHUB-AD'S TOMB, STARTED TO APPEAR.
"QUEEN SHUB-AD'S HARP" (FROM THE ROYAL CEMETERY IN UR)
A TANBUR IS DEFINED AS "A LONG-NECKED STRINGED INSTRUMENT WITH A SMALL EGG- OR PEAR-SHAPED BODY, WITH AN ARCHED OR ROUND BACK, USUALLY WITH A SOUNDBOARD OF WOOD OR HIDE, AND A LONG, STRAIGHT NECK". THE TANBUR PROBABLY DEVELOPED FROM THE BOWL HARP AS THE NECK WAS STRAIGHTENED OUT TO ALLOW THE STRING/S TO BE PRESSED DOWN TO CREATE MORE NOTES. TOMB PAINTINGS AND STONE CARVINGS IN EGYPT TESTIFY TO THE FACT THAT HARPS AND TANBURS (TOGETHER WITH FLUTES AND PERCUSSION INSTRUMENTS) WERE BEING PLAYED IN ENSEMBLE 3500 - 4000 YEARS AGO.
EGYPTIAN WALL PAINTING, THEBES, 1420 BCE
ARCHAEOLOGISTS HAVE ALSO FOUND MANY SIMILAR RELICS IN THE RUINS OF THE ANCIENT PERSIAN AND MESOPOTAMIAN CULTURES. MANY OF THESE INSTRUMENTS HAVE SURVIVED INTO MODERN TIMES IN ALMOST UNCHANGED FORM, AS WITNESS THE FOLK INSTRUMENTS OF THE REGION LIKE THE TURKISH SAZ, BALKAN TAMBURITSA, IRANIAN SETAR, AFGHAN PANCHTAR AND GREEK BOUZOUKI.
THE OLDEST PRESERVED GUITAR-LIKE INSTRUMENT
AT 3500 YEARS OLD, THIS IS THE ULTIMATE VINTAGE GUITAR! IT BELONGED TO THE EGYPTIAN SINGER HAR-MOSE. HE WAS BURIED WITH HIS TANBUR CLOSE TO THE TOMB OF HIS EMPLOYER, SEN-MUT, ARCHITECT TO QUEEN HATSHEPSUT, WHO WAS CROWNED IN 1503 BCE. SEN-MUT (WHO, IT IS SUSPECTED, WAS FAR MORE THAN JUST CHIEF MINISTER AND ARCHITECT TO THE QUEEN) BUILT HATSHEPSUTS BEAUTIFUL MORTUARY TEMPLE, WHICH STANDS ON THE BANKS OF THE NILE TO THIS DAY.
HAR-MOSES INSTRUMENT HAD THREE STRINGS AND A PLECTRUM SUSPENDED FROM THE NECK BY A CORD. THE SOUNDBOX WAS MADE OF BEAUTIFULLY POLISHED CEDARWOOD AND HAD A RAWHIDE "SOUNDBOARD". IT CAN BE SEEN TODAY AT THE ARCHAEOLOGICAL MUSEUM IN CAIRO.
QUEEN HATSHEPSUT
WHAT IS A GUITAR, ANYWAY?
TO DISTINGUISH GUITARS FROM OTHER MEMBERS OF THE TANBUR FAMILY, WE NEED TO DEFINE WHAT A GUITAR IS. DR. KASHA DEFINES A GUITAR AS HAVING "A LONG, FRETTED NECK, FLAT WOODEN SOUNDBOARD, RIBS, AND A FLAT BACK, MOST OFTEN WITH INCURVED SIDES" .
THE OLDEST KNOWN ICONOGRAPHICAL REPRESENTATION OF AN INSTRUMENT DISPLAYING ALL THE ESSENTIAL FEATURES OF A GUITAR IS A STONE CARVING AT ALACA HUYUK IN TURKEY, OF A 3300 YEAR OLD HITTITE "GUITAR" WITH "A LONG FRETTED NECK, FLAT TOP, PROBABLY FLAT BACK, AND WITH STRIKINGLY INCURVED SIDES".
THE LUTE (AL'UD, OUD)
THE MOORS BROUGHT THE OUD TO SPAIN. THE TANBUR HAD TAKEN ANOTHER LINE OF DEVELOPMENT IN THE ARABIAN COUNTRIES, CHANGING IN ITS PROPORTIONS AND REMAINING FRETLESS.
THE EUROPEANS ADDED FRETS TO THE OUD AND CALLED IT A "LUTE" - THIS DERIVES FROM THE ARABIC "AL'UD" (LITERALLY "THE WOOD"), VIA THE SPANISH NAME "LAUD".
A LUTE OR OUD IS DEFINED AS A "SHORT-NECKED INSTRUMENT WITH MANY STRINGS, A LARGE PEAR-SHAPED BODY WITH HIGHLY VAULTED BACK, AND AN ELABORATE, SHARPLY ANGLED PEGHEAD".
RENAISSANCE LUTE BY ARTHUR ROBB
CLICK ON THE PICTURE TO GO TO ART'S WEBSITE.
BEAUTIFUL INSTRUMENTS!
IT IS HARD TO SEE HOW THE GUITAR - WITH "A LONG, FRETTED NECK, FLAT WOODEN SOUNDBOARD, RIBS, AND A FLAT BACK, MOST OFTEN WITH INCURVED SIDES" - COULD POSSIBLY HAVE EVOLVED FROM THE LUTE, WITH ITS "SHORT NECK WITH MANY STRINGS, LARGE PEAR-SHAPED BODY WITH HIGHLY VAULTED BACK, AND ELABORATE, SHARPLY ANGLED PEGHEAD".
THE GUITAR
THE NAME "GUITAR" COMES FROM THE ANCIENT SANSKRIT WORD FOR "STRING" - "TAR". (THIS IS THE LANGUAGE FROM WHICH THE LANGUAGES OF CENTRAL ASIA AND NORTHERN INDIA DEVELOPED.) MANY STRINGED FOLK INSTRUMENTS EXIST IN CENTRAL ASIA TO THIS DAY WHICH HAVE BEEN USED IN ALMOST UNCHANGED FORM FOR SEVERAL THOUSAND YEARS, AS SHOWN BY ARCHEOLOGICAL FINDS IN THE AREA. MANY HAVE NAMES THAT END IN "TAR", WITH A PREFIX INDICATING THE NUMBER OF STRINGS:
DOTAR
TWO = SANSKRIT "DVI" - MODERN PERSIAN "DO" -
DOTAR, TWO-STRING INSTRUMENT FOUND IN TURKESTAN
THREE = SANSKRIT "TRI" - MODERN PERSIAN "SE" -
SETAR, 3-STRING INSTRUMENT, FOUND IN PERSIA (IRAN),
(CF. SITAR, INDIA, ELABORATELY DEVELOPED, MANY-STRINGED)
FOUR = SANSKRIT "CHATUR" - MODERN PERSIAN "CHAR" -
CHARTAR, 4-STRING INSTRUMENT, PERSIA (MOST COMMONLY KNOWN AS "TAR" IN MODERN USAGE)
(CF. QUITARRA, EARLY SPANISH 4-STRING GUITAR,
MODERN ARABIC QITHARA, ITALIAN CHITARRA, ETC)
FIVE = SANSKRIT "PANCHA" - MODERN PERSIAN "PANJ" -
PANCHTAR, 5 STRINGS, AFGHANISTAN
INDIAN SITAR
THE INDIAN SITAR ALMOST CERTAINLY TOOK ITS NAME FROM THE PERSIAN SETAR, BUT OVER THE CENTURIES THE INDIANS DEVELOPED IT INTO A COMPLETELY NEW INSTRUMENT, FOLLOWING THEIR OWN AESTHETIC AND CULTURAL IDEALS.
PERSIAN SETAR
CHARTAR ("TAR")
TANBURS AND HARPS SPREAD AROUND THE ANCIENT WORLD WITH TRAVELLERS, MERCHANTS AND SEAMEN. THE FOUR-STRINGED PERSIAN CHARTAR (NOTE THE NARROW WAIST!) ARRIVED IN SPAIN, WHERE IT CHANGED SOMEWHAT IN FORM AND CONSTRUCTION, ACQUIRED PAIRS OF UNISON-TUNED STRINGS INSTEAD OF SINGLE STRINGS AND BECAME KNOWN AS THE QUITARRA OR CHITARRA.
FROM FOUR-, TO FIVE-, TO SIX-STRING GUITAR
AS WE HAVE SEEN, THE GUITAR'S ANCESTORS CAME TO EUROPE FROM EGYPT AND MESOPOTAMIA. THESE EARLY INSTRUMENTS HAD, MOST OFTEN, FOUR STRINGS - AS WE HAVE SEEN ABOVE, THE WORD "GUITAR" IS DERIVED FROM THE OLD PERSIAN "CHARTAR", WHICH, IN DIRECT TRANSLATION, MEANS "FOUR STRINGS". MANY SUCH INSTRUMENTS, AND VARIATIONS WITH FROM THREE TO FIVE STRINGS, CAN BE SEEN IN MEDIAEVAL ILLUSTRATED MANUSCRIPTS, AND CARVED IN STONE IN CHURCHES AND CATHEDRALS, FROM ROMAN TIMES THROUGH TILL THE MIDDLE AGES. RIGHT: ROMAN "GUITAR", C:A 200 CE.
MEDIAEVAL PSALTER, C:A 900 CE.
ANGEL WITH GUITAR, ST. STEPHEN'S CHURCH, 1591.
BY THE BEGINNING OF THE RENAISSANCE, THE FOUR-COURSE (4 UNISON-TUNED PAIRS OF STRINGS) GUITAR HAD BECOME DOMINANT, AT LEAST IN MOST OF EUROPE. (SOMETIMES A SINGLE FIRST STRING WAS USED.) THE EARLIEST KNOWN MUSIC FOR THE FOUR-COURSE "CHITARRA" WAS WRITTEN IN 16TH CENTURY SPAIN. THE FIVE-COURSE GUITARRA BATTENTE (LEFT) FIRST APPEARED IN ITALY AT AROUND THE SAME TIME, AND GRADUALLY REPLACED THE FOUR-COURSE INSTRUMENT. THE STANDARD TUNING HAD ALREADY SETTLED AT A, D, G, B, E, LIKE THE TOP FIVE STRINGS OF THE MODERN GUITAR.
IN COMMON WITH LUTES, EARLY GUITARS SELDOM HAD NECKS WITH MORE THAN 8 FRETS FREE OF THE BODY, BUT AS THE GUITAR EVOLVED, THIS INCREASED FIRST TO 10 AND THEN TO 12 FRETS TO THE BODY.
5-COURSE GUITAR BY ANTONIO STRADIVARIUS, 1680
A SIXTH COURSE OF STRINGS WAS ADDED TO THE ITALIAN "GUITARRA BATTENTE" IN THE 17TH CENTURY, AND GUITAR MAKERS ALL OVER EUROPE FOLLOWED THE TREND. THE SIX-COURSE ARRANGEMENT GRADUALLY GAVE WAY TO SIX SINGLE STRINGS, AND AGAIN IT SEEMS THAT THE ITALIANS WERE THE DRIVING FORCE. (THE SIX-STRING GUITAR CAN THUS BE SAID TO BE A DEVELOPMENT OF THE TWELVE-STRING, RATHER THAN VICE VERSA, AS IS USUALLY ASSUMED.)
IN THE TRANSITION FROM FIVE COURSES TO SIX SINGLE STRINGS, IT SEEMS THAT AT LEAST SOME EXISTING FIVE-COURSE INSTRUMENTS WERE MODIFIED TO THE NEW STRINGING PATTERN. THIS WAS A FAIRLY SIMPLE TASK, AS IT ONLY ENTAILED REPLACING (OR RE-WORKING) THE NUT AND BRIDGE, AND PLUGGING FOUR OF THE TUNING PEG HOLES. AN INCREDIBLY ORNATE GUITAR BY THE GERMAN MASTER FROM HAMBURG, JOAKIM THIELKE (1641 - 1719), WAS ALTERED IN THIS WAY. (NOTE THAT THIS INSTRUMENT HAS ONLY 8 FRETS FREE OF THE BODY.)
AT THE BEGINNING OF THE 19TH CENTURY ONE CAN SEE THE MODERN GUITAR BEGINNING TO TAKE SHAPE. BODIES WERE STILL FAIRLY SMALL AND NARROW-WAISTED.
6-STRING GUITAR BY GEORGE LOUIS PANORMO, 1832
THE MODERN "CLASSICAL" GUITAR TOOK ITS PRESENT FORM WHEN THE SPANISH MAKER ANTONIO TORRES INCREASED THE SIZE OF THE BODY, ALTERED ITS PROPORTIONS, AND INTRODUCED THE REVOLUTIONARY "FAN" TOP BRACING PATTERN, IN AROUND 1850. HIS DESIGN RADICALLY IMPROVED THE VOLUME, TONE AND PROJECTION OF THE INSTRUMENT, AND VERY SOON BECAME THE ACCEPTED CONSTRUCTION STANDARD. IT HAS REMAINED ESSENTIALLY UNCHANGED, AND UNCHALLENGED, TO THIS DAY.
GUITAR BY ANTONIO TORRES JURADO, 1859
STEEL-STRING AND ELECTRIC GUITARS
AT AROUND THE SAME TIME THAT TORRES STARTED MAKING HIS BREAKTHROUGH FAN-BRACED GUITARS IN SPAIN, GERMAN IMMIGRANTS TO THE USA - AMONG THEM CHRISTIAN FREDRICH MARTIN - HAD BEGUN MAKING GUITARS WITH X-BRACED TOPS. STEEL STRINGS FIRST BECAME WIDELY AVAILABLE IN AROUND 1900. STEEL STRINGS OFFERED THE PROMISE OF MUCH LOUDER GUITARS, BUT THE INCREASED TENSION WAS TOO MUCH FOR THE TORRES-STYLE FAN-BRACED TOP. A BEEFED-UP X-BRACE PROVED EQUAL TO THE JOB, AND QUICKLY BECAME THE INDUSTRY STANDARD FOR THE FLAT-TOP STEEL STRING GUITAR.
AT THE END OF THE 19TH CENTURY ORVILLE GIBSON WAS BUILDING ARCHTOP GUITARS WITH OVAL SOUND HOLES. HE MARRIED THE STEEL-STRING GUITAR WITH A BODY CONSTRUCTED MORE LIKE A CELLO, WHERE THE BRIDGE EXERTS NO TORQUE ON THE TOP, ONLY PRESSURE STRAIGHT DOWN. THIS ALLOWS THE TOP TO VIBRATE MORE FREELY, AND THUS PRODUCE MORE VOLUME. IN THE EARLY 1920'S DESIGNER LLOYD LOAR JOINED GIBSON, AND REFINED THE ARCHTOP "JAZZ" GUITAR INTO ITS NOW FAMILIAR FORM WITH F-HOLES, FLOATING BRIDGE AND CELLO-TYPE TAILPIECE.
THE ELECTRIC GUITAR WAS BORN WHEN PICKUPS WERE ADDED TO HAWAIIAN AND "JAZZ" GUITARS IN THE LATE 1920'S, BUT MET WITH LITTLE SUCCESS BEFORE 1936, WHEN GIBSON INTRODUCED THE ES150 MODEL, WHICH CHARLIE CHRISTIAN MADE FAMOUS.
WITH THE ADVENT OF AMPLIFICATION IT BECAME POSSIBLE TO DO AWAY WITH THE SOUNDBOX ALTOGETHER. IN THE LATE 1930'S AND EARLY 1940'S SEVERAL ACTORS WERE EXPERIMENTING ALONG THESE LINES, AND CONTROVERSY STILL EXISTS AS TO WHETHER LES PAUL, LEO FENDER, PAUL BIGSBY OR O.W. APPLETON CONSTRUCTED THE VERY FIRST SOLID-BODY GUITAR. BE THAT AS IT MAY, THE SOLID-BODY ELECTRIC GUITAR WAS HERE TO STAY.
TYPES of guitar
Acoustic Guitar
There are two main types of acoustic guitar - namely steel-string acoustic guitars and classical guitars. Steel-string acoustic guitars produce a metallic sound that is a distinctive component of a wide range of popular genres. Steel-string acoustic guitars are sometimes referred to as flat tops. The word top refers to the face or front of the guitar which is called the table. Classical guitars have a wide neck and use nylon strings. They are primarily associated with the playing of the solo classical guitar repertoire. Classical guitars are sometimes referred to as Spanish guitars in recognition of their country of origin.
The acoustic guitar lends itself to a variety of tasks and roles. Its portability and ease of use make it the ideal songwriter's tool. Its gentle harp-like arpeggios and rhythmic chordal strumming has always found favor in an ensemble. The acoustic guitar has a personal and intimate quality that is suited to small halls, churches and private spaces. For larger venues some form of amplification is required. An acoustic guitar can be amplified by placing a microphone in front of the sound hole or by installing a pickup. There are many entry-level acoustic guitar models that are manufactured to a high standard and these are entirely suitable as a first guitar for beginners!
Electric Lead Guitar
Electric guitars are solid-bodied guitars that are designed to be plugged into an amplifier. The electric guitar when amplified produces a sound that is metallic with a lengthy decay. The shape of the electric guitar is not determined by the need for a deep resonating body and this had led to the development of contoured and thin bodied electric guitars. The two most popular designs are the Fender Stratocaster and the Gibson Les Paul.
Electric guitar strings are thinner than acoustic guitar strings and closer to the neck and therefore less force is needed to press them down. The ease with which you can bend strings, clear access to the twelfth position, the use of a whammy bar and the manipulation of pots and switches whilst playing has led to the development of a lead guitar style that is unique to the instrument. Fret-tapping is a guitar technique for creating chords and melody lines that are not possible using the standard technique of left-hand fretting and right-hand strumming. The sustain, sensitive pick-ups, low action and thin strings of the electric guitar make it an ideal instrument for fret-tapping.
Electro-acoustic Guitar
Electro-acoustic more commanly known as semi-acoutic guitar. Electro-acoustic guitars have pickups that are specifically designed to reproduce the subtle nuances of the acoustic guitar timbre. Electro-acoustic pickups are designed to sound neutral with little alteration to the acoustic tone. The Ovation range of electro-acoustic guitars have under-the-saddle piezo pickups and a synthetic bowl-back design. The synthetic bowl-back ensures a tough construction that stands up to the rigours of the road while offering less feedback at high volumes. Ovation were the first company to provide on-board equalization and this is now a standard feature. The Taylor electro-acoustic range uses the traditional all-wood construction and the necks of these guitars have a reputation for superb action and playability. Yamaha, Maton and many other companies manufacture electro-acoustic guitars and the buyer is advised to test as many models and makes as they can while taking note of the unplugged and amplified sound.
Twelve-string Guitar
The twelve-string guitar is a simple variation of the normal six string design. Twelve-string guitars have six regular strings and a second set of thinner strings. Each string of the second set corresponds to the note of its regular string counterpart. The strings form pairs and therefore you play a twelve-string guitar in the same manner as you would a standard six-string.
Twelve-string guitars produce a brighter and more jangly tone than six-string guitars. They are used by guitarists for chord progressions that require thickening. The twelve-string is mainly used as a rhythm instrument due to the extra effort involved in playing lead guitar using paired strings. Twelve-string guitars have twelve tuning pegs and double truss rods and are slightly more expensive then their corresponding six-string version.
Archtop Guitar
The archtop is a semi-hollow steel-string acoustic or electric guitar. The arched table combined with violin-style f-holes and internal sound-block creates a timbre that is acoustic and mellow. These two factors have made archtops a firm favourite with jazz guitarists.
Acoustic and electric archtops are identical in design with the only difference being the addition of electro-magnetic pickups and pots. Archtops can either be full-bodied or thinline. The full-bodied archtop retains good volume and acoustic resonance when played unplugged though feedback may be an issue when amplified. The thinline body minimizes feedback by sacrificing acoustic volume and resonance.
The archtop is one of the most aesthetically pleasing guitar designs and makers usually adhere to very high standards of construction and playability. These factors ensure its continuing popularity with guitarists.
Steel Guitar
The steel guitar is unusual in that it is played horizontally across the player's lap. The steel guitar originates from Hawaii where local musicians, newly introduced to the European guitar, developed a style of playing involving alternative tunings and the use of a slide. The Hawaiian guitarists found that by laying the guitar flat across the lap they could better control the slide. In response to this new playing style some Hawaiian steel guitars were constructed with a small rectangular body which made them more suitable for laying across the lap.
There are two types of steel guitar played with a steel, the solid metal bar from which the guitar takes its name, namely the lap steel guitar and the pedal steel guitar with its extra necks. The pedal steel guitar comes on its own stand with a mechanical approach similar to the harp. Pedals and knee-levers are used to alter the pitch of the strings whilst playing thereby extending the fluency of the glissandi technique.
Resonator guitars
Resonator guitars are distinctive for not having a regular sound hole instead they have a large circular perforated cover plate which conceals a resonator cone. The cone is made from spun aluminum and resembles a loudspeaker. The bridge is connected to either the center or edge of the cone by an aluminum spring called the spider. The vibrations from the spider are projected by the cone through the perforated cover plate. The most common resonator guitars have a single cone although the original model patented in April 1927 by John Dopyera had three and was called a tricone resophonic guitar. Resonator guitars are loud and bright. They are popular with blues and country guitarists and can be played conventionally or with a slide.
Some resonator guitars possess metal bodies and these are called steel guitars. This can lead to some confusion with the Hawaiian guitar of the same name. They are two distinct instruments. The Hawaiian steel guitar takes its name from the steel bar used to create the glissandi and the Resonator steel guitar refers to the material used for the construction of the body.
Bass guitars
The bass guitar has a long neck (scale-length) and thick strings. The open strings of the bass guitar corresponds to the four lowest strings of the guitar and are pitched an octave lower. The standard bass has four strings though five and six string basses are available which extends the range of the instrument. Though the bass guitar is the bass instrument of the guitar family and the double-bass is the bass instrument of the orchestral string family their similar roles have drawn bass players to both instruments.
REDneck guitars
The REDneck guitar is designed so that two guitar necks can share one body. This design allows the guitarist to switch between either neck with ease. The double-neck guitar will normally have a standard six-string neck and a twelve-string neck though other combinations, such as a six-string neck and bass neck and a six-string neck and fretless neck, are available. The double-neck guitar may be used in live situations when a guitarist needs a twelve-string guitar for the rhythm part and a six-string guitar for the solo break.
There are two main types of acoustic guitar - namely steel-string acoustic guitars and classical guitars. Steel-string acoustic guitars produce a metallic sound that is a distinctive component of a wide range of popular genres. Steel-string acoustic guitars are sometimes referred to as flat tops. The word top refers to the face or front of the guitar which is called the table. Classical guitars have a wide neck and use nylon strings. They are primarily associated with the playing of the solo classical guitar repertoire. Classical guitars are sometimes referred to as Spanish guitars in recognition of their country of origin.
The acoustic guitar lends itself to a variety of tasks and roles. Its portability and ease of use make it the ideal songwriter's tool. Its gentle harp-like arpeggios and rhythmic chordal strumming has always found favor in an ensemble. The acoustic guitar has a personal and intimate quality that is suited to small halls, churches and private spaces. For larger venues some form of amplification is required. An acoustic guitar can be amplified by placing a microphone in front of the sound hole or by installing a pickup. There are many entry-level acoustic guitar models that are manufactured to a high standard and these are entirely suitable as a first guitar for beginners!
Electric Lead Guitar
Electric guitars are solid-bodied guitars that are designed to be plugged into an amplifier. The electric guitar when amplified produces a sound that is metallic with a lengthy decay. The shape of the electric guitar is not determined by the need for a deep resonating body and this had led to the development of contoured and thin bodied electric guitars. The two most popular designs are the Fender Stratocaster and the Gibson Les Paul.
Electric guitar strings are thinner than acoustic guitar strings and closer to the neck and therefore less force is needed to press them down. The ease with which you can bend strings, clear access to the twelfth position, the use of a whammy bar and the manipulation of pots and switches whilst playing has led to the development of a lead guitar style that is unique to the instrument. Fret-tapping is a guitar technique for creating chords and melody lines that are not possible using the standard technique of left-hand fretting and right-hand strumming. The sustain, sensitive pick-ups, low action and thin strings of the electric guitar make it an ideal instrument for fret-tapping.
Electro-acoustic Guitar
Electro-acoustic more commanly known as semi-acoutic guitar. Electro-acoustic guitars have pickups that are specifically designed to reproduce the subtle nuances of the acoustic guitar timbre. Electro-acoustic pickups are designed to sound neutral with little alteration to the acoustic tone. The Ovation range of electro-acoustic guitars have under-the-saddle piezo pickups and a synthetic bowl-back design. The synthetic bowl-back ensures a tough construction that stands up to the rigours of the road while offering less feedback at high volumes. Ovation were the first company to provide on-board equalization and this is now a standard feature. The Taylor electro-acoustic range uses the traditional all-wood construction and the necks of these guitars have a reputation for superb action and playability. Yamaha, Maton and many other companies manufacture electro-acoustic guitars and the buyer is advised to test as many models and makes as they can while taking note of the unplugged and amplified sound.
Twelve-string Guitar
The twelve-string guitar is a simple variation of the normal six string design. Twelve-string guitars have six regular strings and a second set of thinner strings. Each string of the second set corresponds to the note of its regular string counterpart. The strings form pairs and therefore you play a twelve-string guitar in the same manner as you would a standard six-string.
Twelve-string guitars produce a brighter and more jangly tone than six-string guitars. They are used by guitarists for chord progressions that require thickening. The twelve-string is mainly used as a rhythm instrument due to the extra effort involved in playing lead guitar using paired strings. Twelve-string guitars have twelve tuning pegs and double truss rods and are slightly more expensive then their corresponding six-string version.
Archtop Guitar
The archtop is a semi-hollow steel-string acoustic or electric guitar. The arched table combined with violin-style f-holes and internal sound-block creates a timbre that is acoustic and mellow. These two factors have made archtops a firm favourite with jazz guitarists.
Acoustic and electric archtops are identical in design with the only difference being the addition of electro-magnetic pickups and pots. Archtops can either be full-bodied or thinline. The full-bodied archtop retains good volume and acoustic resonance when played unplugged though feedback may be an issue when amplified. The thinline body minimizes feedback by sacrificing acoustic volume and resonance.
The archtop is one of the most aesthetically pleasing guitar designs and makers usually adhere to very high standards of construction and playability. These factors ensure its continuing popularity with guitarists.
Steel Guitar
The steel guitar is unusual in that it is played horizontally across the player's lap. The steel guitar originates from Hawaii where local musicians, newly introduced to the European guitar, developed a style of playing involving alternative tunings and the use of a slide. The Hawaiian guitarists found that by laying the guitar flat across the lap they could better control the slide. In response to this new playing style some Hawaiian steel guitars were constructed with a small rectangular body which made them more suitable for laying across the lap.
There are two types of steel guitar played with a steel, the solid metal bar from which the guitar takes its name, namely the lap steel guitar and the pedal steel guitar with its extra necks. The pedal steel guitar comes on its own stand with a mechanical approach similar to the harp. Pedals and knee-levers are used to alter the pitch of the strings whilst playing thereby extending the fluency of the glissandi technique.
Resonator guitars
Resonator guitars are distinctive for not having a regular sound hole instead they have a large circular perforated cover plate which conceals a resonator cone. The cone is made from spun aluminum and resembles a loudspeaker. The bridge is connected to either the center or edge of the cone by an aluminum spring called the spider. The vibrations from the spider are projected by the cone through the perforated cover plate. The most common resonator guitars have a single cone although the original model patented in April 1927 by John Dopyera had three and was called a tricone resophonic guitar. Resonator guitars are loud and bright. They are popular with blues and country guitarists and can be played conventionally or with a slide.
Some resonator guitars possess metal bodies and these are called steel guitars. This can lead to some confusion with the Hawaiian guitar of the same name. They are two distinct instruments. The Hawaiian steel guitar takes its name from the steel bar used to create the glissandi and the Resonator steel guitar refers to the material used for the construction of the body.
Bass guitars
The bass guitar has a long neck (scale-length) and thick strings. The open strings of the bass guitar corresponds to the four lowest strings of the guitar and are pitched an octave lower. The standard bass has four strings though five and six string basses are available which extends the range of the instrument. Though the bass guitar is the bass instrument of the guitar family and the double-bass is the bass instrument of the orchestral string family their similar roles have drawn bass players to both instruments.
REDneck guitars
The REDneck guitar is designed so that two guitar necks can share one body. This design allows the guitarist to switch between either neck with ease. The double-neck guitar will normally have a standard six-string neck and a twelve-string neck though other combinations, such as a six-string neck and bass neck and a six-string neck and fretless neck, are available. The double-neck guitar may be used in live situations when a guitarist needs a twelve-string guitar for the rhythm part and a six-string guitar for the solo break.
famous Brands of guitar
Top Guitar Brands
The best guitar brands stay on top for good reason so if you’re looking for a new acoustic or electric guitar it’s smart to start with the big names. These companies have built up their reputations over the years by producing high-quality instruments used by some of the best guitar players in the world.
Some of these guitar manufacturers have even been around over a hundred years! You’ve probably heard of most of them, but there are also some less-famous names out there making amazing instruments.
If you’re new to guitar, or if you’re just now taking an interest in the different instrument makers for the first time, this guide is intended to help you sort out what makes each manufacturer unique and decide whether or not their products are a good match for your needs.
There’s a lot of information presented here, but there are a lot of guitars out there in the world!
You may find it easiest to scroll around the article to the different brand names you are interested in, or you may prefer to read this whole article from start to finish. It’s probably best to bookmark this page and come back to it later, instead of trying to digest the whole article in one shot.
Guitar Brands for Beginners
Are you here because you're looking for advice on choosing the right guitar for a beginning guitarist? You may want to check out my articles on recommended beginner's guitars before reading this one:
Electric Guitars for Beginners
Acoustic Guitars for Beginners
Otherwise, on to the top guitar brands!
B.C. Rich
B.C. Rich specializes in guitars for the heavy metal and hard rock crowd. They’ve produced some of the most legendary designs in the history of metal, including the Warlock, Bich, Virgin, and Mockingbird. Their instruments helped to mold the hard rock and thrash revolution of the 1980s and B.C. Rich is still a great choice for any guitarist looking for an instrument that looks and sounds as edgy as possible.
Along with their classic designs, in recent years B.C. Rich introduced their Villain line of electric guitars. These guitars look incredible. With basswood or mahogany bodies and options like Floyd Rose tremolos and Seymour Duncan Blackout humbuckers, they sound great too. Available in a 6, 7 or 8-string models, there’s one to meet the needs of metal players of any generation.
Carvin / Kiesel
Carvin is a guitar company with a different business model than the rest. You won’t find them at your local music store because Carvin only makes custom guitars. Their instruments are based around a handful of templates and each feature components that are individually chosen by the buyer. For this reason, it’s very rare to find two Carvins that are completely identical.
There’s a Carvin model for just about every musical style, from metal to jazz to country to plain old rock and roll. These are high-quality, American-made instruments, and pretty good deals too. If you’re a guitar player looking to stand out from all the rest, Carvin is a great option.
Last year we saw a change to the Carvin company, as their guitars and basses took on the Kiesel brand name. So, Carvin is Kiesel now. But they are still Carvin. So what gives?
Here's the nutshell: Lowell Kiesel is the name of the guy who founded Carvin. He originally sold guitars under his own name, but later changed the company name to Carvin, a melding of the first names of his two sons. So, when Carvin changed the name on their guitars to Kiesel, they were actually reverting back to their roots. Kiesel is Carvin, and Carvin has always been Kiesel. Got it? Check out my personal experience with Carvin guitars here: Carvin guitars review.
Charvel
A few decades ago, during the Golden Age of Shred, Charvel guitars were front and center as one of the best guitar brands for hard rock, metal, and brain-melting soloing. Then came the 1990s and the grunge revolution, and for a time anyway all things shred were out, in favor of droning guitars and melancholy lyrics.
But the universe could only take so much of that, so it was only a matter of time before brands like Charvel came back to power. That time is now.
Charvel’s So Cal and San Dimas models are just as hot as their Superstats of the ‘80s, and their Desolation series offers something for metalheads old and new.
Hear the Charvel Pro-Mod So-Cal Style 1
Daisy Rock
Daisy Rock? Sounds like guitars for girls or something. It is! Daisy Rock is a company dedicated to empowering girls and young women and giving them the resources they need to learn to play the guitar. They have starter, short-scale acoustic guitars for little girls, and some really cool electric guitars in the shapes of hearts, butterflies, and flowers.
But don’t think they’re all about foofy shapes and pastel colors. Daisy Rock also produces some really high-grade stuff: guitars with professional-style appointments like the Stardust and Rock Candy models. This is company that really has a great mission statement. We need more girl guitar heroes!
Dean
If you are into metal, Dean is a guitar company you’ll want to check out. Their classic ML design has become an icon in the extreme rock genre, thanks to the late Darrell Abbott of Pantera and Damageplan. In the 1990s Dime brought the old ML back to life, and Dean expanded the concept with some sharper, more modern designs.
These days there are several versions of the ML to choose from. Plus, Dave Mustaine of Megadeth endorses Dean with his signature V, and the Dean Vendetta Series is worth a look for any level of guitar player.
Dean also makes some great guitars for rock, blues, country, and even some quality acoustics.
Epiphone
They are now owned by Gibson, but at one time Epiphone was one of Gibson’s biggest competitors. Nowadays they are considered Gibson’s budget-minded little brother.
Even so, Epiphone is one of the best electric guitar brands, known for producing quality instruments in the Gibson mold. You might think choosing an Epiphone Les Paul means you are compromising tone and quality, but it may surprise you to know that many veteran guitar players hold their Epis right up their with their Gibsons.
Epiphone Les Paul CUSTOM PRO Electric Guitar with Coil Tapping, Ebony
Epiphone Les Paul CUSTOM PRO Electric Guitar with Coil Tapping, Ebony
Epi makes both electric and acoustic guitars and many of their models are based around Gibson designs. In fact, they are the only guitar company allowed to use Gibson specs to make Les Pauls, Explorers, SGs, Flying Vs, and other Gibson classics.
Some of Epiphone's entry-level guitars like the Les Paul Special II and the Les Paul 100 place them among the best guitar brands for beginners. This is good news for young players and anyone looking to get a great guitar that looks like a Gibson, sounds a lot like a Gibson, but doesn’t cost nearly as much as a Gibson.
For serious beginners and intermediate players, the Epiphone Les Paul Standard is a quality instrument that will get you through practice sessions and gigs alike. From there, take things up a notch with the Les Paul PlusTop PRO and the gorgeous but very affordable Les Paul Custom PRO.
It is no wonder Epiphone is considered one of the best electric guitar brands for beginners and intermediate players in the world today!
More on the Epiphone Les Paul Custom PRO
ESP and ESP LTD
During the ‘80s and early ‘90s, ESP was a guitar company known for creating incredible custom-shop instruments and high-quality original designs.
They still do that, and ESP guitars are used by some of the best professional musicians on the planet, especially in the hard rock and metal genres. But when they branched out to their ESP-LTD designs, ESP brought their legendary guitars to the masses.
ESP LTD guitars feature ESP designs like the Eclipse in a more budget-friendly package, such as the EC1000. The ESP-LTD EC-1000 is an amazing rock guitar with quality appointments. It is quickly becoming a classic. If you are looking for a great Les Paul alternative, the EC-1000 might be the right choice for you.
You’ll also find some original and innovative designs in the ESP LTD lineup. These are great guitars for the money and feature many top-shelf components.
Check Out the ESP-LTD Elite Eclipse I
Fender
Along with Gibson, Fender is probably among the most recognized guitar names out there. Models like the Stratocaster and Telecaster are etched into history as some of the greatest guitars ever made. Their USA-made instruments have shaped just about every genre of music for over 60 years.
Fender is one of the best guitar brands in the world and the these are iconic guitarc. For players on a budget, Fender brings us the affordable Standard or "Made in Mexico" series. These are excellent instruments for intermediate players and even working pros. They come in at around half the price of their American-made brothers.
Fender Standard Stratocaster, Rosewood Fretboard - Brown Sunburst
Fender Standard Stratocaster, Rosewood Fretboard - Brown Sunburst
And, like USA Fenders, you can choose between maple or rosewood fingerboards, HSS or SSS pickup configuration, and from an array of colors. There are also models available with a Floyd Rose tremolo and with pretty "plus" tops.
But for many players nothing but an American Fender will do. For 2016 builds on their lineup of American-made classics with the American Elite Series. These are pro guitars with premium components, and built for high-level performance.
At Fender, it seems the more things change the more they stay the same. If it ain't broke don't fix it, it seems. Fender is one of those brands that somehow manage to be both classic and cutting-edge at the same time.
Learn More About Fender Guitars
Fender Mexican Strat vs American Stratocaster
Compare the Fender Mexican (MIM) and American (MIA) Stratocasters and decide which guitar is better for you and your budget.
Fender American Special Stratocaster and Telecaster
Here’s a look at the Fender American Special Stratocaster and Telecaster, affordable American-made instruments with classic vibes.
Fender Standard Telecaster Review
Check out the Fender Standard (MIM) Telecaster. This guitar might be made in Mexico, but the MIM Tele is a real Fender through and through.
The 2016 Fender Standard (MIM) Stratocaster
The 2016 Fender Standard (MIM) Stratocaster
Gibson
The most famous Gibson guitar is the Les Paul, which has been a mainstay in the music world for decades. The Gibson Les Paul is a high-end, made-in-the USA instrument, and it comes in a few different variations. Like Fender, Gibson has remained fairly consistent with their styles and designs. In addition to the Les Paul, other famous Gibson electric guitars include the SG, Flying V, Explorer, ES-335, and Firebird. Their classic acoustics include the Hummingbird.
As mentioned above, many of these models are available as Epiphone copies, but that doesn’t detract from the mystique of Gibson. Gibsons are legendary for their tone and craftsmanship, and for many players nothing else will do except a real Gibson guitar.
Gibson has made some interesting changes in their lineup for 2016, including the return of the classic Les Paul Studio design in the form of the Studio T, and the super-affordable Les Paul Studio Faded.
Check Out the 2016 Gibson Les Paul Studio Faded
G&L
G&L is a guitar company founded by Leo Fender. Yup, that Leo Fender. Many of the design are reminiscent of Fender classic instruments, with some improvements to form and design. Because of this, some guitar players feel G&L is a solid alternative to, and even an improvement to Fender guitars.
No doubt you’ll see Leo Fender’s mind at work when looking at guitars like the ASAT and Legacy. But look a little deeper and you’ll find some innovative hardware and electronics designs, plus a few models that separate G&L from any of the other guitar brands out there.
Gretsch
Gretsch is a guitar company that makes some truly beautiful instruments, especially if you are into hollow and semi-hollow body guitars. The Gretsch White Falcon is a legendary instrument with a price tag to match its reputation, but there are other models in the Gretsch lineup and something right for any level of player.
From the signature Chet Atkins and Brian Setzer models, to the Jet and Duo Jet, Gretsch is to rockabilly and jazz what Jackson is to metal. The Electromatic Series offers some very affordable options for intermediate players and working pros.
Guild
Guild is an American guitar company that makes some amazing semi-hollow electric guitars such as the Starfire and the Aristocrat. These are guitars that nail the retro-rock sound and have the looks to match. Many classic Guild models have been revived through the Newark Street collection. While these guitars are cool beyond words, where Guild really shines is in the acoustic arena.
Guild acoustic guitars are played by some of the best professional musicians in the business. From this standpoint, Guild is on par with Martin and Taylor, and completes the triumvirate of American acoustic guitar titans. As you’d expect, the prices follow suit. However, the GAD series offers a way for intermediate players to get a Guild acoustic for a reasonable price.
The Guild D-150CE
Ibanez
Ibanez started out as a Japanese company specializing in quality copies of famous American guitars.
Today it is known to many as a great guitar company in its own right, mainly for metal and hard rock players. In truth they make guitars for just about every style and genre, but heavy music is definitely where they shine, and the metal crowd has flocked to Ibanez for decades.
The RG is probably their most iconic instrument, but the S series is also beloved by shredders. Of course they've also been innovators in the field of 7-string guitars, starting back in 1990 with the Universe, the first 7-string guitar on the market.
The Ibanez RG and S Series
Ibanez RG vs S Series: What's the Difference and Which is Better?
Learn the difference between the Ibanez RG and S Series and decide which guitar is better for you and your music.
Jackson
Another brand that is well-known among metal players is Jackson. Back in the 1980s, it seemed like Jackson guitars were in the hands of just about every metal and hard rock player on the planet. That tradition continues today, and models like the King V, Kelly, Rhoads, Soloist, and Dinky are still coveted for their great sound and performance.
Jackson models are available in very expensive custom-shop and made-in-the-USA versions, as well as less expensive guitars with downgraded appointments aimed more at beginning and intermediate players. This means metal guitarists of any level and budget are able to own a Jackson and get started the right way.
Guitar World Reviews Amazing Jackson Guitars
Kramer
Back in the ‘80s Kramer was one of the premier names in metal and hard rock. In fact, Eddie Van Halen even played a Kramer for a short period of time.
In the ‘90s things took a weird turn, and Kramer was eventually bought up by Gibson. Anyone who remembers Kramer during this period probably also remembers a website called MusicYo, where Kramer guitars could be purchased direct and at bargain-basement prices.
These days, Kramer has seen something of a resurgence. Many players remember those glory days of the 1980s and models like the Beretta, with its single-pickup design and double-locking tremolo. If that’s your bag, give Kramer guitars a serious look.
Martin
Martin is an American guitar company specializing in acoustic guitars. Most of their instruments are still built at their facility in Nazareth, Pennsylvania, and their legacy dates back all the way to 1833. Martin, in many ways, has helped to shape the look and sound of the American acoustic guitar. In fact, they invented the now-classic dreadnought shape in an effort to help American country musicians who wanted more projection out of their guitars onstage.
Martin makes some incredibly beautiful (and expensive) instruments like the D-28 and D-45, along with more affordable guitars that will fit into the budgets of up-and-coming players. It’s also worth noting that Martin is playing a big role in spearheading the effort to protect endangered forests by seeking out alternate tonewoods where possible.
Different Types of Martin Guitars
Ovation
Ovation acoustic-electric guitars are unique, innovative and, for some players, almost addictive! Once you’ve played an Ovation, no other guitar may do. They have a different look and feel than most other acoustic guitars due to their design, which incorporates a wood top with a rounded, synthetic bowl shape instead of the traditional back and sides.
The result is a light, comfortable guitar with a distinctive sound. For players who prefer the feel of an electric guitar but need to play an acousitc, an Ovation is often the perfect compromise.
Ovation makes some incredible professional-level instruments, featuring some quality components and electronics. They also have the entry-level Applause series of reasonably priced guitars for beginners or those who are looking to get their feet we with the Ovation design.
PRS
PRS is a guitar company founded by luthier Paul Reed Smith. Today these instruments are recognized as some of the finest guitars in the world, on par and often surpassing high-end Gibsons.
PRS really took off back in the ‘90s when it seemed just about everyone had swapped out their Les Paul for a PRS. Eventually they capitalized on this trend and made the PRS more accessible by introducing the SE line of lower-budget guitars. But these aren’t beginner’s guitars. Even though they cost less than a standard PRS, they’re still high-quality instruments.
PRS guitars are used by players of every genre. They’re a classy, if somewhat expensive, alternative to some of the more traditional brand names in the guitar industry.
Hear the PRS S2 Custom 22
Rickenbacker
Rickenbacker may be a name more closely associated with bass guitar, but it is a brand that makes some of the best acoustic and electric guitars as well. Like their four-stringed brothers, Rickenbacker guitars feature some space-aged designs that have now become classic.
This is a guitar company that has been around since the 1930s, and they played a key part in the early days of rock and roll. Bands like the Beatles helped to bring the Rickenbacker name to the forefront.
These days, Rickenbacker guitars are a unique choice for guitarists looking for something with a vintage style that’s a bit off the beaten path.
Schecter
Schecter Guitar Research is a company that has really established themselves as one of the best guitar brands out there in recent years. Many of their guitars are focused on the heavy metal market, but players of any genre can find a Schecter that meets their needs. With superb craftsmanship and high-end appointments you’d expect to find on much more expensive guitars, they are also among the best values in the guitar world.
Many of their guitars are based around the Schecter “C” body shape model. This is a great design that’s not only aesthetically pleasing, but also easy to play and sonically effective.
While Schecter is one of the best guitar brands for metal out there today, in 2016 we'll see the rise of the Schecter California Vintage Series. This is a lineup of guitars with a classic Strat and Tele-like styles. Like most Schecters, they are affordable instruments that offer tremendous value.
Schecter has always produced a few classic styles, so while this is a bit of a departure it is really no surprise. I'm thinking the California Vintage Sereis will give MIM Fenders and G&L Tribute Series a run for their money!
More on Schecter Guitars
Schecter Guitars Review: Hellraiser C-1, Extreme and Solo 6
Check out this review of the Schecter Hellraiser C-1, Hellraiser C-1 Extreme, and Hellraiser Solo 6, all great guitars for metal and hard rock.
Chekc Out the New Schecter California Vintage Standard Series
Seagull
Seagull acoustic guitars are among the best values you are going find. They’re made in Canada, and there’s an attention to detail and craftsmanship here you may not expect in guitars at these price points. The Seagull Artist series is the top of the lineup. You’ll find unique tonewoods and high-quality construction techniques at an affordable price.
Further down the Seagull line, looking at models outside of the Artist Series, the components and woods aren’t the same but we still see an impressive attention to detail. The Seagull S6 Original is a bare-bones acoustic, perfect for beginners and intermediate players. This is a guitar worth checking out if you need a solid acoustic and don’t want to break the bank.
More on Seagull Guitars
Seagull Guitars Review: Artist Mosaic, S6 Original, ...
Learn about the Seagull Artist Mosaic, S6 Original, and Maritime SWS acoustic guitars in this review. Specs, sounds, and other important information included.
Squier
Squier is the baby brother of Fender and makes inexpensive guitars players based on classic Fender models. Along with Epiphone, they’re one of the best guitar brands for beginners or newbies looking for their first real guitar.
The quality varies, but some of these are very good instruments. Squier also make starter packs that come with a guitar, amp, and all the accessories you’ll need to get started playing.
A few Squiers that stand out above the rest are the Classic Vibe and the Vintage Modified Series. These Stratocasters and Telecasters feature better components than typical Squier instruments, and some are even on par with lower-priced Fenders.
Squier Affinity Strat Pack with Fender Frontman 10G - BlackSquier Affinity Strat Pack with Fender Frontman 10G - Black
If you are thinking of starting out in guitar, it is a smart idea to choose a starter pack from a respected brand like Squier by Fender. These kits have everything you need to start playing today, including the guitar, amp, cable, strap, picks, and even some materials to help you learn to play!
How Does Squier Compare to Fender?
Squier vs Fender Stratocaster Guitar Review
Knowing the difference between the Squier and Fender Stratocaster will help you decide which guitar is right for you and your budget.
Taylor
Taylor guitars are among the best in the world. This American guitar company makes some incredible acoustic guitar designs and a few cool electrics too. Taylor guitars don’t come cheap, but like Martin, they are worth every penny.
Taylor and Martin are really the upper esheclon when it comes to American-made acoustic guitars. Like Martin, Taylor makes many acoustic and acoustic-electric instruments that find their way into the hands of professional musicians onstage. But they make a few that are more suited for working players as well.
Their 200-series is reasonably priced, and a great value for a Taylor guitar. They also make the Baby and Big Baby, and the GS Mini—smaller-bodied guitars perfect for intermediate players and beginners with a few extra bucks in their pockets.These are awesome acoustic guitars with a big sound. They might be small, but veteran guitar players love them for the tone and portability.
Check out the Taylor GS Mini!
Washburn
In the 1980s it seemed like Washburn guitars were everywhere, and they were leaders in the hard rock and metal guitar genre. Even though they aren’t quite as prominent as they once were, they still feature some nice guitars in their lineup. From metal to jazz and anywhere in between, Washburn has you covered. With signature models for Paul Stanley and Nuno Bettencourt, they still have strong name recognition in the rock world.
It’s not likely Washburn is going anywhere anytime soon. They’re one of the oldest American guitar makers in the business, with roots going all the way back to 1883!
Yamaha
Yamaha makes a little bit of everything, from organs and bass guitars to electric guitars and band instruments. Their acoustic guitars are always excellent, and there are options for all levels of guitar experience.
Beginning and intermediate players especially can find some outstanding instruments in the Yamaha lineup. This is a Japanese company that has stood the test of time over the years.
The Yamaha FG700 is widely considered one of the best acoustic guitars for beginners, not only because of its surprising sound qualities but also for its ease of play. Moving up the line, the L Series offers high-level craftsmanship and solid-wood designs.
There is a reason Yamaha has been around for so long, and is so revered in the music world.
Squier Electric Guitar Starter Pack
Squier Electric Guitar Starter Pack
Other Guitar Makers
Though the brands listed above are the best-known guitar companies out there, there are many others. If you come across a guitar manufacturer you have never heard of, it always pays to check it out. You never know what kind of hidden gem you may uncover, and you might find yourself on the leading edge of a new guitar revolution!
Finding the right guitar is a process, and it pays to take your time, consider your needs, and learn as much as you can about the different options. It’s always smart to start with the big names. Remember, there’s a good reason they’re the best guitar brands in the world!
More Guitar Brands
Still stumped when it comes to figuring out which guitar brands make the instruments you need to get the sound you want?
The best guitar brands stay on top for good reason so if you’re looking for a new acoustic or electric guitar it’s smart to start with the big names. These companies have built up their reputations over the years by producing high-quality instruments used by some of the best guitar players in the world.
Some of these guitar manufacturers have even been around over a hundred years! You’ve probably heard of most of them, but there are also some less-famous names out there making amazing instruments.
If you’re new to guitar, or if you’re just now taking an interest in the different instrument makers for the first time, this guide is intended to help you sort out what makes each manufacturer unique and decide whether or not their products are a good match for your needs.
There’s a lot of information presented here, but there are a lot of guitars out there in the world!
You may find it easiest to scroll around the article to the different brand names you are interested in, or you may prefer to read this whole article from start to finish. It’s probably best to bookmark this page and come back to it later, instead of trying to digest the whole article in one shot.
Guitar Brands for Beginners
Are you here because you're looking for advice on choosing the right guitar for a beginning guitarist? You may want to check out my articles on recommended beginner's guitars before reading this one:
Electric Guitars for Beginners
Acoustic Guitars for Beginners
Otherwise, on to the top guitar brands!
B.C. Rich
B.C. Rich specializes in guitars for the heavy metal and hard rock crowd. They’ve produced some of the most legendary designs in the history of metal, including the Warlock, Bich, Virgin, and Mockingbird. Their instruments helped to mold the hard rock and thrash revolution of the 1980s and B.C. Rich is still a great choice for any guitarist looking for an instrument that looks and sounds as edgy as possible.
Along with their classic designs, in recent years B.C. Rich introduced their Villain line of electric guitars. These guitars look incredible. With basswood or mahogany bodies and options like Floyd Rose tremolos and Seymour Duncan Blackout humbuckers, they sound great too. Available in a 6, 7 or 8-string models, there’s one to meet the needs of metal players of any generation.
Carvin / Kiesel
Carvin is a guitar company with a different business model than the rest. You won’t find them at your local music store because Carvin only makes custom guitars. Their instruments are based around a handful of templates and each feature components that are individually chosen by the buyer. For this reason, it’s very rare to find two Carvins that are completely identical.
There’s a Carvin model for just about every musical style, from metal to jazz to country to plain old rock and roll. These are high-quality, American-made instruments, and pretty good deals too. If you’re a guitar player looking to stand out from all the rest, Carvin is a great option.
Last year we saw a change to the Carvin company, as their guitars and basses took on the Kiesel brand name. So, Carvin is Kiesel now. But they are still Carvin. So what gives?
Here's the nutshell: Lowell Kiesel is the name of the guy who founded Carvin. He originally sold guitars under his own name, but later changed the company name to Carvin, a melding of the first names of his two sons. So, when Carvin changed the name on their guitars to Kiesel, they were actually reverting back to their roots. Kiesel is Carvin, and Carvin has always been Kiesel. Got it? Check out my personal experience with Carvin guitars here: Carvin guitars review.
Charvel
A few decades ago, during the Golden Age of Shred, Charvel guitars were front and center as one of the best guitar brands for hard rock, metal, and brain-melting soloing. Then came the 1990s and the grunge revolution, and for a time anyway all things shred were out, in favor of droning guitars and melancholy lyrics.
But the universe could only take so much of that, so it was only a matter of time before brands like Charvel came back to power. That time is now.
Charvel’s So Cal and San Dimas models are just as hot as their Superstats of the ‘80s, and their Desolation series offers something for metalheads old and new.
Hear the Charvel Pro-Mod So-Cal Style 1
Daisy Rock
Daisy Rock? Sounds like guitars for girls or something. It is! Daisy Rock is a company dedicated to empowering girls and young women and giving them the resources they need to learn to play the guitar. They have starter, short-scale acoustic guitars for little girls, and some really cool electric guitars in the shapes of hearts, butterflies, and flowers.
But don’t think they’re all about foofy shapes and pastel colors. Daisy Rock also produces some really high-grade stuff: guitars with professional-style appointments like the Stardust and Rock Candy models. This is company that really has a great mission statement. We need more girl guitar heroes!
Dean
If you are into metal, Dean is a guitar company you’ll want to check out. Their classic ML design has become an icon in the extreme rock genre, thanks to the late Darrell Abbott of Pantera and Damageplan. In the 1990s Dime brought the old ML back to life, and Dean expanded the concept with some sharper, more modern designs.
These days there are several versions of the ML to choose from. Plus, Dave Mustaine of Megadeth endorses Dean with his signature V, and the Dean Vendetta Series is worth a look for any level of guitar player.
Dean also makes some great guitars for rock, blues, country, and even some quality acoustics.
Epiphone
They are now owned by Gibson, but at one time Epiphone was one of Gibson’s biggest competitors. Nowadays they are considered Gibson’s budget-minded little brother.
Even so, Epiphone is one of the best electric guitar brands, known for producing quality instruments in the Gibson mold. You might think choosing an Epiphone Les Paul means you are compromising tone and quality, but it may surprise you to know that many veteran guitar players hold their Epis right up their with their Gibsons.
Epiphone Les Paul CUSTOM PRO Electric Guitar with Coil Tapping, Ebony
Epiphone Les Paul CUSTOM PRO Electric Guitar with Coil Tapping, Ebony
Epi makes both electric and acoustic guitars and many of their models are based around Gibson designs. In fact, they are the only guitar company allowed to use Gibson specs to make Les Pauls, Explorers, SGs, Flying Vs, and other Gibson classics.
Some of Epiphone's entry-level guitars like the Les Paul Special II and the Les Paul 100 place them among the best guitar brands for beginners. This is good news for young players and anyone looking to get a great guitar that looks like a Gibson, sounds a lot like a Gibson, but doesn’t cost nearly as much as a Gibson.
For serious beginners and intermediate players, the Epiphone Les Paul Standard is a quality instrument that will get you through practice sessions and gigs alike. From there, take things up a notch with the Les Paul PlusTop PRO and the gorgeous but very affordable Les Paul Custom PRO.
It is no wonder Epiphone is considered one of the best electric guitar brands for beginners and intermediate players in the world today!
More on the Epiphone Les Paul Custom PRO
ESP and ESP LTD
During the ‘80s and early ‘90s, ESP was a guitar company known for creating incredible custom-shop instruments and high-quality original designs.
They still do that, and ESP guitars are used by some of the best professional musicians on the planet, especially in the hard rock and metal genres. But when they branched out to their ESP-LTD designs, ESP brought their legendary guitars to the masses.
ESP LTD guitars feature ESP designs like the Eclipse in a more budget-friendly package, such as the EC1000. The ESP-LTD EC-1000 is an amazing rock guitar with quality appointments. It is quickly becoming a classic. If you are looking for a great Les Paul alternative, the EC-1000 might be the right choice for you.
You’ll also find some original and innovative designs in the ESP LTD lineup. These are great guitars for the money and feature many top-shelf components.
Check Out the ESP-LTD Elite Eclipse I
Fender
Along with Gibson, Fender is probably among the most recognized guitar names out there. Models like the Stratocaster and Telecaster are etched into history as some of the greatest guitars ever made. Their USA-made instruments have shaped just about every genre of music for over 60 years.
Fender is one of the best guitar brands in the world and the these are iconic guitarc. For players on a budget, Fender brings us the affordable Standard or "Made in Mexico" series. These are excellent instruments for intermediate players and even working pros. They come in at around half the price of their American-made brothers.
Fender Standard Stratocaster, Rosewood Fretboard - Brown Sunburst
Fender Standard Stratocaster, Rosewood Fretboard - Brown Sunburst
And, like USA Fenders, you can choose between maple or rosewood fingerboards, HSS or SSS pickup configuration, and from an array of colors. There are also models available with a Floyd Rose tremolo and with pretty "plus" tops.
But for many players nothing but an American Fender will do. For 2016 builds on their lineup of American-made classics with the American Elite Series. These are pro guitars with premium components, and built for high-level performance.
At Fender, it seems the more things change the more they stay the same. If it ain't broke don't fix it, it seems. Fender is one of those brands that somehow manage to be both classic and cutting-edge at the same time.
Learn More About Fender Guitars
Fender Mexican Strat vs American Stratocaster
Compare the Fender Mexican (MIM) and American (MIA) Stratocasters and decide which guitar is better for you and your budget.
Fender American Special Stratocaster and Telecaster
Here’s a look at the Fender American Special Stratocaster and Telecaster, affordable American-made instruments with classic vibes.
Fender Standard Telecaster Review
Check out the Fender Standard (MIM) Telecaster. This guitar might be made in Mexico, but the MIM Tele is a real Fender through and through.
The 2016 Fender Standard (MIM) Stratocaster
The 2016 Fender Standard (MIM) Stratocaster
Gibson
The most famous Gibson guitar is the Les Paul, which has been a mainstay in the music world for decades. The Gibson Les Paul is a high-end, made-in-the USA instrument, and it comes in a few different variations. Like Fender, Gibson has remained fairly consistent with their styles and designs. In addition to the Les Paul, other famous Gibson electric guitars include the SG, Flying V, Explorer, ES-335, and Firebird. Their classic acoustics include the Hummingbird.
As mentioned above, many of these models are available as Epiphone copies, but that doesn’t detract from the mystique of Gibson. Gibsons are legendary for their tone and craftsmanship, and for many players nothing else will do except a real Gibson guitar.
Gibson has made some interesting changes in their lineup for 2016, including the return of the classic Les Paul Studio design in the form of the Studio T, and the super-affordable Les Paul Studio Faded.
Check Out the 2016 Gibson Les Paul Studio Faded
G&L
G&L is a guitar company founded by Leo Fender. Yup, that Leo Fender. Many of the design are reminiscent of Fender classic instruments, with some improvements to form and design. Because of this, some guitar players feel G&L is a solid alternative to, and even an improvement to Fender guitars.
No doubt you’ll see Leo Fender’s mind at work when looking at guitars like the ASAT and Legacy. But look a little deeper and you’ll find some innovative hardware and electronics designs, plus a few models that separate G&L from any of the other guitar brands out there.
Gretsch
Gretsch is a guitar company that makes some truly beautiful instruments, especially if you are into hollow and semi-hollow body guitars. The Gretsch White Falcon is a legendary instrument with a price tag to match its reputation, but there are other models in the Gretsch lineup and something right for any level of player.
From the signature Chet Atkins and Brian Setzer models, to the Jet and Duo Jet, Gretsch is to rockabilly and jazz what Jackson is to metal. The Electromatic Series offers some very affordable options for intermediate players and working pros.
Guild
Guild is an American guitar company that makes some amazing semi-hollow electric guitars such as the Starfire and the Aristocrat. These are guitars that nail the retro-rock sound and have the looks to match. Many classic Guild models have been revived through the Newark Street collection. While these guitars are cool beyond words, where Guild really shines is in the acoustic arena.
Guild acoustic guitars are played by some of the best professional musicians in the business. From this standpoint, Guild is on par with Martin and Taylor, and completes the triumvirate of American acoustic guitar titans. As you’d expect, the prices follow suit. However, the GAD series offers a way for intermediate players to get a Guild acoustic for a reasonable price.
The Guild D-150CE
Ibanez
Ibanez started out as a Japanese company specializing in quality copies of famous American guitars.
Today it is known to many as a great guitar company in its own right, mainly for metal and hard rock players. In truth they make guitars for just about every style and genre, but heavy music is definitely where they shine, and the metal crowd has flocked to Ibanez for decades.
The RG is probably their most iconic instrument, but the S series is also beloved by shredders. Of course they've also been innovators in the field of 7-string guitars, starting back in 1990 with the Universe, the first 7-string guitar on the market.
The Ibanez RG and S Series
Ibanez RG vs S Series: What's the Difference and Which is Better?
Learn the difference between the Ibanez RG and S Series and decide which guitar is better for you and your music.
Jackson
Another brand that is well-known among metal players is Jackson. Back in the 1980s, it seemed like Jackson guitars were in the hands of just about every metal and hard rock player on the planet. That tradition continues today, and models like the King V, Kelly, Rhoads, Soloist, and Dinky are still coveted for their great sound and performance.
Jackson models are available in very expensive custom-shop and made-in-the-USA versions, as well as less expensive guitars with downgraded appointments aimed more at beginning and intermediate players. This means metal guitarists of any level and budget are able to own a Jackson and get started the right way.
Guitar World Reviews Amazing Jackson Guitars
Kramer
Back in the ‘80s Kramer was one of the premier names in metal and hard rock. In fact, Eddie Van Halen even played a Kramer for a short period of time.
In the ‘90s things took a weird turn, and Kramer was eventually bought up by Gibson. Anyone who remembers Kramer during this period probably also remembers a website called MusicYo, where Kramer guitars could be purchased direct and at bargain-basement prices.
These days, Kramer has seen something of a resurgence. Many players remember those glory days of the 1980s and models like the Beretta, with its single-pickup design and double-locking tremolo. If that’s your bag, give Kramer guitars a serious look.
Martin
Martin is an American guitar company specializing in acoustic guitars. Most of their instruments are still built at their facility in Nazareth, Pennsylvania, and their legacy dates back all the way to 1833. Martin, in many ways, has helped to shape the look and sound of the American acoustic guitar. In fact, they invented the now-classic dreadnought shape in an effort to help American country musicians who wanted more projection out of their guitars onstage.
Martin makes some incredibly beautiful (and expensive) instruments like the D-28 and D-45, along with more affordable guitars that will fit into the budgets of up-and-coming players. It’s also worth noting that Martin is playing a big role in spearheading the effort to protect endangered forests by seeking out alternate tonewoods where possible.
Different Types of Martin Guitars
Ovation
Ovation acoustic-electric guitars are unique, innovative and, for some players, almost addictive! Once you’ve played an Ovation, no other guitar may do. They have a different look and feel than most other acoustic guitars due to their design, which incorporates a wood top with a rounded, synthetic bowl shape instead of the traditional back and sides.
The result is a light, comfortable guitar with a distinctive sound. For players who prefer the feel of an electric guitar but need to play an acousitc, an Ovation is often the perfect compromise.
Ovation makes some incredible professional-level instruments, featuring some quality components and electronics. They also have the entry-level Applause series of reasonably priced guitars for beginners or those who are looking to get their feet we with the Ovation design.
PRS
PRS is a guitar company founded by luthier Paul Reed Smith. Today these instruments are recognized as some of the finest guitars in the world, on par and often surpassing high-end Gibsons.
PRS really took off back in the ‘90s when it seemed just about everyone had swapped out their Les Paul for a PRS. Eventually they capitalized on this trend and made the PRS more accessible by introducing the SE line of lower-budget guitars. But these aren’t beginner’s guitars. Even though they cost less than a standard PRS, they’re still high-quality instruments.
PRS guitars are used by players of every genre. They’re a classy, if somewhat expensive, alternative to some of the more traditional brand names in the guitar industry.
Hear the PRS S2 Custom 22
Rickenbacker
Rickenbacker may be a name more closely associated with bass guitar, but it is a brand that makes some of the best acoustic and electric guitars as well. Like their four-stringed brothers, Rickenbacker guitars feature some space-aged designs that have now become classic.
This is a guitar company that has been around since the 1930s, and they played a key part in the early days of rock and roll. Bands like the Beatles helped to bring the Rickenbacker name to the forefront.
These days, Rickenbacker guitars are a unique choice for guitarists looking for something with a vintage style that’s a bit off the beaten path.
Schecter
Schecter Guitar Research is a company that has really established themselves as one of the best guitar brands out there in recent years. Many of their guitars are focused on the heavy metal market, but players of any genre can find a Schecter that meets their needs. With superb craftsmanship and high-end appointments you’d expect to find on much more expensive guitars, they are also among the best values in the guitar world.
Many of their guitars are based around the Schecter “C” body shape model. This is a great design that’s not only aesthetically pleasing, but also easy to play and sonically effective.
While Schecter is one of the best guitar brands for metal out there today, in 2016 we'll see the rise of the Schecter California Vintage Series. This is a lineup of guitars with a classic Strat and Tele-like styles. Like most Schecters, they are affordable instruments that offer tremendous value.
Schecter has always produced a few classic styles, so while this is a bit of a departure it is really no surprise. I'm thinking the California Vintage Sereis will give MIM Fenders and G&L Tribute Series a run for their money!
More on Schecter Guitars
Schecter Guitars Review: Hellraiser C-1, Extreme and Solo 6
Check out this review of the Schecter Hellraiser C-1, Hellraiser C-1 Extreme, and Hellraiser Solo 6, all great guitars for metal and hard rock.
Chekc Out the New Schecter California Vintage Standard Series
Seagull
Seagull acoustic guitars are among the best values you are going find. They’re made in Canada, and there’s an attention to detail and craftsmanship here you may not expect in guitars at these price points. The Seagull Artist series is the top of the lineup. You’ll find unique tonewoods and high-quality construction techniques at an affordable price.
Further down the Seagull line, looking at models outside of the Artist Series, the components and woods aren’t the same but we still see an impressive attention to detail. The Seagull S6 Original is a bare-bones acoustic, perfect for beginners and intermediate players. This is a guitar worth checking out if you need a solid acoustic and don’t want to break the bank.
More on Seagull Guitars
Seagull Guitars Review: Artist Mosaic, S6 Original, ...
Learn about the Seagull Artist Mosaic, S6 Original, and Maritime SWS acoustic guitars in this review. Specs, sounds, and other important information included.
Squier
Squier is the baby brother of Fender and makes inexpensive guitars players based on classic Fender models. Along with Epiphone, they’re one of the best guitar brands for beginners or newbies looking for their first real guitar.
The quality varies, but some of these are very good instruments. Squier also make starter packs that come with a guitar, amp, and all the accessories you’ll need to get started playing.
A few Squiers that stand out above the rest are the Classic Vibe and the Vintage Modified Series. These Stratocasters and Telecasters feature better components than typical Squier instruments, and some are even on par with lower-priced Fenders.
Squier Affinity Strat Pack with Fender Frontman 10G - BlackSquier Affinity Strat Pack with Fender Frontman 10G - Black
If you are thinking of starting out in guitar, it is a smart idea to choose a starter pack from a respected brand like Squier by Fender. These kits have everything you need to start playing today, including the guitar, amp, cable, strap, picks, and even some materials to help you learn to play!
How Does Squier Compare to Fender?
Squier vs Fender Stratocaster Guitar Review
Knowing the difference between the Squier and Fender Stratocaster will help you decide which guitar is right for you and your budget.
Taylor
Taylor guitars are among the best in the world. This American guitar company makes some incredible acoustic guitar designs and a few cool electrics too. Taylor guitars don’t come cheap, but like Martin, they are worth every penny.
Taylor and Martin are really the upper esheclon when it comes to American-made acoustic guitars. Like Martin, Taylor makes many acoustic and acoustic-electric instruments that find their way into the hands of professional musicians onstage. But they make a few that are more suited for working players as well.
Their 200-series is reasonably priced, and a great value for a Taylor guitar. They also make the Baby and Big Baby, and the GS Mini—smaller-bodied guitars perfect for intermediate players and beginners with a few extra bucks in their pockets.These are awesome acoustic guitars with a big sound. They might be small, but veteran guitar players love them for the tone and portability.
Check out the Taylor GS Mini!
Washburn
In the 1980s it seemed like Washburn guitars were everywhere, and they were leaders in the hard rock and metal guitar genre. Even though they aren’t quite as prominent as they once were, they still feature some nice guitars in their lineup. From metal to jazz and anywhere in between, Washburn has you covered. With signature models for Paul Stanley and Nuno Bettencourt, they still have strong name recognition in the rock world.
It’s not likely Washburn is going anywhere anytime soon. They’re one of the oldest American guitar makers in the business, with roots going all the way back to 1883!
Yamaha
Yamaha makes a little bit of everything, from organs and bass guitars to electric guitars and band instruments. Their acoustic guitars are always excellent, and there are options for all levels of guitar experience.
Beginning and intermediate players especially can find some outstanding instruments in the Yamaha lineup. This is a Japanese company that has stood the test of time over the years.
The Yamaha FG700 is widely considered one of the best acoustic guitars for beginners, not only because of its surprising sound qualities but also for its ease of play. Moving up the line, the L Series offers high-level craftsmanship and solid-wood designs.
There is a reason Yamaha has been around for so long, and is so revered in the music world.
Squier Electric Guitar Starter Pack
Squier Electric Guitar Starter Pack
Other Guitar Makers
Though the brands listed above are the best-known guitar companies out there, there are many others. If you come across a guitar manufacturer you have never heard of, it always pays to check it out. You never know what kind of hidden gem you may uncover, and you might find yourself on the leading edge of a new guitar revolution!
Finding the right guitar is a process, and it pays to take your time, consider your needs, and learn as much as you can about the different options. It’s always smart to start with the big names. Remember, there’s a good reason they’re the best guitar brands in the world!
More Guitar Brands
Still stumped when it comes to figuring out which guitar brands make the instruments you need to get the sound you want?
Best Metal GuitarS
How to Choose the Best Metal Guitar
Some people think any guitar will do for metal as long as your amp is set to ten with the distortion blazing. The fact is that quality matters when choosing the best metal guitar, just as much as any other genre of music.
It’s not all about pointy shapes either, though there are some decent-sounding guitars out there that can also serve well in self-defense. When choosing a guitar for metal, it’s more important to look at the construction of the instrument. The materials used in the body and neck play a huge part in determining tone, resonance, and sustain, and the hardware and electronics need to be top-notch.
Back in the '80s it was all about the super-Strat sound. These were guitars with alder or ash bodies, and usually one-piece maple necks. They sounded bright and snappy, great for shredding, and worked well with the mid-range, British-type overdrive those bands employed.
Nowadays, heavy metal musicians are armed with detuned guitars and high-gain amplifiers capable of crumbling a small house with one chord. Dark, thick, resonant tone is the key to the modern metal sound. The tonewoods we look to are mahogany and basswood, and we need hot pickups to send a strong signal to the amp. And, of course, our guitars need to be built like tanks to get the sustain and harmonic character we need.
There are a lot of guitars out there that look like they might make the cut, but until you look closer you never know. From extreme death metal, to thrash, to shred, to succeed as a metal guitarist you need the right tool for the job. Which guitars can really pull off great sound and metal attitude?
Here are a few of the best metal guitars I've stumbled over during my 30 years as a guitarist. Of course this is only a guideline. You may have a lot of searching ahead of you before you find the perfect metal guitar, but at least you’ll have a solid starting point.
Jackson King V
Jackson is the brand name most people think of first when it comes to heavy metal guitar. The problem is that Jackson makes so many great guitars it's almost impossible to choose one above the others. The Soloist has been a favorite of shredders for a generation or longer, and the Dinky is right behind it. The Rhoades has a legendary history behind it spawned by one of the greatest guitar players who ever lived, and the Kelly has carved out a niche for itself as a shred machine.
Jackson KVMG Pro Series King V Electric Guitar, Ebony Fingerboard - Black
Jackson KVMG Pro Series King V Electric Guitar, Ebony Fingerboard - Black
But there is something about the look of the King V that screams metal, and something about the sound that just plain screams. The Pro Series King V has an alder body. Add in the active EMG pickups, and the King V not only looks amazing, but has the guts to back it up. Twenty-four frets give you all the room you need for soloing, and the through-body neck allows for great sustain.
It's hard to decide on a favorite Jackson guitar for metal, which may be why most guitar players have so many of them. But the King V is at the top of the list for metal attitude and sound.
Check Out the King V in Action
Gibson SG
Gibson makes amazing guitars for just about every style of music, and models like the Explorer and Flying V have left their marks on the metal community. But there is another Gibson guitar loved by metal musicians, a classic that has shaped metal since the early days of Black Sabbath. This is a guitar that was once created as a replacement for the Les Paul, but instead took on a life of its own.
Gibson USA SGSP14C5CH1 SG Special 2014 Solid-Body Electric Guitar - Heritage Cherry Vintage Gloss
Gibson USA SGSP14C5CH1 SG Special 2014 Solid-Body Electric Guitar - Heritage Cherry Vintage Gloss
It might not have a crazy shape, but the SG reeks of metal attitude nonetheless. More importantly, with its deep, resonant tone, it puts out some incredible metal tones. The Standard SG is pretty reasonably priced for a legendary guitar. The SG Special is similar to the Standard SG, but with fewer frills and an even lower price tag.
The Gibson SG features a mahogany body and neck, along with classic Gibson 490R and 490T pickups. This provides a deep, rich sound perfect for detuned, high-gain metal. The stop-bar tailpiece means solid tuning stability, if you can survive without a whammy bar. Pair it up with a Peavey 6505, tune it down a step or two, and you’ve got an awesome metal machine, already equipped with devil horns.
Ibanez Guitars
Ibanez is one of the top names in the world of heavy metal. Going back a few decades, the Ibanez Destroyer stood at the top of the mountain when it came to metal and hard rock tone. In fact, it is a little-known legend that Eddie Van Halen used an Ibanez Destroyer for some of the tracks on Van Halen’s debut album. That thick, crunchy tone wasn’t all Frankenstrat.
But metal has changed a lot in 35 years, and so has Ibanez. You can still find guitars like the Destroyer and the Iceman in the Ibanez lineup, but in recent history the two guitars Ibanez has become best known for in the world of heavy metal are the RG and the S. From extreme metal to shred, both of these guitar models will help you melt the brains of anyone within a 200-foot radius of your amp.
As if it wasn’t tough enough to choose one Ibanez model above the others for heavy metal, a couple of years back they unveiled their Iron Label Series. These are Ibanez guitars with appointments suited for hardcore metal, and for Ibanez that’s saying something.
So how do you choose the right Ibanez guitar for metal? Here are a couple of articles that can help.
Best Ibanez Models for Metal
Best Ibanez Guitar for Metal and Rock
Compare the best Ibanez guitars, top choices for metal and rock guitar players around the world, and decide which is right for you.
Ibanez RG vs. S Series
Learn the difference between the Ibanez RG and S Series and decide which guitar is better for you and your music.
Ibanez Iron Label S Series
B.C. Rich Warlock
B.C. Rich guitars have been synonymous with metal for over thirty years. From Mick Mars of Motley Crue, to Lita Ford, to Chuck Schuldiner of Death, to Kerry King of Slayer today, B.C. Rich shaped the sound of hard rock, death metal, and thrash. There are many great designs in the B.C. Rich lineup: famous guitars like the Mockingbird, Bich, Virgo, Ironbird, Virgin, and of course the epitome of the metal axe, the Warlock.
B.C. Rich NJDLXWO NJ Deluxe Warlock Solid-Body Electric Guitar
B.C. Rich NJDLXWO NJ Deluxe Warlock Solid-Body Electric Guitar
The Warlock has stood the test of time, and it's a classic in its own right. But today there is another guitar that takes the Warlock design a step further, and B.C. Rich calls it the Warbeast.
The NJ Deluxe series Warlock features hot EMG pickups, a mahogany body for powerful resonance, and neck-through maple neck design for great sustain. The ebony fretboard allows notes to ring crisp, and of course you get the obligatory Floyd Rose tremolo. The mother-of-pearl binding really sets the look of this guitar apart from your typical pointy-guitar design, and adds a nice touch of class to this snarling beasty.
Impress your friends and scare your neighbors. The Warbeast is a true metal monster that lives up to its name.
Schecter Hellraiser C-1 FR
Schecter makes some really great guitars for the metal crowd, with appointments you wouldn't expect in guitars in their price range. Every year they seem to up the bar when it comes to features, finishes and sounds, but they remain reasonably-priced instruments within the range of most serious players.
Schecter Hellraiser FR: A top guitar for metal.
Schecter Hellraiser FR: A top guitar for metal.
Honestly, it's hard to pick the best metal guitar out of the Schecter lineup. This is a company devoted to sonic metal mayhem, and they have a range of incredible guitars. But one that seems to be edging out the other in popularity is the Hellraiser, and the Hellraiser FR is a particularly intriguing beast.
The Hellraiser features a mahogany body is in the classic Schecter "C" shape, which is not only visually appealing but makes for a solid tonal base. Combined with the mahogany neck, it provides that full, deep sound we want in modern metal tone.
The Hellraiser also comes in a fixed-bridge model, but the addition of the Floyd Rose makes the guitar a little more shred-tastic, if that’s what you’re into. The C-1 FR features an EMG active pickups set, a nice addition to an already great guitar.
Schecter Guitar Research Hellraiser C-1 FR Electric Guitar - Gloss WhiteSchecter Guitar Research Hellraiser C-1 FR Electric Guitar - Gloss White
The Schecter Hellraiser is an amazing guitar that would do the job in any genre, but it especially shines in hard rock and heavy metal.
Hear the Schecter Hellraiser
Charvel Desolation Star DST
This guitar looks unique today, but if you survived the ‘80s you’re well acquainted with the Charvel Star body shape. Well, it’s back! This thing just reeks of metal defiance, and it has guts to back it up.
Charvel Desolation DST-1ST Electric Guitar (Snow White)
Charvel Desolation DST-1ST Electric Guitar (Snow White)
If you don’t know Charvel, you know they were one of the top guitars for shredders, and biggest players on the metal scene years ago. They disappeared off the radar for a bit, but for the past decade they’ve been undergoing a resurgence as a subsidiary of Fender. Just about everybody who was anybody in metal played a Charvel guitar back in the ‘80s. It’s good to see the brand getting strong again.
The Desolation Star is not just a cool body style; it has some appointments that present great sonic character. A mahogany body and through-body maple neck with rosewood fingerboard makes for a nice combination of resonance and snap without sacrificing sustain. A Floyd Rose tremolo system serves as the bridge, and for pickups we have a set of EMG 81/85s. The Star is also available in fixed-bridge models, and designs with flame maple tops.
No doubt you’ll stand out carrying this thing onto the stage. It may be an unusual look today, but the Star is a tried and true classic design with modern updates. If you’re looking for the best metal guitar, this is a great choice.
Hear the Charvel Desolation Star DST
Dean ML 79
The Dean ML design was popular in the late '70s and early '80s, but as the wave of shred overtook the world and super-strat designs became more desirable, big guitars like the ML weren't seen around as much.
Dean ML 79 Guitar with Floyd Rose Tremelo, Trans Brazil
Dean ML 79 Guitar with Floyd Rose Tremelo, Trans Brazil
All that would change when a kid from Texas showed up in a band called Pantera in the early 1990s, wielding a Dean ML he'd won in a guitar contest. "Dimebag" Darrell Abbot and Pantera would become famous, and soon the ML was back in the spotlight in the hands of one of the greatest metal guitarists of a generation.
The only problem was Dean guitars went out of production briefly, so Dime set about buying up all the old MLs he could. Today, Dean is going stronger than ever, and boasts not only several ML and Dime signature models, but new artist models from great players like Dave Mustaine of Megadeth and Michael Amott of Arch Enemy.
The ML design is built for resonance and sustain. The sheer mass of the mahogany body with the set mahogany neck lends to a deep sound, and the maple top helps to bring out the highs. Although MLs are available with Floyd Rose tremolos, the original design featured a though-body string setup for amazing sustain.
There is a reason the Dean ML rose again as the weapon of choice for one of the best metal guitarists who ever lived.
Choose Your Weapon
A discussion of the best metal guitar wouldn’t be complete without talking about some of the classic instruments out there.
The Ibanez Iron Label RG: One of the best guitars for metal.
The Ibanez Iron Label RG: One of the best guitars for metal.
Gibson has their Flying V and Explorer, and both are great guitars for metal. If you want something that doesn’t look like it could open a tin can, the Les Paul is sonically amazing for high-gain metal. The ESP Eclipse is another great option, as is its little cousin the LTD EC-1000.
Of course Jackson and Ibanez are two great players on the metal scene. In addition to the King V, Jackson puts forward many other great options for the metal guitar player. The Ibanez RG and S series are guitars you can count on.
As a metal guitar player you have a lot of choices, but remember it’s not just about the look of the guitar. Always consider the electronics, components, and most of all the wood the instrument is made out of when making your decision. Good luck, and I hope this review helped you track down the best metal guitar for your needs.
Some people think any guitar will do for metal as long as your amp is set to ten with the distortion blazing. The fact is that quality matters when choosing the best metal guitar, just as much as any other genre of music.
It’s not all about pointy shapes either, though there are some decent-sounding guitars out there that can also serve well in self-defense. When choosing a guitar for metal, it’s more important to look at the construction of the instrument. The materials used in the body and neck play a huge part in determining tone, resonance, and sustain, and the hardware and electronics need to be top-notch.
Back in the '80s it was all about the super-Strat sound. These were guitars with alder or ash bodies, and usually one-piece maple necks. They sounded bright and snappy, great for shredding, and worked well with the mid-range, British-type overdrive those bands employed.
Nowadays, heavy metal musicians are armed with detuned guitars and high-gain amplifiers capable of crumbling a small house with one chord. Dark, thick, resonant tone is the key to the modern metal sound. The tonewoods we look to are mahogany and basswood, and we need hot pickups to send a strong signal to the amp. And, of course, our guitars need to be built like tanks to get the sustain and harmonic character we need.
There are a lot of guitars out there that look like they might make the cut, but until you look closer you never know. From extreme death metal, to thrash, to shred, to succeed as a metal guitarist you need the right tool for the job. Which guitars can really pull off great sound and metal attitude?
Here are a few of the best metal guitars I've stumbled over during my 30 years as a guitarist. Of course this is only a guideline. You may have a lot of searching ahead of you before you find the perfect metal guitar, but at least you’ll have a solid starting point.
Jackson King V
Jackson is the brand name most people think of first when it comes to heavy metal guitar. The problem is that Jackson makes so many great guitars it's almost impossible to choose one above the others. The Soloist has been a favorite of shredders for a generation or longer, and the Dinky is right behind it. The Rhoades has a legendary history behind it spawned by one of the greatest guitar players who ever lived, and the Kelly has carved out a niche for itself as a shred machine.
Jackson KVMG Pro Series King V Electric Guitar, Ebony Fingerboard - Black
Jackson KVMG Pro Series King V Electric Guitar, Ebony Fingerboard - Black
But there is something about the look of the King V that screams metal, and something about the sound that just plain screams. The Pro Series King V has an alder body. Add in the active EMG pickups, and the King V not only looks amazing, but has the guts to back it up. Twenty-four frets give you all the room you need for soloing, and the through-body neck allows for great sustain.
It's hard to decide on a favorite Jackson guitar for metal, which may be why most guitar players have so many of them. But the King V is at the top of the list for metal attitude and sound.
Check Out the King V in Action
Gibson SG
Gibson makes amazing guitars for just about every style of music, and models like the Explorer and Flying V have left their marks on the metal community. But there is another Gibson guitar loved by metal musicians, a classic that has shaped metal since the early days of Black Sabbath. This is a guitar that was once created as a replacement for the Les Paul, but instead took on a life of its own.
Gibson USA SGSP14C5CH1 SG Special 2014 Solid-Body Electric Guitar - Heritage Cherry Vintage Gloss
Gibson USA SGSP14C5CH1 SG Special 2014 Solid-Body Electric Guitar - Heritage Cherry Vintage Gloss
It might not have a crazy shape, but the SG reeks of metal attitude nonetheless. More importantly, with its deep, resonant tone, it puts out some incredible metal tones. The Standard SG is pretty reasonably priced for a legendary guitar. The SG Special is similar to the Standard SG, but with fewer frills and an even lower price tag.
The Gibson SG features a mahogany body and neck, along with classic Gibson 490R and 490T pickups. This provides a deep, rich sound perfect for detuned, high-gain metal. The stop-bar tailpiece means solid tuning stability, if you can survive without a whammy bar. Pair it up with a Peavey 6505, tune it down a step or two, and you’ve got an awesome metal machine, already equipped with devil horns.
Ibanez Guitars
Ibanez is one of the top names in the world of heavy metal. Going back a few decades, the Ibanez Destroyer stood at the top of the mountain when it came to metal and hard rock tone. In fact, it is a little-known legend that Eddie Van Halen used an Ibanez Destroyer for some of the tracks on Van Halen’s debut album. That thick, crunchy tone wasn’t all Frankenstrat.
But metal has changed a lot in 35 years, and so has Ibanez. You can still find guitars like the Destroyer and the Iceman in the Ibanez lineup, but in recent history the two guitars Ibanez has become best known for in the world of heavy metal are the RG and the S. From extreme metal to shred, both of these guitar models will help you melt the brains of anyone within a 200-foot radius of your amp.
As if it wasn’t tough enough to choose one Ibanez model above the others for heavy metal, a couple of years back they unveiled their Iron Label Series. These are Ibanez guitars with appointments suited for hardcore metal, and for Ibanez that’s saying something.
So how do you choose the right Ibanez guitar for metal? Here are a couple of articles that can help.
Best Ibanez Models for Metal
Best Ibanez Guitar for Metal and Rock
Compare the best Ibanez guitars, top choices for metal and rock guitar players around the world, and decide which is right for you.
Ibanez RG vs. S Series
Learn the difference between the Ibanez RG and S Series and decide which guitar is better for you and your music.
Ibanez Iron Label S Series
B.C. Rich Warlock
B.C. Rich guitars have been synonymous with metal for over thirty years. From Mick Mars of Motley Crue, to Lita Ford, to Chuck Schuldiner of Death, to Kerry King of Slayer today, B.C. Rich shaped the sound of hard rock, death metal, and thrash. There are many great designs in the B.C. Rich lineup: famous guitars like the Mockingbird, Bich, Virgo, Ironbird, Virgin, and of course the epitome of the metal axe, the Warlock.
B.C. Rich NJDLXWO NJ Deluxe Warlock Solid-Body Electric Guitar
B.C. Rich NJDLXWO NJ Deluxe Warlock Solid-Body Electric Guitar
The Warlock has stood the test of time, and it's a classic in its own right. But today there is another guitar that takes the Warlock design a step further, and B.C. Rich calls it the Warbeast.
The NJ Deluxe series Warlock features hot EMG pickups, a mahogany body for powerful resonance, and neck-through maple neck design for great sustain. The ebony fretboard allows notes to ring crisp, and of course you get the obligatory Floyd Rose tremolo. The mother-of-pearl binding really sets the look of this guitar apart from your typical pointy-guitar design, and adds a nice touch of class to this snarling beasty.
Impress your friends and scare your neighbors. The Warbeast is a true metal monster that lives up to its name.
Schecter Hellraiser C-1 FR
Schecter makes some really great guitars for the metal crowd, with appointments you wouldn't expect in guitars in their price range. Every year they seem to up the bar when it comes to features, finishes and sounds, but they remain reasonably-priced instruments within the range of most serious players.
Schecter Hellraiser FR: A top guitar for metal.
Schecter Hellraiser FR: A top guitar for metal.
Honestly, it's hard to pick the best metal guitar out of the Schecter lineup. This is a company devoted to sonic metal mayhem, and they have a range of incredible guitars. But one that seems to be edging out the other in popularity is the Hellraiser, and the Hellraiser FR is a particularly intriguing beast.
The Hellraiser features a mahogany body is in the classic Schecter "C" shape, which is not only visually appealing but makes for a solid tonal base. Combined with the mahogany neck, it provides that full, deep sound we want in modern metal tone.
The Hellraiser also comes in a fixed-bridge model, but the addition of the Floyd Rose makes the guitar a little more shred-tastic, if that’s what you’re into. The C-1 FR features an EMG active pickups set, a nice addition to an already great guitar.
Schecter Guitar Research Hellraiser C-1 FR Electric Guitar - Gloss WhiteSchecter Guitar Research Hellraiser C-1 FR Electric Guitar - Gloss White
The Schecter Hellraiser is an amazing guitar that would do the job in any genre, but it especially shines in hard rock and heavy metal.
Hear the Schecter Hellraiser
Charvel Desolation Star DST
This guitar looks unique today, but if you survived the ‘80s you’re well acquainted with the Charvel Star body shape. Well, it’s back! This thing just reeks of metal defiance, and it has guts to back it up.
Charvel Desolation DST-1ST Electric Guitar (Snow White)
Charvel Desolation DST-1ST Electric Guitar (Snow White)
If you don’t know Charvel, you know they were one of the top guitars for shredders, and biggest players on the metal scene years ago. They disappeared off the radar for a bit, but for the past decade they’ve been undergoing a resurgence as a subsidiary of Fender. Just about everybody who was anybody in metal played a Charvel guitar back in the ‘80s. It’s good to see the brand getting strong again.
The Desolation Star is not just a cool body style; it has some appointments that present great sonic character. A mahogany body and through-body maple neck with rosewood fingerboard makes for a nice combination of resonance and snap without sacrificing sustain. A Floyd Rose tremolo system serves as the bridge, and for pickups we have a set of EMG 81/85s. The Star is also available in fixed-bridge models, and designs with flame maple tops.
No doubt you’ll stand out carrying this thing onto the stage. It may be an unusual look today, but the Star is a tried and true classic design with modern updates. If you’re looking for the best metal guitar, this is a great choice.
Hear the Charvel Desolation Star DST
Dean ML 79
The Dean ML design was popular in the late '70s and early '80s, but as the wave of shred overtook the world and super-strat designs became more desirable, big guitars like the ML weren't seen around as much.
Dean ML 79 Guitar with Floyd Rose Tremelo, Trans Brazil
Dean ML 79 Guitar with Floyd Rose Tremelo, Trans Brazil
All that would change when a kid from Texas showed up in a band called Pantera in the early 1990s, wielding a Dean ML he'd won in a guitar contest. "Dimebag" Darrell Abbot and Pantera would become famous, and soon the ML was back in the spotlight in the hands of one of the greatest metal guitarists of a generation.
The only problem was Dean guitars went out of production briefly, so Dime set about buying up all the old MLs he could. Today, Dean is going stronger than ever, and boasts not only several ML and Dime signature models, but new artist models from great players like Dave Mustaine of Megadeth and Michael Amott of Arch Enemy.
The ML design is built for resonance and sustain. The sheer mass of the mahogany body with the set mahogany neck lends to a deep sound, and the maple top helps to bring out the highs. Although MLs are available with Floyd Rose tremolos, the original design featured a though-body string setup for amazing sustain.
There is a reason the Dean ML rose again as the weapon of choice for one of the best metal guitarists who ever lived.
Choose Your Weapon
A discussion of the best metal guitar wouldn’t be complete without talking about some of the classic instruments out there.
The Ibanez Iron Label RG: One of the best guitars for metal.
The Ibanez Iron Label RG: One of the best guitars for metal.
Gibson has their Flying V and Explorer, and both are great guitars for metal. If you want something that doesn’t look like it could open a tin can, the Les Paul is sonically amazing for high-gain metal. The ESP Eclipse is another great option, as is its little cousin the LTD EC-1000.
Of course Jackson and Ibanez are two great players on the metal scene. In addition to the King V, Jackson puts forward many other great options for the metal guitar player. The Ibanez RG and S series are guitars you can count on.
As a metal guitar player you have a lot of choices, but remember it’s not just about the look of the guitar. Always consider the electronics, components, and most of all the wood the instrument is made out of when making your decision. Good luck, and I hope this review helped you track down the best metal guitar for your needs.
Best Electric Guitar for Country Music
Problem Diagnosis and Cure
HIGH ACTION
TOO MUCH NECK RELIEF, NUT SLOTS NOT DEEP ENOUGH, BRIDGE/SADDLES TOO HIGH, OR ANY COMBINATION OF THESE
LOW ACTION, NOTES BUZZING
NECK IS BACK-BOWED, NUT SLOTS TOO DEEP, BRIDGE/SADDLES TOO LOW, OR ANY COMBINATION OF THESE
.
MAY NEED FRETWORK TO MAINTAIN CLEAN PLAYING IF YOU WANT TO KEEP LOW ACTION.
ELECTRICS NOT WORKING (ELECTRIC)
BROKEN CONNECTION @ JACK, FAULTY SWITCH, SHORT IN WIRING, POOR SOLDER JOINT.
ELECTRICS NOT WORKING (ACOUSTIC)
BROKEN CONNECTION @ JACK, DEAD BATTERY, SHORT @ BATTERY CAP, BROKEN PICKUP, CONTROLS NEED CLEANING.
TREMOLO BRIDGE GUITAR -
WON’T STAY IN TUNE OR CAN’T INTONATE
WORN OR LOOSE LOCKNUT, GUITAR NECK IS LOOSE, TREMOLO BRIDGE PINS DRIFTING, STRINGS PINCHING IN NUT, TOO MUCH DRAG THROUGH NUT AND STRING TREES.
SCRATCHY SOUND WHEN KNOBS TURNED
CONTROLS NEED CLEANING OR REPLACEMENT.
GETS BUZZY IN SUMMER/ HARD TO PLAY IN WINTER
GUITAR IS HUMIDITY SENSITIVE AND REQUIRES SEASONAL MAINTENANCE, ESPECIALLY TRUSS ROD ADJUSTMENT.
PICKUPS HUM
POOR OR NO GROUND CONNECTION, SINGLE COIL P-U 60 CYCLE NOISE IS ACCENTUATED WITH HIGH-GAIN AMP SETTINGS, SHIELDING MAY BE REQUIRED, HUM-CANCELING P-
U’s MAY NEED TO BE INSTALLED.
PICKUPS SQUEAL / SCREECH
THIS IS MICROPHONIC NOISE AND HAS AN ABRUPT & UNCONTROLLABLE THRESHOLD. OCCURS COMMONLY IN OLD AND/OR SINGLE COIL P-
U’s. P
-
U’s MAY NEED TO BE WAX
DIPPED (POTTED) OR REPLACED.
INTERMITTENT SIGNAL / CUTS OUT
BAD SOLDER CONNECTION OR SWITCH, HOT CIRCUIT MAY BE TOUCHING GROUND WIRE SOMEWHERE IN CONTROLS, CORRODED JACK CONTACTS.
VOLUME CONTROL INEFFECTIVE/ CUTS OUT TOO QUICKLY
CONTROL WILL NEED REPLACEMENT OR "TONE CIRCUIT" MODIFICATION. A LINEAR POTENTIOMETER INSTEAD OF USUAL AUDIO POT MAY BE DESIRED.
BUZZING / DEAD NOTES ON NECK
TRUSS ROD TOO TIGHT, WORN FRETS, POOR SET-UP, POOR FRETWORK FROM FACTORY. WILL NEED SET-UP OR FRET WORK.
FINGER NOISE ON STRINGS
STRINGS ARE OLD AND TARNISHED OR RUSTED, FRETS NEED CLEANING & POLISHING, FLAT OR SEMI-FLAT WOUND STRINGS MAY BE DESIRED.
STRING ENDS STUCK IN TREMOLO BRIDGE
CLAMP BLOCKS HAVE BEEN OVER TIGHTENED AND ARE SPLIT AND SPREAD, LOCKING SCREWS ARE STRIPPING AND JAMMED FROM OVER-TIGHTENING. IN STANDARD TREM BRIDGES, THE HOLES MAY BE TOO SMALL FOR THE STRING BALLS. HOLES WILL NEED TO BE ENLARGED.
STRINGS BREAK AT HEAD
STRING IS PINCHED IN NUT SLOT, SHARP BURR @ TENSION BAR, STRING TREES, OR HOLES IN STRING POSTS.
STRINGS BREAK AT BRIDGE
SADDLES WORN, SHARP BURR AT SADDLES OR STRING ANCHOR POINT. SADDLE CROWN TOO STEEP OR SHARP.
STRINGS BREAK IN MIDDLE
WORN OR SHARP FRETS; "DING" IN FRETS; STRINGS TOO OLD
–
MORE FREQUENT STRING REPLACEMENT REQUIRED.
STRAP BUTTON LOOSE
STRIPPED OR WORN SCREW HOLE. HOLE NEEDS TO BE PLUGGED (WITH WOOD) AND RE-DRILLED.
AWKWARD CONTROL PLACEMENT OR FEW CONTROL OPTIONS
GUITAR CAN BE REWIRED TO SUIT NEEDS OF PLAYER.
SIGNAL BREAKS UP
BAD SOLDER CONNECTION, FAULTY SWITCH, HOT/GROUND SHORT AGGRAVATED BY VIBRATIONS IN GUITAR. WEAK BATTERY (ACTIVE SYSTEMS)
CRACKED OR BROKEN NECK
DON’T FIX IT
YOURSELF!!!!! NOTHING IS HARDER TO FIX THAN A BAD REPAIR. THIS IS OFTEN AN INEXPENSIVE REPAIR EXCEPT FOR REFINISHING THE DAMAGED AREA ON MORE EXPENSIVE INSTRUMENTS WITH COLORED PAINT.
OPEN STRING TWANGS IN NUT
NUT SLOT TOO WIDE, NOT ENOUGH BACK TENSION BEHIND NUT, NUT SLOT CUT TOO LOW.
BROKEN OR CHIPPED NUT
THIS CAN OFTEN BE REPAIRED WITH "DENTAL" STYLE FILLING AND RE-CUTTING, OTHERWISE NUT REPLACEMENT IS REQUIRED.
CONVERT
RIGHT
HANDED GUITAR FOR
LEFT
HANDED PLAYER
MAY NEED ADJUSTMENT OF SADDLE(s), BRIDGE, PICKGUARD, &/or CONTROLS. NUT WILL NEED RESLOTTING OR REPLACEMENT. DIFFICULTY OF WORK DEPENDS ON GUITAR. CRACK IN FACE OR SIDE
NEEDS CAREFUL GLUE, CLAMP, REFINISH AND REINFORCEMENT ON THE SIDE
DEEP CRACK W/ GAP (WON’T
CLOSE)
NEEDS TO BE SPLINTED, REINFORCED & REFINISHED.
HUMP IN NECK @ BODY
FRET DRESSING FOR MILD HUMP
--
RE-FRET &/or FINGERBOARD LEVELING FOR SEVERE CASES
HIGH ACTION THAT CAN’T BE
ADJUSTED
BRIDGE AND SADDLE PROFILING FOR MILD CASE
--
NECK RESET FOR SEVERE CASE
HEEL SEPARATION FROM BODY
RESET NECK ON BETTER GUITARS. "SALVAGE" FIX ON CHEAP GUITARS INVOLVES PENETRATING GLUE AND A BOLT THROUGH HEEL AND NECKBLOCK, DISGUISED WITH A STRAP BUTTON.
FRETS BUZZING @ 1
st
POSITION
FRETS MAY BE WORN DEEPLY FROM HEAVY USE WITH OPEN CHORDS
–
NEEDS FRET DRESSING OR PARTIAL FRET REPLACEMENT
WON’T TUNE WELL
MAY NEED SADDLE SLOT FILLED & RE-CUT
--
MAY NEED GOOD SETUP
--
MAY NEED TUNERS TIGHTENED OR REPLACED OR INSTALLATION OF "INTONATED SADDLE"
2 of 3
Best Guitar for Country
If you are a guitarist who plays country music, how do you decide which guitar is best for you? You want a guitar with great tone, one that you can rely on through years of practice, rehearsals and gigs.
There are some big names that come to mind when trying to think up the perfect guitar for country, but there are also a few options out there that may surprise you, especially if you’re looking to save a dollar or two.
I think you can break the ideal country sound into two types. There is the traditional country twang, more indicative of classic country but still used today by a whole lot of guitarists. For this sound guitarists want to choose bright guitars made of tonewoods like alder. Single-coil pickups will get you the twangy and clucky sounds you are looking for.
Then there is the smooth, overdriven sound of southern rock, and for that you want a guitar that utilizes a warm tonewood like mahogany in its construction. Here you want to look for vintage-style humbuckers.
No matter which direction you go, the same universal truth applies in country as in every genre: Great guitar players make guitars sound great. Find an instrument you love and stick with it, and soon enough you’ll find your sound. Here are a few suggestions.
The Fender Telecaster
Any guitarists serous about country music should at least check out the Fender Telecaster. This is the icon guitar of the country music world, used by musicians going all the way back to its creation in the 1950s.
The Fender American Standard Telecaster is available with an either ash or alder body, and has two Fender single coil pickups, a maple neck with a rosewood or maple fingerboard, and a fixed bridge. It’s about as simple as a guitar can get, but the Telecaster tone is legendary.
Fender Deluxe Nashville Telecaster Electric Guitar, Maple Fingerboard - Honey Blonde
Fender Deluxe Nashville Telecaster Electric Guitar, Maple Fingerboard - Honey Blonde
With only two pickups you have three pickups configurations to choose from: Bridge, neck or both. The neck pickup is a bit glassy and perfect for playing clean or for bluesy soloing with a touch of overdrive.
Both pickups together will give you that vintage rock sound, very usable in a country setting. The bridge pickup sound is brighter, and this is where you’ll get the country twang you’re looking for.
Some Teles are hot-rodded or feature specialized components to help you create a unique sound. For example, the Deluxe Nashville Telecaster has a middle pickup like a Stratocaster, allowing you more sound possibilities than a traditional Tele.
If you are having trouble deciding between a Telecaster and a Strat the Nashville Telecaster might be the guitar for you!
The Telecaster is definitely in the traditional country guitar camp, and the Tele sound is almost synonymous with country music. However, the guitar is also versatile enough to let you dabble in blues and jazz without missing a beat. Even hard rock players have used the Telecaster over the years, usually with a humbucker in the bridge position.
If the American Telecaster is a bit too expensive, check out the Fender Standard Telecaster, a version of the Tele made in Mexico with slightly downgraded components. It’s still a Fender, and MIM guitars can be outstanding instruments even for professional musicians.
Keith Urban Talks Tele Love
The Fender Stratocaster
The Fender American Strat is another great option for the traditional country sound. Like the Tele, the Stratocaster has an alder body with a maple neck and either a maple or rosewood fingerboard. This combination makes for the snappy tone most traditional country players are looking for. On both the Stat and Tele the one-piece maple beck option will get you a brighter tone, where the rosewood fretboard will mellow things out a bit.
With three single-coil pickups and five pickup combinations the Stratocaster is versatile guitar that has made its mark in just about every genre of music. Of course it is well known in rock and blues, but the country player can get a lot out of the Strat as well.
Pickup selector positions 2, 3 and 4 in particular lend to some great country sounds, from twangy to chicken-pickin.
The neck pickup is smooth and rounded and sounds great with clean sounds and open chords. And, of course, the Strat shines when you add a little overdrive.
There’s a too, and it’s a lot easier on your wallet. Both the American and MIM versions are available with humbuckers in the bridge positions (HSS). This configuration will set you up a better if you are looking for a country rock sound, and a hotter pickup will push your amp harder.
Also note: Musicians who want a real American-made Fender Strat or Tele without the steep price tag ought to check out the American Special Series. These are guitars made the USA with different features than the American Standard Series.
Gibson Les Paul
Like the Stratocaster, the Les Paul has triumphed in every genre of music. Why should country be any different? But the Les Paul is a different kind of guitar. Here we’re getting into more of the country rock sound, made big by bands like Lynyrd Skynyrd and The Allman Brothers. Today, many country bands draw influence from this style of music, and some of the best country guitar tones come from a combination of smooth overdrive and Les Paul guitars.
Unlike the Strat and the Tele, the Les Paul is not a bright guitar. With a mahogany body and neck, it has a deep resonance and great sustain. Pair it with a Marshall or Fender tube amp and it's tone nirvana.
The bridge pickup on the Gibson Les Paul will give you that crunchy rhythm sounds you’re looking for in your chords, while the neck pickup is bassy and great for clean sounds or lead playing. Both pickups together make for a great jazz tone, warm but with just a little bite.
If you can’t manage the cash to spring for Gibson, you can look to Epiphone, a company owned by Gibson which builds Les Pauls to Gibson specs.
Epiphone Les Pauls are built overseas with downgraded components from their big brother Gibsons, but they are still great guitars for the money. In fact, if you play in some rough clubs you may prefer to bring your Epi to the show rather than an expensive Gibson. The Epi Les Paul might be a fraction of the cost, but like the Gibson they’ll get your that warm, resonant Les Paul tone.
The Gibson Les Paul Standard T
More Guitars
The three guitars listed above are pretty much no-brainers when it comes to guitars for country. But what about some other options for guitarists who like to march to a different drummer, go off the beaten path, take the road less traveled, or adhere to any number of other clichés?
There are a few interesting guitars out there you may not have considered. These instruments will make you stand out from the crowd, and maybe even save you a few bucks:
Ibanez AR Series: An Ibanez for country music? Ibanez guitars are known as great metal guitars, but before the RG and S series instruments took off in popularity there was the AR. Ibanez describes the guitar as classic, warm and versatile, and if you are looking for an option to fit those standards that doesn’t say Gibson on the headstock the AR might be the guitar for you.
G&L Guitars: G&L is a guitar company Leo Fender helped start back in 1970s. Leo Fender, if you don’t already know, is also the guy responsible for Fender guitars. That should tell you a little something about G&L design and quality. There are instruments simlar to Telecasters and Stratocasters in their lineup, and some that take those designs quite a bit further.
PRS Custom 24: PRS Guitars are some of the best in the industry, and the SE line is very affordable. The Custom 24 is built with a mahogany body and maple top, with a maple neck and rosewood fingerboard. This is a great-looking guitar that will put out some incredible tone.
Carvin Guitars: Carvin makes custom guitars and basses, and no matter what kind of tone or configuration you are looking for you can probably put together a guitar that meets your needs. You start with a basic body style, and add your choice of pickups, tonewoods, hardware and other materals. Definitely worth checking out.
Sometimes the Right Guitar Finds You
If you play a bunch of guitars, eventually you’ll find one that just seems right. Whether you are looking for the traditional country sounds, or the southern-rock tone, with a little patience you can find the right guitar for your needs and budget.
The Telecaster, Stratocaster and Les Paul are great choices, whether you go with the standard Fender and Gibson models, or choose the more budget-friendly MIM and Epiphone versions.
The Telecaster has that twangy country vibe, and many guitar players swear by it for their sound.
The Stratocaster has a tone all its own, that will take you from classic country to modern country rock with the flip of the 5-way switch.
The Les Paul nails that thick southern rock sound, and many guitar players rely on it for traditional country as well.
But you may want to dig a little deeper in your search, and see if you can find a unique guitar from a lesser-known manufacturer.
There is no wrong answer. Keep on playing until you find your sound.
Good luck in your search for the best guitar for country music.
Problem Diagnosis and Cure
HIGH ACTION
TOO MUCH NECK RELIEF, NUT SLOTS NOT DEEP ENOUGH, BRIDGE/SADDLES TOO HIGH, OR ANY COMBINATION OF THESE
LOW ACTION, NOTES BUZZING
NECK IS BACK-BOWED, NUT SLOTS TOO DEEP, BRIDGE/SADDLES TOO LOW, OR ANY COMBINATION OF THESE
.
MAY NEED FRETWORK TO MAINTAIN CLEAN PLAYING IF YOU WANT TO KEEP LOW ACTION.
ELECTRICS NOT WORKING (ELECTRIC)
BROKEN CONNECTION @ JACK, FAULTY SWITCH, SHORT IN WIRING, POOR SOLDER JOINT.
ELECTRICS NOT WORKING (ACOUSTIC)
BROKEN CONNECTION @ JACK, DEAD BATTERY, SHORT @ BATTERY CAP, BROKEN PICKUP, CONTROLS NEED CLEANING.
TREMOLO BRIDGE GUITAR -
WON’T STAY IN TUNE OR CAN’T INTONATE
WORN OR LOOSE LOCKNUT, GUITAR NECK IS LOOSE, TREMOLO BRIDGE PINS DRIFTING, STRINGS PINCHING IN NUT, TOO MUCH DRAG THROUGH NUT AND STRING TREES.
SCRATCHY SOUND WHEN KNOBS TURNED
CONTROLS NEED CLEANING OR REPLACEMENT.
GETS BUZZY IN SUMMER/ HARD TO PLAY IN WINTER
GUITAR IS HUMIDITY SENSITIVE AND REQUIRES SEASONAL MAINTENANCE, ESPECIALLY TRUSS ROD ADJUSTMENT.
PICKUPS HUM
POOR OR NO GROUND CONNECTION, SINGLE COIL P-U 60 CYCLE NOISE IS ACCENTUATED WITH HIGH-GAIN AMP SETTINGS, SHIELDING MAY BE REQUIRED, HUM-CANCELING P-
U’s MAY NEED TO BE INSTALLED.
PICKUPS SQUEAL / SCREECH
THIS IS MICROPHONIC NOISE AND HAS AN ABRUPT & UNCONTROLLABLE THRESHOLD. OCCURS COMMONLY IN OLD AND/OR SINGLE COIL P-
U’s. P
-
U’s MAY NEED TO BE WAX
DIPPED (POTTED) OR REPLACED.
INTERMITTENT SIGNAL / CUTS OUT
BAD SOLDER CONNECTION OR SWITCH, HOT CIRCUIT MAY BE TOUCHING GROUND WIRE SOMEWHERE IN CONTROLS, CORRODED JACK CONTACTS.
VOLUME CONTROL INEFFECTIVE/ CUTS OUT TOO QUICKLY
CONTROL WILL NEED REPLACEMENT OR "TONE CIRCUIT" MODIFICATION. A LINEAR POTENTIOMETER INSTEAD OF USUAL AUDIO POT MAY BE DESIRED.
BUZZING / DEAD NOTES ON NECK
TRUSS ROD TOO TIGHT, WORN FRETS, POOR SET-UP, POOR FRETWORK FROM FACTORY. WILL NEED SET-UP OR FRET WORK.
FINGER NOISE ON STRINGS
STRINGS ARE OLD AND TARNISHED OR RUSTED, FRETS NEED CLEANING & POLISHING, FLAT OR SEMI-FLAT WOUND STRINGS MAY BE DESIRED.
STRING ENDS STUCK IN TREMOLO BRIDGE
CLAMP BLOCKS HAVE BEEN OVER TIGHTENED AND ARE SPLIT AND SPREAD, LOCKING SCREWS ARE STRIPPING AND JAMMED FROM OVER-TIGHTENING. IN STANDARD TREM BRIDGES, THE HOLES MAY BE TOO SMALL FOR THE STRING BALLS. HOLES WILL NEED TO BE ENLARGED.
STRINGS BREAK AT HEAD
STRING IS PINCHED IN NUT SLOT, SHARP BURR @ TENSION BAR, STRING TREES, OR HOLES IN STRING POSTS.
STRINGS BREAK AT BRIDGE
SADDLES WORN, SHARP BURR AT SADDLES OR STRING ANCHOR POINT. SADDLE CROWN TOO STEEP OR SHARP.
STRINGS BREAK IN MIDDLE
WORN OR SHARP FRETS; "DING" IN FRETS; STRINGS TOO OLD
–
MORE FREQUENT STRING REPLACEMENT REQUIRED.
STRAP BUTTON LOOSE
STRIPPED OR WORN SCREW HOLE. HOLE NEEDS TO BE PLUGGED (WITH WOOD) AND RE-DRILLED.
AWKWARD CONTROL PLACEMENT OR FEW CONTROL OPTIONS
GUITAR CAN BE REWIRED TO SUIT NEEDS OF PLAYER.
SIGNAL BREAKS UP
BAD SOLDER CONNECTION, FAULTY SWITCH, HOT/GROUND SHORT AGGRAVATED BY VIBRATIONS IN GUITAR. WEAK BATTERY (ACTIVE SYSTEMS)
CRACKED OR BROKEN NECK
DON’T FIX IT
YOURSELF!!!!! NOTHING IS HARDER TO FIX THAN A BAD REPAIR. THIS IS OFTEN AN INEXPENSIVE REPAIR EXCEPT FOR REFINISHING THE DAMAGED AREA ON MORE EXPENSIVE INSTRUMENTS WITH COLORED PAINT.
OPEN STRING TWANGS IN NUT
NUT SLOT TOO WIDE, NOT ENOUGH BACK TENSION BEHIND NUT, NUT SLOT CUT TOO LOW.
BROKEN OR CHIPPED NUT
THIS CAN OFTEN BE REPAIRED WITH "DENTAL" STYLE FILLING AND RE-CUTTING, OTHERWISE NUT REPLACEMENT IS REQUIRED.
CONVERT
RIGHT
HANDED GUITAR FOR
LEFT
HANDED PLAYER
MAY NEED ADJUSTMENT OF SADDLE(s), BRIDGE, PICKGUARD, &/or CONTROLS. NUT WILL NEED RESLOTTING OR REPLACEMENT. DIFFICULTY OF WORK DEPENDS ON GUITAR. CRACK IN FACE OR SIDE
NEEDS CAREFUL GLUE, CLAMP, REFINISH AND REINFORCEMENT ON THE SIDE
DEEP CRACK W/ GAP (WON’T
CLOSE)
NEEDS TO BE SPLINTED, REINFORCED & REFINISHED.
HUMP IN NECK @ BODY
FRET DRESSING FOR MILD HUMP
--
RE-FRET &/or FINGERBOARD LEVELING FOR SEVERE CASES
HIGH ACTION THAT CAN’T BE
ADJUSTED
BRIDGE AND SADDLE PROFILING FOR MILD CASE
--
NECK RESET FOR SEVERE CASE
HEEL SEPARATION FROM BODY
RESET NECK ON BETTER GUITARS. "SALVAGE" FIX ON CHEAP GUITARS INVOLVES PENETRATING GLUE AND A BOLT THROUGH HEEL AND NECKBLOCK, DISGUISED WITH A STRAP BUTTON.
FRETS BUZZING @ 1
st
POSITION
FRETS MAY BE WORN DEEPLY FROM HEAVY USE WITH OPEN CHORDS
–
NEEDS FRET DRESSING OR PARTIAL FRET REPLACEMENT
WON’T TUNE WELL
MAY NEED SADDLE SLOT FILLED & RE-CUT
--
MAY NEED GOOD SETUP
--
MAY NEED TUNERS TIGHTENED OR REPLACED OR INSTALLATION OF "INTONATED SADDLE"
2 of 3
Best Guitar for Country
If you are a guitarist who plays country music, how do you decide which guitar is best for you? You want a guitar with great tone, one that you can rely on through years of practice, rehearsals and gigs.
There are some big names that come to mind when trying to think up the perfect guitar for country, but there are also a few options out there that may surprise you, especially if you’re looking to save a dollar or two.
I think you can break the ideal country sound into two types. There is the traditional country twang, more indicative of classic country but still used today by a whole lot of guitarists. For this sound guitarists want to choose bright guitars made of tonewoods like alder. Single-coil pickups will get you the twangy and clucky sounds you are looking for.
Then there is the smooth, overdriven sound of southern rock, and for that you want a guitar that utilizes a warm tonewood like mahogany in its construction. Here you want to look for vintage-style humbuckers.
No matter which direction you go, the same universal truth applies in country as in every genre: Great guitar players make guitars sound great. Find an instrument you love and stick with it, and soon enough you’ll find your sound. Here are a few suggestions.
The Fender Telecaster
Any guitarists serous about country music should at least check out the Fender Telecaster. This is the icon guitar of the country music world, used by musicians going all the way back to its creation in the 1950s.
The Fender American Standard Telecaster is available with an either ash or alder body, and has two Fender single coil pickups, a maple neck with a rosewood or maple fingerboard, and a fixed bridge. It’s about as simple as a guitar can get, but the Telecaster tone is legendary.
Fender Deluxe Nashville Telecaster Electric Guitar, Maple Fingerboard - Honey Blonde
Fender Deluxe Nashville Telecaster Electric Guitar, Maple Fingerboard - Honey Blonde
With only two pickups you have three pickups configurations to choose from: Bridge, neck or both. The neck pickup is a bit glassy and perfect for playing clean or for bluesy soloing with a touch of overdrive.
Both pickups together will give you that vintage rock sound, very usable in a country setting. The bridge pickup sound is brighter, and this is where you’ll get the country twang you’re looking for.
Some Teles are hot-rodded or feature specialized components to help you create a unique sound. For example, the Deluxe Nashville Telecaster has a middle pickup like a Stratocaster, allowing you more sound possibilities than a traditional Tele.
If you are having trouble deciding between a Telecaster and a Strat the Nashville Telecaster might be the guitar for you!
The Telecaster is definitely in the traditional country guitar camp, and the Tele sound is almost synonymous with country music. However, the guitar is also versatile enough to let you dabble in blues and jazz without missing a beat. Even hard rock players have used the Telecaster over the years, usually with a humbucker in the bridge position.
If the American Telecaster is a bit too expensive, check out the Fender Standard Telecaster, a version of the Tele made in Mexico with slightly downgraded components. It’s still a Fender, and MIM guitars can be outstanding instruments even for professional musicians.
Keith Urban Talks Tele Love
The Fender Stratocaster
The Fender American Strat is another great option for the traditional country sound. Like the Tele, the Stratocaster has an alder body with a maple neck and either a maple or rosewood fingerboard. This combination makes for the snappy tone most traditional country players are looking for. On both the Stat and Tele the one-piece maple beck option will get you a brighter tone, where the rosewood fretboard will mellow things out a bit.
With three single-coil pickups and five pickup combinations the Stratocaster is versatile guitar that has made its mark in just about every genre of music. Of course it is well known in rock and blues, but the country player can get a lot out of the Strat as well.
Pickup selector positions 2, 3 and 4 in particular lend to some great country sounds, from twangy to chicken-pickin.
The neck pickup is smooth and rounded and sounds great with clean sounds and open chords. And, of course, the Strat shines when you add a little overdrive.
There’s a too, and it’s a lot easier on your wallet. Both the American and MIM versions are available with humbuckers in the bridge positions (HSS). This configuration will set you up a better if you are looking for a country rock sound, and a hotter pickup will push your amp harder.
Also note: Musicians who want a real American-made Fender Strat or Tele without the steep price tag ought to check out the American Special Series. These are guitars made the USA with different features than the American Standard Series.
Gibson Les Paul
Like the Stratocaster, the Les Paul has triumphed in every genre of music. Why should country be any different? But the Les Paul is a different kind of guitar. Here we’re getting into more of the country rock sound, made big by bands like Lynyrd Skynyrd and The Allman Brothers. Today, many country bands draw influence from this style of music, and some of the best country guitar tones come from a combination of smooth overdrive and Les Paul guitars.
Unlike the Strat and the Tele, the Les Paul is not a bright guitar. With a mahogany body and neck, it has a deep resonance and great sustain. Pair it with a Marshall or Fender tube amp and it's tone nirvana.
The bridge pickup on the Gibson Les Paul will give you that crunchy rhythm sounds you’re looking for in your chords, while the neck pickup is bassy and great for clean sounds or lead playing. Both pickups together make for a great jazz tone, warm but with just a little bite.
If you can’t manage the cash to spring for Gibson, you can look to Epiphone, a company owned by Gibson which builds Les Pauls to Gibson specs.
Epiphone Les Pauls are built overseas with downgraded components from their big brother Gibsons, but they are still great guitars for the money. In fact, if you play in some rough clubs you may prefer to bring your Epi to the show rather than an expensive Gibson. The Epi Les Paul might be a fraction of the cost, but like the Gibson they’ll get your that warm, resonant Les Paul tone.
The Gibson Les Paul Standard T
More Guitars
The three guitars listed above are pretty much no-brainers when it comes to guitars for country. But what about some other options for guitarists who like to march to a different drummer, go off the beaten path, take the road less traveled, or adhere to any number of other clichés?
There are a few interesting guitars out there you may not have considered. These instruments will make you stand out from the crowd, and maybe even save you a few bucks:
Ibanez AR Series: An Ibanez for country music? Ibanez guitars are known as great metal guitars, but before the RG and S series instruments took off in popularity there was the AR. Ibanez describes the guitar as classic, warm and versatile, and if you are looking for an option to fit those standards that doesn’t say Gibson on the headstock the AR might be the guitar for you.
G&L Guitars: G&L is a guitar company Leo Fender helped start back in 1970s. Leo Fender, if you don’t already know, is also the guy responsible for Fender guitars. That should tell you a little something about G&L design and quality. There are instruments simlar to Telecasters and Stratocasters in their lineup, and some that take those designs quite a bit further.
PRS Custom 24: PRS Guitars are some of the best in the industry, and the SE line is very affordable. The Custom 24 is built with a mahogany body and maple top, with a maple neck and rosewood fingerboard. This is a great-looking guitar that will put out some incredible tone.
Carvin Guitars: Carvin makes custom guitars and basses, and no matter what kind of tone or configuration you are looking for you can probably put together a guitar that meets your needs. You start with a basic body style, and add your choice of pickups, tonewoods, hardware and other materals. Definitely worth checking out.
Sometimes the Right Guitar Finds You
If you play a bunch of guitars, eventually you’ll find one that just seems right. Whether you are looking for the traditional country sounds, or the southern-rock tone, with a little patience you can find the right guitar for your needs and budget.
The Telecaster, Stratocaster and Les Paul are great choices, whether you go with the standard Fender and Gibson models, or choose the more budget-friendly MIM and Epiphone versions.
The Telecaster has that twangy country vibe, and many guitar players swear by it for their sound.
The Stratocaster has a tone all its own, that will take you from classic country to modern country rock with the flip of the 5-way switch.
The Les Paul nails that thick southern rock sound, and many guitar players rely on it for traditional country as well.
But you may want to dig a little deeper in your search, and see if you can find a unique guitar from a lesser-known manufacturer.
There is no wrong answer. Keep on playing until you find your sound.
Good luck in your search for the best guitar for country music.
Best Blues Guitar
Play the Blues on Your Guitar
If you’ve got the blues you need to express yourself on the guitar. There’s really no two ways about it. You can sit around the house and mope, but it probably isn’t going to make you feel any better. And your buddies will eventually get sick of listening to you.
You may as well make some music.
Indeed, some of the best music in the world has come straight from the souls of guitar players who’d been wronged by a friend, lost a woman, got fired from their job, been kicked out of their house, or any combination of these and other ill-fated personal fiascos.
So, what’d they do about it? They grabbed a guitar and played the blues!
In the old days, most blues musicians built their guitars from old pieces of metal and wood they found alongside the train tracks. Today, you are fortunate have many amazing guitars to choose from.
This article will cover some of the more popular options from the top guitar brands in the business. I'll also try to keep you down to a reasonable cost. That thing about the train tracks may have been a joke (you knew that, right?) but blues guitar really is about simple, honest music, not fancy guitars.
You don’t need an instrument that costs more than your car. The music will come from your hands, and your heart. The guitar is just the tool you use to bring it to the people.
The guitars in this review don’t just serve as great blues guitars, they’ll carry you through any style of rock music. Playing blues today usually means you’re playing it in the context of some form of rock. The blues is what led to the birth of rock ‘n’ roll, and the two are forever intertwined.
Will you feel better if you play blues on your guitar? Well, blues guitarists who get recording contracts and go on to sell thousands of records almost always feel a little better. But even if you don’t you’re still making music, and any day when you play guitar is better than one you don’t.
On to the gear!
Fender Stratocaster
The Fender Stratocaster is likely first on any list you’ll find of best blues guitars. There’s good reason for it. I’ll admit I’m a Strat guy, so maybe I’m a bit biased, but to me the Fender Stratocaster is about as good as it gets for blues and rock.
Normally when I review guitars I go on and on about tonewoods, construction techniques and hardware, but let’s skip all of that here. The bottom line when it comes to picking a guitar for blues is this: Does it have the mojo, or doesn’t it? The Strat is a perfect ten on the Mojo Meter, and here’s why:
Fender Standard Stratocaster, Maple Fretboard - Brown Sunburst
Fender Standard Stratocaster, Maple Fretboard - Brown Sunburst
As you probably know, standard Stratocasters have a 5-way pickup selector switch. That’s five different pickup combinations, and each has its own unique sound. From the glassy, round tones of the neck pickup, to the treble rip of the bridge pickup, to the jazzy tones of the middle, and all the quacky, chicken-pickin’ sounds in between, the Strat has an arsenal of great sounds that work well for blues and rock.
To hear the versatility of the Strat in action when it comes to blues, check out the music of Stevie Ray Vaughan. Vaughan switched pickups in mid-song, and sometimes in mid-passage, subtly altering his tone and the vibe of his playing. The Stratocaster is a very versatile guitar for blues, and for this reason it’s high up on the list of best blues guitars.
If you feel you must drop the cash on an American Strat by all means don’t let me stop you. They’re worth every penny, and you won’t regret it. But the Standard, MIM Stratocasters sound great, and they cost about half of what you’d pay for an American version. If you play blues, this is a solid choice.
Gibson Les Paul
Like the Stratocaster, the Gibson Les Paul is off the chart on the Mojo Meter. But this is a different beasty than the Strat, with different sounds and a whole different vibe. The Les Paul is a heavy guitar, built from resonant tonewoods.
But I said I wasn’t going to talk about wood, didn’t I? Instead let me say this: Where the Strat rips, the Les Paul growls. Where the Strat is glassy, the Les Paul is bassy and smooth. Where the Strat is jazzy, the Les Paul is even more jazzy.
Epiphone Les Paul STANDARD PLUS-TOP PRO Electric Guitar with Coil-Tapping, Honey Burst
Epiphone Les Paul STANDARD PLUS-TOP PRO Electric Guitar with Coil-Tapping, Honey Burst
So what the heck does all that mean? For one, it means if you’re looking for a warm overdriven tone the Les Paul may be the right guitar for you. Because a Strat has single-coil pickups it doesn’t push your amp as hard compared to the humbuckers on a Les Paul.
If you play through a high-gain amp you probably don’t care, but most blues players use something that requires a little push to break it up. The Les Paul has that push. If your idea of blues is more Allman Brothers or Skynard than SRV this might appeal to you.
If you like a side of hard rock served along with your blues, the Les Paul will certainly get the job done.
But, like the host of that Dirty Jobs show, the Les Paul cleans up nicely when necessary. Clean sounds are full and warm, and those who play a slicker style of blues will find a lot of use for the neck and middle pickup positions.
Again, if you have a couple of thousand dollars and feel like grabbing yourself a Gibson Les Paul Standard I won’t be the one to stand in your way. But if you want to save a whole bunch of money you can go with an Epiphone Les Paul instead.
Or, check out the Gibson Les Paul Studio Faded T. It’s a bare-bones, real-deal Les Paul for about a third of what you’d pay for a Standard. With its rugged look it seems made for the blues.
More on the Epiphone Les Paul Standard PlusTop PRO
Fender Telecaster
I’ll be honest: I’ve always had mixed feelings about the Fender Telecaster when it comes to blues. Don’t get me wrong; I love the Telecaster, but to me it has more of a country vibe. But many guitarists swear by it, and it worked okay for the Karate Kid in that movie, so my bias aside I’d still say it’s worth a look.
Fender Standard Telecaster HH Olympic White Solid-Body Electric Guitar
Fender Standard Telecaster HH Olympic White Solid-Body Electric Guitar
A standard Tele has two pickups, one at the bridge and one at the neck. Tones are clucky and brittle, perfect for that country twang and even strumming rock chords, but for blues?
You’ll have to decide how the Tele sound matches up with what you’ve got going on in your head, but for me, if I were thinking of a Telecaster for blues, I’d probably be looking at something with double humbuckers. The Fender Standard Telecaster HH is one such critter.
At the risk of oversimplifying things, the HH Tele will put you somewhere between a Strat and Les Paul. It has hotter pickups, so it pushes your amp harder. It’s made from alder and maple, similar to a Strat, so you get some of that Strat airiness.
With that in mind, remember each guitar has a sound all its own, and the HH Tele can’t sound like anything but itself.
Now, I know I’m going to get at least one comment that says, “Aw, dude, you don’t know what you’re talking about! I’ve been using a stock Telecaster for blues for fifty years and I turned out okay!”
Fine. Telecasters have been used for decades in every imaginable style of music, and I recognize this. If a Standard Tele does it for you tone-wise, there’s definitely nothing wrong with that. But these reviews aren’t worth much if I don’t give my personal opinion, and my opinion is, for blues, I’d rather have a Tele with a couple of humbuckers.
Of course the choice it up to you!
The Fender HH Standard Telecaster
Epiphone Dot
You probably know that Epiphone is a company owned by Gibson. They make authorized copies of many Gibson models for a much lower price, and Epiphone guitars are great mid-level guitars for those who can’t justify the madness of spending a month’s salary on a guitar.
But you may not know that Epiphone was once a company all of its own, and one of Gibson’s biggest competitors. Gibson eventually crushed them and bought them up (it is the American way), but back in the day Epiphone made some amazing archtop guitars. When it comes to semi-hollow designs Epi really seems to know what they are doing, just like the old days.
Epiphone DOT ES Style Semi-Hollowbody Electric Guitar, Cherry Red
Epiphone DOT ES Style Semi-Hollowbody Electric Guitar, Cherry Red
The Dot is based on the classic Gibson ES-335 design, and if you know what the 335 looks like a pretty famous bluesman likely comes to mind. B.B. King is one of the most respected blues guitarists of all time, and his guitar named Lucille is kinda famous too. (On a side note, if you’re going to play blues it’s never a bad idea to name your guitars.)
King’s Lucille isn’t exactly the same as a stock ES-335, but the same vibe you’ll hear in King’s music comes through in the Epiphone Dot.
All that is a round-about way of saying you can expect some smooth, woody, natural sounds from the Dot, if that’s what you’re looking for. Dial back the distortion, tune in to that neck pickup and go for it.
On the other hand, semi-hollow designs can have a wonderful vintage grittiness about them in higher-gain settings. Think George Thorogood and the Destroyers.
Gibson makes a whole bunch of incredible semi-hollow designs, but of course they have a steep price tag that comes along with them. The Epiphone Dot is an affordable guitar that continuously gets positive reviews for sound and quality. The semi-hollow thing may not be for everyone, but if you’re thinking about taking the plunge the Dot is a great way to start.
Which Guitar for Blues?
You’ve read about four very different guitars, each with its unique vibe. Every guitar mentioned here will work for blues, so it really comes down to your vision of what you want out of your instrument. Only you can figure that out.
Epiphone Dot - Ebony
Epiphone Dot - Ebony
Maybe you already know, but if not a great way to sort it all out is to listen to your favorite guitar players and figure out what kind of guitars they use. Really dial in to how they are using the different pickup settings, what kind of amps and effects they use, and even how their playing style influences the guitar’s tone.
For example, just using a couple of players mentioned in this article: If you listen to SRV on record it really sounds like his Strat is screaming, and you may be thinking he's using super-hot pickups. When you watch live recordings it’s obvious he’s getting that sound by employing a very aggressive and unique picking style.
Compare that to the efficient picking style of B.B. King, and the warm, smooth sounds he pulls out of his guitar. Sure, gear matters. But when it comes to tone, a lot of it really is in your hands.
And if you’re playing the blues it comes from inside you as well. Hopefully this article helped you find the right instrument to bring it out so people can hear it. If you’ve got the blues, play your guitar.
If you’ve got the blues you need to express yourself on the guitar. There’s really no two ways about it. You can sit around the house and mope, but it probably isn’t going to make you feel any better. And your buddies will eventually get sick of listening to you.
You may as well make some music.
Indeed, some of the best music in the world has come straight from the souls of guitar players who’d been wronged by a friend, lost a woman, got fired from their job, been kicked out of their house, or any combination of these and other ill-fated personal fiascos.
So, what’d they do about it? They grabbed a guitar and played the blues!
In the old days, most blues musicians built their guitars from old pieces of metal and wood they found alongside the train tracks. Today, you are fortunate have many amazing guitars to choose from.
This article will cover some of the more popular options from the top guitar brands in the business. I'll also try to keep you down to a reasonable cost. That thing about the train tracks may have been a joke (you knew that, right?) but blues guitar really is about simple, honest music, not fancy guitars.
You don’t need an instrument that costs more than your car. The music will come from your hands, and your heart. The guitar is just the tool you use to bring it to the people.
The guitars in this review don’t just serve as great blues guitars, they’ll carry you through any style of rock music. Playing blues today usually means you’re playing it in the context of some form of rock. The blues is what led to the birth of rock ‘n’ roll, and the two are forever intertwined.
Will you feel better if you play blues on your guitar? Well, blues guitarists who get recording contracts and go on to sell thousands of records almost always feel a little better. But even if you don’t you’re still making music, and any day when you play guitar is better than one you don’t.
On to the gear!
Fender Stratocaster
The Fender Stratocaster is likely first on any list you’ll find of best blues guitars. There’s good reason for it. I’ll admit I’m a Strat guy, so maybe I’m a bit biased, but to me the Fender Stratocaster is about as good as it gets for blues and rock.
Normally when I review guitars I go on and on about tonewoods, construction techniques and hardware, but let’s skip all of that here. The bottom line when it comes to picking a guitar for blues is this: Does it have the mojo, or doesn’t it? The Strat is a perfect ten on the Mojo Meter, and here’s why:
Fender Standard Stratocaster, Maple Fretboard - Brown Sunburst
Fender Standard Stratocaster, Maple Fretboard - Brown Sunburst
As you probably know, standard Stratocasters have a 5-way pickup selector switch. That’s five different pickup combinations, and each has its own unique sound. From the glassy, round tones of the neck pickup, to the treble rip of the bridge pickup, to the jazzy tones of the middle, and all the quacky, chicken-pickin’ sounds in between, the Strat has an arsenal of great sounds that work well for blues and rock.
To hear the versatility of the Strat in action when it comes to blues, check out the music of Stevie Ray Vaughan. Vaughan switched pickups in mid-song, and sometimes in mid-passage, subtly altering his tone and the vibe of his playing. The Stratocaster is a very versatile guitar for blues, and for this reason it’s high up on the list of best blues guitars.
If you feel you must drop the cash on an American Strat by all means don’t let me stop you. They’re worth every penny, and you won’t regret it. But the Standard, MIM Stratocasters sound great, and they cost about half of what you’d pay for an American version. If you play blues, this is a solid choice.
Gibson Les Paul
Like the Stratocaster, the Gibson Les Paul is off the chart on the Mojo Meter. But this is a different beasty than the Strat, with different sounds and a whole different vibe. The Les Paul is a heavy guitar, built from resonant tonewoods.
But I said I wasn’t going to talk about wood, didn’t I? Instead let me say this: Where the Strat rips, the Les Paul growls. Where the Strat is glassy, the Les Paul is bassy and smooth. Where the Strat is jazzy, the Les Paul is even more jazzy.
Epiphone Les Paul STANDARD PLUS-TOP PRO Electric Guitar with Coil-Tapping, Honey Burst
Epiphone Les Paul STANDARD PLUS-TOP PRO Electric Guitar with Coil-Tapping, Honey Burst
So what the heck does all that mean? For one, it means if you’re looking for a warm overdriven tone the Les Paul may be the right guitar for you. Because a Strat has single-coil pickups it doesn’t push your amp as hard compared to the humbuckers on a Les Paul.
If you play through a high-gain amp you probably don’t care, but most blues players use something that requires a little push to break it up. The Les Paul has that push. If your idea of blues is more Allman Brothers or Skynard than SRV this might appeal to you.
If you like a side of hard rock served along with your blues, the Les Paul will certainly get the job done.
But, like the host of that Dirty Jobs show, the Les Paul cleans up nicely when necessary. Clean sounds are full and warm, and those who play a slicker style of blues will find a lot of use for the neck and middle pickup positions.
Again, if you have a couple of thousand dollars and feel like grabbing yourself a Gibson Les Paul Standard I won’t be the one to stand in your way. But if you want to save a whole bunch of money you can go with an Epiphone Les Paul instead.
Or, check out the Gibson Les Paul Studio Faded T. It’s a bare-bones, real-deal Les Paul for about a third of what you’d pay for a Standard. With its rugged look it seems made for the blues.
More on the Epiphone Les Paul Standard PlusTop PRO
Fender Telecaster
I’ll be honest: I’ve always had mixed feelings about the Fender Telecaster when it comes to blues. Don’t get me wrong; I love the Telecaster, but to me it has more of a country vibe. But many guitarists swear by it, and it worked okay for the Karate Kid in that movie, so my bias aside I’d still say it’s worth a look.
Fender Standard Telecaster HH Olympic White Solid-Body Electric Guitar
Fender Standard Telecaster HH Olympic White Solid-Body Electric Guitar
A standard Tele has two pickups, one at the bridge and one at the neck. Tones are clucky and brittle, perfect for that country twang and even strumming rock chords, but for blues?
You’ll have to decide how the Tele sound matches up with what you’ve got going on in your head, but for me, if I were thinking of a Telecaster for blues, I’d probably be looking at something with double humbuckers. The Fender Standard Telecaster HH is one such critter.
At the risk of oversimplifying things, the HH Tele will put you somewhere between a Strat and Les Paul. It has hotter pickups, so it pushes your amp harder. It’s made from alder and maple, similar to a Strat, so you get some of that Strat airiness.
With that in mind, remember each guitar has a sound all its own, and the HH Tele can’t sound like anything but itself.
Now, I know I’m going to get at least one comment that says, “Aw, dude, you don’t know what you’re talking about! I’ve been using a stock Telecaster for blues for fifty years and I turned out okay!”
Fine. Telecasters have been used for decades in every imaginable style of music, and I recognize this. If a Standard Tele does it for you tone-wise, there’s definitely nothing wrong with that. But these reviews aren’t worth much if I don’t give my personal opinion, and my opinion is, for blues, I’d rather have a Tele with a couple of humbuckers.
Of course the choice it up to you!
The Fender HH Standard Telecaster
Epiphone Dot
You probably know that Epiphone is a company owned by Gibson. They make authorized copies of many Gibson models for a much lower price, and Epiphone guitars are great mid-level guitars for those who can’t justify the madness of spending a month’s salary on a guitar.
But you may not know that Epiphone was once a company all of its own, and one of Gibson’s biggest competitors. Gibson eventually crushed them and bought them up (it is the American way), but back in the day Epiphone made some amazing archtop guitars. When it comes to semi-hollow designs Epi really seems to know what they are doing, just like the old days.
Epiphone DOT ES Style Semi-Hollowbody Electric Guitar, Cherry Red
Epiphone DOT ES Style Semi-Hollowbody Electric Guitar, Cherry Red
The Dot is based on the classic Gibson ES-335 design, and if you know what the 335 looks like a pretty famous bluesman likely comes to mind. B.B. King is one of the most respected blues guitarists of all time, and his guitar named Lucille is kinda famous too. (On a side note, if you’re going to play blues it’s never a bad idea to name your guitars.)
King’s Lucille isn’t exactly the same as a stock ES-335, but the same vibe you’ll hear in King’s music comes through in the Epiphone Dot.
All that is a round-about way of saying you can expect some smooth, woody, natural sounds from the Dot, if that’s what you’re looking for. Dial back the distortion, tune in to that neck pickup and go for it.
On the other hand, semi-hollow designs can have a wonderful vintage grittiness about them in higher-gain settings. Think George Thorogood and the Destroyers.
Gibson makes a whole bunch of incredible semi-hollow designs, but of course they have a steep price tag that comes along with them. The Epiphone Dot is an affordable guitar that continuously gets positive reviews for sound and quality. The semi-hollow thing may not be for everyone, but if you’re thinking about taking the plunge the Dot is a great way to start.
Which Guitar for Blues?
You’ve read about four very different guitars, each with its unique vibe. Every guitar mentioned here will work for blues, so it really comes down to your vision of what you want out of your instrument. Only you can figure that out.
Epiphone Dot - Ebony
Epiphone Dot - Ebony
Maybe you already know, but if not a great way to sort it all out is to listen to your favorite guitar players and figure out what kind of guitars they use. Really dial in to how they are using the different pickup settings, what kind of amps and effects they use, and even how their playing style influences the guitar’s tone.
For example, just using a couple of players mentioned in this article: If you listen to SRV on record it really sounds like his Strat is screaming, and you may be thinking he's using super-hot pickups. When you watch live recordings it’s obvious he’s getting that sound by employing a very aggressive and unique picking style.
Compare that to the efficient picking style of B.B. King, and the warm, smooth sounds he pulls out of his guitar. Sure, gear matters. But when it comes to tone, a lot of it really is in your hands.
And if you’re playing the blues it comes from inside you as well. Hopefully this article helped you find the right instrument to bring it out so people can hear it. If you’ve got the blues, play your guitar.
Best Hollow-Body Jazz Boxes or Guitars Under $1000
Problem Diagnosis and Cure
HIGH ACTION
TOO MUCH NECK RELIEF, NUT SLOTS NOT DEEP ENOUGH, BRIDGE/SADDLES TOO HIGH, OR ANY COMBINATION OF THESE
LOW ACTION, NOTES BUZZING
NECK IS BACK-BOWED, NUT SLOTS TOO DEEP, BRIDGE/SADDLES TOO LOW, OR ANY COMBINATION OF THESE
.
MAY NEED FRETWORK TO MAINTAIN CLEAN PLAYING IF YOU WANT TO KEEP LOW ACTION.
ELECTRICS NOT WORKING (ELECTRIC)
BROKEN CONNECTION @ JACK, FAULTY SWITCH, SHORT IN WIRING, POOR SOLDER JOINT.
ELECTRICS NOT WORKING (ACOUSTIC)
BROKEN CONNECTION @ JACK, DEAD BATTERY, SHORT @ BATTERY CAP, BROKEN PICKUP, CONTROLS NEED CLEANING.
TREMOLO BRIDGE GUITAR -
WON’T STAY IN TUNE OR CAN’T INTONATE
WORN OR LOOSE LOCKNUT, GUITAR NECK IS LOOSE, TREMOLO BRIDGE PINS DRIFTING, STRINGS PINCHING IN NUT, TOO MUCH DRAG THROUGH NUT AND STRING TREES.
SCRATCHY SOUND WHEN KNOBS TURNED
CONTROLS NEED CLEANING OR REPLACEMENT.
GETS BUZZY IN SUMMER/ HARD TO PLAY IN WINTER
GUITAR IS HUMIDITY SENSITIVE AND REQUIRES SEASONAL MAINTENANCE, ESPECIALLY TRUSS ROD ADJUSTMENT.
PICKUPS HUM
POOR OR NO GROUND CONNECTION, SINGLE COIL P-U 60 CYCLE NOISE IS ACCENTUATED WITH HIGH-GAIN AMP SETTINGS, SHIELDING MAY BE REQUIRED, HUM-CANCELING P-
U’s MAY NEED TO BE INSTALLED.
PICKUPS SQUEAL / SCREECH
THIS IS MICROPHONIC NOISE AND HAS AN ABRUPT & UNCONTROLLABLE THRESHOLD. OCCURS COMMONLY IN OLD AND/OR SINGLE COIL P-
U’s. P
-
U’s MAY NEED TO BE WAX
DIPPED (POTTED) OR REPLACED.
INTERMITTENT SIGNAL / CUTS OUT
BAD SOLDER CONNECTION OR SWITCH, HOT CIRCUIT MAY BE TOUCHING GROUND WIRE SOMEWHERE IN CONTROLS, CORRODED JACK CONTACTS.
VOLUME CONTROL INEFFECTIVE/ CUTS OUT TOO QUICKLY
CONTROL WILL NEED REPLACEMENT OR "TONE CIRCUIT" MODIFICATION. A LINEAR POTENTIOMETER INSTEAD OF USUAL AUDIO POT MAY BE DESIRED.
BUZZING / DEAD NOTES ON NECK
TRUSS ROD TOO TIGHT, WORN FRETS, POOR SET-UP, POOR FRETWORK FROM FACTORY. WILL NEED SET-UP OR FRET WORK.
FINGER NOISE ON STRINGS
STRINGS ARE OLD AND TARNISHED OR RUSTED, FRETS NEED CLEANING & POLISHING, FLAT OR SEMI-FLAT WOUND STRINGS MAY BE DESIRED.
STRING ENDS STUCK IN TREMOLO BRIDGE
CLAMP BLOCKS HAVE BEEN OVER TIGHTENED AND ARE SPLIT AND SPREAD, LOCKING SCREWS ARE STRIPPING AND JAMMED FROM OVER-TIGHTENING. IN STANDARD TREM BRIDGES, THE HOLES MAY BE TOO SMALL FOR THE STRING BALLS. HOLES WILL NEED TO BE ENLARGED.
STRINGS BREAK AT HEAD
STRING IS PINCHED IN NUT SLOT, SHARP BURR @ TENSION BAR, STRING TREES, OR HOLES IN STRING POSTS.
STRINGS BREAK AT BRIDGE
SADDLES WORN, SHARP BURR AT SADDLES OR STRING ANCHOR POINT. SADDLE CROWN TOO STEEP OR SHARP.
STRINGS BREAK IN MIDDLE
WORN OR SHARP FRETS; "DING" IN FRETS; STRINGS TOO OLD
–
MORE FREQUENT STRING REPLACEMENT REQUIRED.
STRAP BUTTON LOOSE
STRIPPED OR WORN SCREW HOLE. HOLE NEEDS TO BE PLUGGED (WITH WOOD) AND RE-DRILLED.
AWKWARD CONTROL PLACEMENT OR FEW CONTROL OPTIONS
GUITAR CAN BE REWIRED TO SUIT NEEDS OF PLAYER.
SIGNAL BREAKS UP
BAD SOLDER CONNECTION, FAULTY SWITCH, HOT/GROUND SHORT AGGRAVATED BY VIBRATIONS IN GUITAR. WEAK BATTERY (ACTIVE SYSTEMS)
CRACKED OR BROKEN NECK
DON’T FIX IT
YOURSELF!!!!! NOTHING IS HARDER TO FIX THAN A BAD REPAIR. THIS IS OFTEN AN INEXPENSIVE REPAIR EXCEPT FOR REFINISHING THE DAMAGED AREA ON MORE EXPENSIVE INSTRUMENTS WITH COLORED PAINT.
OPEN STRING TWANGS IN NUT
NUT SLOT TOO WIDE, NOT ENOUGH BACK TENSION BEHIND NUT, NUT SLOT CUT TOO LOW.
BROKEN OR CHIPPED NUT
THIS CAN OFTEN BE REPAIRED WITH "DENTAL" STYLE FILLING AND RE-CUTTING, OTHERWISE NUT REPLACEMENT IS REQUIRED.
CONVERT
RIGHT
HANDED GUITAR FOR
LEFT
HANDED PLAYER
MAY NEED ADJUSTMENT OF SADDLE(s), BRIDGE, PICKGUARD, &/or CONTROLS. NUT WILL NEED RESLOTTING OR REPLACEMENT. DIFFICULTY OF WORK DEPENDS ON GUITAR. CRACK IN FACE OR SIDE
NEEDS CAREFUL GLUE, CLAMP, REFINISH AND REINFORCEMENT ON THE SIDE
DEEP CRACK W/ GAP (WON’T
CLOSE)
NEEDS TO BE SPLINTED, REINFORCED & REFINISHED.
HUMP IN NECK @ BODY
FRET DRESSING FOR MILD HUMP
--
RE-FRET &/or FINGERBOARD LEVELING FOR SEVERE CASES
HIGH ACTION THAT CAN’T BE
ADJUSTED
BRIDGE AND SADDLE PROFILING FOR MILD CASE
--
NECK RESET FOR SEVERE CASE
HEEL SEPARATION FROM BODY
RESET NECK ON BETTER GUITARS. "SALVAGE" FIX ON CHEAP GUITARS INVOLVES PENETRATING GLUE AND A BOLT THROUGH HEEL AND NECKBLOCK, DISGUISED WITH A STRAP BUTTON.
FRETS BUZZING @ 1
st
POSITION
FRETS MAY BE WORN DEEPLY FROM HEAVY USE WITH OPEN CHORDS
–
NEEDS FRET DRESSING OR PARTIAL FRET REPLACEMENT
WON’T TUNE WELL
MAY NEED SADDLE SLOT FILLED & RE-CUT
--
MAY NEED GOOD SETUP
--
MAY NEED TUNERS TIGHTENED OR REPLACED OR INSTALLATION OF "INTONATED SADDLE"
2 of 3
Top Guitars for Jazz
Choosing the best guitar for jazz is paramount to a musician’s success. Next to classical music, jazz is the discipline that asks the most of a guitar player when it comes to skill and musical aptitude. Sure, there are many guitarists in rock, country and blues who have some incredible chops, but there are also those who have managed to rise to the top with limited musical ability.
In jazz that just isn’t possible, and if you want to succeed as a guitar player you’d better know what you are doing. It takes a heck of a lot of work to be a good jazz guitarist.
Just as jazz guitarists demand a lot of themselves, they demand a lot of their guitars. The right guitar will sound great, feel right in your hands, have the durability to stand up to endless hours of practice, rehearsals and shows, and it doesn’t hurt if it looks good too.
Truly, if you are a connoisseur of the electric guitar, you’ll find few things more beautiful than a well-made hollow-body guitar. That is, after all, where it all began, long before Leo Fender dreamed up that wild-looking solid-body thing many of us play today.
This article will look and some of the best jazz guitar options out there today, from some of the top builders in the guitar world. If you’re on the hunt for a new instrument, hopefully this page can help you out. But you can really bust up your wallet on a new semi-hollow-body guitar.
There are some beautiful instruments out there, true works of art that are worth every penny. But I’m guessing your budget is somewhat like mine, so I’ll try to keep things under a grand. Really, here we are looking for the best jazz guitar under $1000.
On to the gear!
What to Look for in a Jazz Guitar
Anyone who has read my posts here knows I am more of a rock guitarist than anything else. But I’ve dabbled in jazz through the years, and fought my way through a few fake books. I also worked with senior citizens for a while, where I was introduced to a lot of big-band music. From there I explored musicians like Charlie Christian and Wes Montgomery, and eventually got into more modern jazz.
No matter what you consider your main style, I think it is important for guitarists to examine other forms of music. My overview of jazz definitely helped me to mentally construct an idea of what great jazz tone ought to sound like. Words like warm, round, clear and woody come to mind. Unlike with rock or even blues where an overdriven tone can add character, for jazz I’d prefer crystal-clear sounds. I want to hear the detail in every note.
When I started to do some research I was surprised at how some of these guitar builders are achieving that sound. I had considered something like a Gibson Les Paul to be a pretty good option for jazz, with its resonant all-mahogany construction.
Like the Les Paul I expected to see a lot of mahogany, but these classic, hollow-body instruments rely on lighter tonewoods like maple to bring clarity to the notes, and utilize warmer tonewoods like mahogany and rosewood in the necks, sides and fingerboards.
In this way, they are constructed more like acoustic guitars. This makes sense, when you think about it, given the evolution of the electric guitar.
But what really matters is that you get the sound you’re looking for. Heck, you can use a Fender Stratocaster for jazz if it floats your boat, and many people have, but if you really want that round, bassy, classic jazz tone look to hollow-body, semi-acoustic guitars.
Here are five of the top jazz guitar choices I’ve found.
Washburn Jazz Series J600K
If you know anything about guitars, you know Washburn makes good stuff. From acoustics, to bass guitars, to solid-body electrics, their instruments tend to be affordable and high quality. The J600K is a yet another example of this. It is a gorgeous instrument with classic styling and incredible detail. It might just be the best looking guitar in this review. But, of course, how it sounds is really what matters.
The J600K really nails that old-school jazz box vibe, with crisp, clean articulation and just the right warmth. It only has one pickup, but it’s placed in the perfect spot to get the full fatness of the strings as they ring. It’s a really cool guitar that sounds amazing, and won’t break the bank.
Washburn J600k Vintage Jazz Electric Guitar (Hardshell Case Included!)
Washburn J600k Vintage Jazz Electric Guitar (Hardshell Case Included!)
Body: Spruce top, Flame Maple Back and Sides
Neck: Hard Maple
Fingerboard: Rosewood
Electronics: Vintage Mini Humbucker
Bridge: Adjustable Ebony Bridge with Bone Saddle.
Additional Features: Vintage Matte Finish, Distressed Brass Hardware, Grover Tuners, Mother of Pearl Block Inlays.
Hear the Washburn J600K
Epiphone Broadway
You probably know Epiphone is a company owned by Gibson, and that they build guitars based on Gibson’s original designs. Their versions of the Les Paul, SG and other Gibson classics are solid choices for musicians on a budget, who want the sound and feel of a real Gibson guitar without the cost.
Epiphone BROADWAY Classic Hollow Body Electric Guitar
Epiphone BROADWAY Classic Hollow Body Electric Guitar
But you may not realize that Epiphone was once Gibson’s biggest competitor, and has a legacy of producing amazing arch-top guitars all their own. Gibson bought up Epiphone in the late ‘50s, but Epi retains a reputation for great hollow-body guitars, even among professional musicians.
The Broadway is a hollow-body guitar by Epiphone with a legacy dating back to 1931. It’s a beautiful guitar, surprisingly affordable, and high up on the list of guitars you need to check out as a jazz musician.
Body: Maple with a Spruce Top.
Neck: Maple
Fingerboard: Rosewood with Abalone Block Inlays
Electronics: Alnico Classic Humbuckers, Two Volume and Two Tone Controls, 3-way switch
Bridge: Floating Rosewood Bridge with Frequensator Tailpiece.
Additional Features: Gold Hardware; Tortoise-shell Pickguard
Ibanez Artcore AF Series
Ibanez guitars have been the weapons of choice for shredders and metalheads since the 1980s, but Ibanez also has a little secret. With their Artcore lineup they produce some of the best, and most affordable, hollow-body guitars out there.
They are a great choice for jazz, and will nail those warm tones you are looking for. It’s not surprising, since Ibanez is a company that made their mark in the ‘70s producing some classic-looking instruments before branching off with their own designs.
The Ibanez Artcore AF series guitars are hollow-body instruments that look like they came straight out of the 1940s. If an affordable, hollow-body jazz box is what you’re looking for, this might be your ticket. The AF75TDG is an example of a beautiful guitar with classic styling and modern Ibanez appointments.
Ibanez AF75TDGIV AF Series Vintage Vibrato Electric Guitar, Ivory
Ibanez AF75TDGIV AF Series Vintage Vibrato Electric Guitar, Ivory
Body: Maple top, Back and Sides.
Neck: Mahogany Set Neck.
Fingerboard: Bound Rosewood with Block Inlays.
Electronics: ACH1/2 Passive Ceramic Pickups with Two Volume, Two Tone and Three-way Switch.
Bridge: Art-2 Roller Bridge with Vibrato Tailpiece.
Additional Features: Gold Hardware
Godin 5th Avenue CW Kingpin II
Godin guitars are made in North America, and feature some innovative and forward-thinking design concepts. The 5th Avenue Series incorporates old-school jazz styling with modern playability and technology. The basic 5th Avenue is an acoustic guitar reminiscent of big-band days.
You know, before electricity, at least as far as we guitarists are concerned. The Kingpin in a rendition of the 5th Avenue with a single P90 pickup in the bridge position. Both are great options for jazz guitar players.
The 5th Avenue CW Kingpin takes things a step further, with a double-cutaway design and dual pickups. It’s a versatile guitar, great for jazz, but can also stretch out to other genres like blues, rockabilly and country.
Godin 5th Avenue CW Electric Guitar (Kingpin II, Cognac Burst)
Godin 5th Avenue CW Electric Guitar (Kingpin II, Cognac Burst)
Body: Canadian Wild Cherry Back and Sides
Neck: Silverleaf Maple
Fingerboard: Rosewood
Electronics: Two Godin Kingpin P90 Single-Coil Pickups, One Volume, One Tone, Three-Way Switch.
Bridge: Graphtec Adjustable Tusq Bridge
Additional Features: Cream Binding, Custom Polished Finish
More on the Godin 5th Avenue Kingpin II
Gretsch G5420T Electromatric
The Gretsch White Falcon is one of the best guitars ever made, and has reached almost mythical status. The White Falcon would certainly be at the top of any list of best guitars, but then again I did promise to keep you under a $1000.
Fear not, Gretsch makes some great guitars that follow in the footsteps of the White Falcon and won’t have you missing your mortgage payment. The Electromatic Series features more affordable guitars, with the same incredible Gretsch sound and style.
The G5420 is a flexible guitar that will grab those clean, jazzy tones you are looking for, but also have the guts needed for a little overdrive. The pickups are perhaps a bit brighter, hotter and twangier than other guitars in this review, and if you dabble in country or vintage rock sounds you may appreciate them.
Gretsch G5420T Electromatic Single Cutaway Hollow Body Guitar - Black
Gretsch G5420T Electromatic Single Cutaway Hollow Body Guitar - Black
Body: 3-Ply Maple
Neck: Maple
Fingerboard: Rosewood
Electronics: Two Black Top Filter’Tron Humbuckers, Three-Way Toggle, Volume for Neck, Volume for Bridge, Master Volume
Bridge: Rosewood-Based Adjusto-Matic with Bigsby-Licensed B60 Vibrato
Additional Features: Bound Body, Sound Holes and Fingerboard, Block Inlays.
Which Guitar Should You Choose?
Writing this post was one of the most enjoyable projects I’ve done in a long while. I’m getting a little out of my element with the jazz thing, but I wanted to address it since it’s about the only style I haven’t covered yet.
Gretsch G5420T Electromatric - Sunburst
Gretsch G5420T Electromatric - Sunburst
The research was interesting, and I learned a thing or two in the process. Some guitars I thought I’d include in the beginning ended up thrown out, and I discovered others that really impressed me. So, which would I choose?
I really like the Washburn J600K. It sounds closest to that perfect jazz tone I hear in my head, and I love the looks of the instrument. If I wanted a pure jazz box, this would probably be my choice. The Godin, too, fills this bill nicely, and has the added benefit of another pickup.
If I knew I’d be stretching out into other genres, especially ones that required some overdrive, I’d be thinking about the Gretsch. The humbuckers with the hollow-body design really make this thing sing.
Ibanez makes great guitars, and I’ve owned enough of them to know you can count on them when you need them. Epiphone has a powerful legacy behind it, and the Broadway is an exceptional instrument.
Thankfully, I don’t have to choose! But you might. Check out these guitars and see what you think. If you can suggest any other outstanding jazz guitars let me know in the comments, and I’ll look them over and consider adding them to the list.
Problem Diagnosis and Cure
HIGH ACTION
TOO MUCH NECK RELIEF, NUT SLOTS NOT DEEP ENOUGH, BRIDGE/SADDLES TOO HIGH, OR ANY COMBINATION OF THESE
LOW ACTION, NOTES BUZZING
NECK IS BACK-BOWED, NUT SLOTS TOO DEEP, BRIDGE/SADDLES TOO LOW, OR ANY COMBINATION OF THESE
.
MAY NEED FRETWORK TO MAINTAIN CLEAN PLAYING IF YOU WANT TO KEEP LOW ACTION.
ELECTRICS NOT WORKING (ELECTRIC)
BROKEN CONNECTION @ JACK, FAULTY SWITCH, SHORT IN WIRING, POOR SOLDER JOINT.
ELECTRICS NOT WORKING (ACOUSTIC)
BROKEN CONNECTION @ JACK, DEAD BATTERY, SHORT @ BATTERY CAP, BROKEN PICKUP, CONTROLS NEED CLEANING.
TREMOLO BRIDGE GUITAR -
WON’T STAY IN TUNE OR CAN’T INTONATE
WORN OR LOOSE LOCKNUT, GUITAR NECK IS LOOSE, TREMOLO BRIDGE PINS DRIFTING, STRINGS PINCHING IN NUT, TOO MUCH DRAG THROUGH NUT AND STRING TREES.
SCRATCHY SOUND WHEN KNOBS TURNED
CONTROLS NEED CLEANING OR REPLACEMENT.
GETS BUZZY IN SUMMER/ HARD TO PLAY IN WINTER
GUITAR IS HUMIDITY SENSITIVE AND REQUIRES SEASONAL MAINTENANCE, ESPECIALLY TRUSS ROD ADJUSTMENT.
PICKUPS HUM
POOR OR NO GROUND CONNECTION, SINGLE COIL P-U 60 CYCLE NOISE IS ACCENTUATED WITH HIGH-GAIN AMP SETTINGS, SHIELDING MAY BE REQUIRED, HUM-CANCELING P-
U’s MAY NEED TO BE INSTALLED.
PICKUPS SQUEAL / SCREECH
THIS IS MICROPHONIC NOISE AND HAS AN ABRUPT & UNCONTROLLABLE THRESHOLD. OCCURS COMMONLY IN OLD AND/OR SINGLE COIL P-
U’s. P
-
U’s MAY NEED TO BE WAX
DIPPED (POTTED) OR REPLACED.
INTERMITTENT SIGNAL / CUTS OUT
BAD SOLDER CONNECTION OR SWITCH, HOT CIRCUIT MAY BE TOUCHING GROUND WIRE SOMEWHERE IN CONTROLS, CORRODED JACK CONTACTS.
VOLUME CONTROL INEFFECTIVE/ CUTS OUT TOO QUICKLY
CONTROL WILL NEED REPLACEMENT OR "TONE CIRCUIT" MODIFICATION. A LINEAR POTENTIOMETER INSTEAD OF USUAL AUDIO POT MAY BE DESIRED.
BUZZING / DEAD NOTES ON NECK
TRUSS ROD TOO TIGHT, WORN FRETS, POOR SET-UP, POOR FRETWORK FROM FACTORY. WILL NEED SET-UP OR FRET WORK.
FINGER NOISE ON STRINGS
STRINGS ARE OLD AND TARNISHED OR RUSTED, FRETS NEED CLEANING & POLISHING, FLAT OR SEMI-FLAT WOUND STRINGS MAY BE DESIRED.
STRING ENDS STUCK IN TREMOLO BRIDGE
CLAMP BLOCKS HAVE BEEN OVER TIGHTENED AND ARE SPLIT AND SPREAD, LOCKING SCREWS ARE STRIPPING AND JAMMED FROM OVER-TIGHTENING. IN STANDARD TREM BRIDGES, THE HOLES MAY BE TOO SMALL FOR THE STRING BALLS. HOLES WILL NEED TO BE ENLARGED.
STRINGS BREAK AT HEAD
STRING IS PINCHED IN NUT SLOT, SHARP BURR @ TENSION BAR, STRING TREES, OR HOLES IN STRING POSTS.
STRINGS BREAK AT BRIDGE
SADDLES WORN, SHARP BURR AT SADDLES OR STRING ANCHOR POINT. SADDLE CROWN TOO STEEP OR SHARP.
STRINGS BREAK IN MIDDLE
WORN OR SHARP FRETS; "DING" IN FRETS; STRINGS TOO OLD
–
MORE FREQUENT STRING REPLACEMENT REQUIRED.
STRAP BUTTON LOOSE
STRIPPED OR WORN SCREW HOLE. HOLE NEEDS TO BE PLUGGED (WITH WOOD) AND RE-DRILLED.
AWKWARD CONTROL PLACEMENT OR FEW CONTROL OPTIONS
GUITAR CAN BE REWIRED TO SUIT NEEDS OF PLAYER.
SIGNAL BREAKS UP
BAD SOLDER CONNECTION, FAULTY SWITCH, HOT/GROUND SHORT AGGRAVATED BY VIBRATIONS IN GUITAR. WEAK BATTERY (ACTIVE SYSTEMS)
CRACKED OR BROKEN NECK
DON’T FIX IT
YOURSELF!!!!! NOTHING IS HARDER TO FIX THAN A BAD REPAIR. THIS IS OFTEN AN INEXPENSIVE REPAIR EXCEPT FOR REFINISHING THE DAMAGED AREA ON MORE EXPENSIVE INSTRUMENTS WITH COLORED PAINT.
OPEN STRING TWANGS IN NUT
NUT SLOT TOO WIDE, NOT ENOUGH BACK TENSION BEHIND NUT, NUT SLOT CUT TOO LOW.
BROKEN OR CHIPPED NUT
THIS CAN OFTEN BE REPAIRED WITH "DENTAL" STYLE FILLING AND RE-CUTTING, OTHERWISE NUT REPLACEMENT IS REQUIRED.
CONVERT
RIGHT
HANDED GUITAR FOR
LEFT
HANDED PLAYER
MAY NEED ADJUSTMENT OF SADDLE(s), BRIDGE, PICKGUARD, &/or CONTROLS. NUT WILL NEED RESLOTTING OR REPLACEMENT. DIFFICULTY OF WORK DEPENDS ON GUITAR. CRACK IN FACE OR SIDE
NEEDS CAREFUL GLUE, CLAMP, REFINISH AND REINFORCEMENT ON THE SIDE
DEEP CRACK W/ GAP (WON’T
CLOSE)
NEEDS TO BE SPLINTED, REINFORCED & REFINISHED.
HUMP IN NECK @ BODY
FRET DRESSING FOR MILD HUMP
--
RE-FRET &/or FINGERBOARD LEVELING FOR SEVERE CASES
HIGH ACTION THAT CAN’T BE
ADJUSTED
BRIDGE AND SADDLE PROFILING FOR MILD CASE
--
NECK RESET FOR SEVERE CASE
HEEL SEPARATION FROM BODY
RESET NECK ON BETTER GUITARS. "SALVAGE" FIX ON CHEAP GUITARS INVOLVES PENETRATING GLUE AND A BOLT THROUGH HEEL AND NECKBLOCK, DISGUISED WITH A STRAP BUTTON.
FRETS BUZZING @ 1
st
POSITION
FRETS MAY BE WORN DEEPLY FROM HEAVY USE WITH OPEN CHORDS
–
NEEDS FRET DRESSING OR PARTIAL FRET REPLACEMENT
WON’T TUNE WELL
MAY NEED SADDLE SLOT FILLED & RE-CUT
--
MAY NEED GOOD SETUP
--
MAY NEED TUNERS TIGHTENED OR REPLACED OR INSTALLATION OF "INTONATED SADDLE"
2 of 3
Top Guitars for Jazz
Choosing the best guitar for jazz is paramount to a musician’s success. Next to classical music, jazz is the discipline that asks the most of a guitar player when it comes to skill and musical aptitude. Sure, there are many guitarists in rock, country and blues who have some incredible chops, but there are also those who have managed to rise to the top with limited musical ability.
In jazz that just isn’t possible, and if you want to succeed as a guitar player you’d better know what you are doing. It takes a heck of a lot of work to be a good jazz guitarist.
Just as jazz guitarists demand a lot of themselves, they demand a lot of their guitars. The right guitar will sound great, feel right in your hands, have the durability to stand up to endless hours of practice, rehearsals and shows, and it doesn’t hurt if it looks good too.
Truly, if you are a connoisseur of the electric guitar, you’ll find few things more beautiful than a well-made hollow-body guitar. That is, after all, where it all began, long before Leo Fender dreamed up that wild-looking solid-body thing many of us play today.
This article will look and some of the best jazz guitar options out there today, from some of the top builders in the guitar world. If you’re on the hunt for a new instrument, hopefully this page can help you out. But you can really bust up your wallet on a new semi-hollow-body guitar.
There are some beautiful instruments out there, true works of art that are worth every penny. But I’m guessing your budget is somewhat like mine, so I’ll try to keep things under a grand. Really, here we are looking for the best jazz guitar under $1000.
On to the gear!
What to Look for in a Jazz Guitar
Anyone who has read my posts here knows I am more of a rock guitarist than anything else. But I’ve dabbled in jazz through the years, and fought my way through a few fake books. I also worked with senior citizens for a while, where I was introduced to a lot of big-band music. From there I explored musicians like Charlie Christian and Wes Montgomery, and eventually got into more modern jazz.
No matter what you consider your main style, I think it is important for guitarists to examine other forms of music. My overview of jazz definitely helped me to mentally construct an idea of what great jazz tone ought to sound like. Words like warm, round, clear and woody come to mind. Unlike with rock or even blues where an overdriven tone can add character, for jazz I’d prefer crystal-clear sounds. I want to hear the detail in every note.
When I started to do some research I was surprised at how some of these guitar builders are achieving that sound. I had considered something like a Gibson Les Paul to be a pretty good option for jazz, with its resonant all-mahogany construction.
Like the Les Paul I expected to see a lot of mahogany, but these classic, hollow-body instruments rely on lighter tonewoods like maple to bring clarity to the notes, and utilize warmer tonewoods like mahogany and rosewood in the necks, sides and fingerboards.
In this way, they are constructed more like acoustic guitars. This makes sense, when you think about it, given the evolution of the electric guitar.
But what really matters is that you get the sound you’re looking for. Heck, you can use a Fender Stratocaster for jazz if it floats your boat, and many people have, but if you really want that round, bassy, classic jazz tone look to hollow-body, semi-acoustic guitars.
Here are five of the top jazz guitar choices I’ve found.
Washburn Jazz Series J600K
If you know anything about guitars, you know Washburn makes good stuff. From acoustics, to bass guitars, to solid-body electrics, their instruments tend to be affordable and high quality. The J600K is a yet another example of this. It is a gorgeous instrument with classic styling and incredible detail. It might just be the best looking guitar in this review. But, of course, how it sounds is really what matters.
The J600K really nails that old-school jazz box vibe, with crisp, clean articulation and just the right warmth. It only has one pickup, but it’s placed in the perfect spot to get the full fatness of the strings as they ring. It’s a really cool guitar that sounds amazing, and won’t break the bank.
Washburn J600k Vintage Jazz Electric Guitar (Hardshell Case Included!)
Washburn J600k Vintage Jazz Electric Guitar (Hardshell Case Included!)
Body: Spruce top, Flame Maple Back and Sides
Neck: Hard Maple
Fingerboard: Rosewood
Electronics: Vintage Mini Humbucker
Bridge: Adjustable Ebony Bridge with Bone Saddle.
Additional Features: Vintage Matte Finish, Distressed Brass Hardware, Grover Tuners, Mother of Pearl Block Inlays.
Hear the Washburn J600K
Epiphone Broadway
You probably know Epiphone is a company owned by Gibson, and that they build guitars based on Gibson’s original designs. Their versions of the Les Paul, SG and other Gibson classics are solid choices for musicians on a budget, who want the sound and feel of a real Gibson guitar without the cost.
Epiphone BROADWAY Classic Hollow Body Electric Guitar
Epiphone BROADWAY Classic Hollow Body Electric Guitar
But you may not realize that Epiphone was once Gibson’s biggest competitor, and has a legacy of producing amazing arch-top guitars all their own. Gibson bought up Epiphone in the late ‘50s, but Epi retains a reputation for great hollow-body guitars, even among professional musicians.
The Broadway is a hollow-body guitar by Epiphone with a legacy dating back to 1931. It’s a beautiful guitar, surprisingly affordable, and high up on the list of guitars you need to check out as a jazz musician.
Body: Maple with a Spruce Top.
Neck: Maple
Fingerboard: Rosewood with Abalone Block Inlays
Electronics: Alnico Classic Humbuckers, Two Volume and Two Tone Controls, 3-way switch
Bridge: Floating Rosewood Bridge with Frequensator Tailpiece.
Additional Features: Gold Hardware; Tortoise-shell Pickguard
Ibanez Artcore AF Series
Ibanez guitars have been the weapons of choice for shredders and metalheads since the 1980s, but Ibanez also has a little secret. With their Artcore lineup they produce some of the best, and most affordable, hollow-body guitars out there.
They are a great choice for jazz, and will nail those warm tones you are looking for. It’s not surprising, since Ibanez is a company that made their mark in the ‘70s producing some classic-looking instruments before branching off with their own designs.
The Ibanez Artcore AF series guitars are hollow-body instruments that look like they came straight out of the 1940s. If an affordable, hollow-body jazz box is what you’re looking for, this might be your ticket. The AF75TDG is an example of a beautiful guitar with classic styling and modern Ibanez appointments.
Ibanez AF75TDGIV AF Series Vintage Vibrato Electric Guitar, Ivory
Ibanez AF75TDGIV AF Series Vintage Vibrato Electric Guitar, Ivory
Body: Maple top, Back and Sides.
Neck: Mahogany Set Neck.
Fingerboard: Bound Rosewood with Block Inlays.
Electronics: ACH1/2 Passive Ceramic Pickups with Two Volume, Two Tone and Three-way Switch.
Bridge: Art-2 Roller Bridge with Vibrato Tailpiece.
Additional Features: Gold Hardware
Godin 5th Avenue CW Kingpin II
Godin guitars are made in North America, and feature some innovative and forward-thinking design concepts. The 5th Avenue Series incorporates old-school jazz styling with modern playability and technology. The basic 5th Avenue is an acoustic guitar reminiscent of big-band days.
You know, before electricity, at least as far as we guitarists are concerned. The Kingpin in a rendition of the 5th Avenue with a single P90 pickup in the bridge position. Both are great options for jazz guitar players.
The 5th Avenue CW Kingpin takes things a step further, with a double-cutaway design and dual pickups. It’s a versatile guitar, great for jazz, but can also stretch out to other genres like blues, rockabilly and country.
Godin 5th Avenue CW Electric Guitar (Kingpin II, Cognac Burst)
Godin 5th Avenue CW Electric Guitar (Kingpin II, Cognac Burst)
Body: Canadian Wild Cherry Back and Sides
Neck: Silverleaf Maple
Fingerboard: Rosewood
Electronics: Two Godin Kingpin P90 Single-Coil Pickups, One Volume, One Tone, Three-Way Switch.
Bridge: Graphtec Adjustable Tusq Bridge
Additional Features: Cream Binding, Custom Polished Finish
More on the Godin 5th Avenue Kingpin II
Gretsch G5420T Electromatric
The Gretsch White Falcon is one of the best guitars ever made, and has reached almost mythical status. The White Falcon would certainly be at the top of any list of best guitars, but then again I did promise to keep you under a $1000.
Fear not, Gretsch makes some great guitars that follow in the footsteps of the White Falcon and won’t have you missing your mortgage payment. The Electromatic Series features more affordable guitars, with the same incredible Gretsch sound and style.
The G5420 is a flexible guitar that will grab those clean, jazzy tones you are looking for, but also have the guts needed for a little overdrive. The pickups are perhaps a bit brighter, hotter and twangier than other guitars in this review, and if you dabble in country or vintage rock sounds you may appreciate them.
Gretsch G5420T Electromatic Single Cutaway Hollow Body Guitar - Black
Gretsch G5420T Electromatic Single Cutaway Hollow Body Guitar - Black
Body: 3-Ply Maple
Neck: Maple
Fingerboard: Rosewood
Electronics: Two Black Top Filter’Tron Humbuckers, Three-Way Toggle, Volume for Neck, Volume for Bridge, Master Volume
Bridge: Rosewood-Based Adjusto-Matic with Bigsby-Licensed B60 Vibrato
Additional Features: Bound Body, Sound Holes and Fingerboard, Block Inlays.
Which Guitar Should You Choose?
Writing this post was one of the most enjoyable projects I’ve done in a long while. I’m getting a little out of my element with the jazz thing, but I wanted to address it since it’s about the only style I haven’t covered yet.
Gretsch G5420T Electromatric - Sunburst
Gretsch G5420T Electromatric - Sunburst
The research was interesting, and I learned a thing or two in the process. Some guitars I thought I’d include in the beginning ended up thrown out, and I discovered others that really impressed me. So, which would I choose?
I really like the Washburn J600K. It sounds closest to that perfect jazz tone I hear in my head, and I love the looks of the instrument. If I wanted a pure jazz box, this would probably be my choice. The Godin, too, fills this bill nicely, and has the added benefit of another pickup.
If I knew I’d be stretching out into other genres, especially ones that required some overdrive, I’d be thinking about the Gretsch. The humbuckers with the hollow-body design really make this thing sing.
Ibanez makes great guitars, and I’ve owned enough of them to know you can count on them when you need them. Epiphone has a powerful legacy behind it, and the Broadway is an exceptional instrument.
Thankfully, I don’t have to choose! But you might. Check out these guitars and see what you think. If you can suggest any other outstanding jazz guitars let me know in the comments, and I’ll look them over and consider adding them to the list.
Best Guitar for Shredding
The Legacy of Shred
If you’re a guitar player who is into shredding you’re part of a legacy that includes some of the best musicians in the history of hard rock and heavy metal. You are helping to carry a torch ignited by players like Yngwie Malmsteen, Eddie Van Halen, Steve Vai and Joe Satriani, and continued on today by amazing talents such as Herman Li, Alexi Laiho, Chris Broderick and Jeff Loomis. Shred is about more than guitar calisthenics, and more than technical knowledge. It’s about squeezing every ounce of energy out of six strings and twenty-four frets, and taking the guitar to new heights. Each generation of guitar player builds upon the work of those who came before them, and continues to push the boundaries of the instrument. If you are part of this next generation, you need the right tool for the job. There are a lot of great guitars out there for metal, but if you’re a shredder you need something built just for your needs. There were dark days, not long ago, when such instruments were becoming increasingly hard to find. But fortunately the Age of Shred that started back in the 1980s is seeing a resurgence, and more and more players are pushing themselves to get better on the guitar. The gear manufacturers have responded with some of the best guitars for shredding ever devised. What to Look for in a Guitar for Shredding Traditionally, super-Strat style guitars made from brighter tonewoods such as alder or ash and bolt-on maple necks worked well for shredding, and they sounded great paired with overdriven British amps. Like stock Fender Stratocasters, these guitars had great tonal character and clarity, and with a hot humbucker in the bridge position they had the power to push the amp hard. We’ve come a long way from Eddie’s Frankenstein Strat and the copycats that followed, but the basic idea is still the same. These days you’ll still find plenty of instruments out there made in the super-Strat mold, but the best gear makers have greatly improved on that design over the past 30 years. With the rise of high-gain amplifiers like the Peavey 6505 series, and with the trend of many players to detune, manufacturers are incorporating warmer tonewoods like mahogany and basswood, and even employing set neck and neck-thru designs instead of the traditional bolt-on necks. This gives a guitar a more resonant character, and greater sustain. Whether you choose to go the traditional Super-Strat route, or opt for one of the new weapons of metal mayhem, there are a wide range of choices out there for the modern shredder. Before we talk about the guitars, to get ourselves in the mood here's a little shredding inspiration from Megadeth's Chris Broderick: Chris Broderick Shreds Easy enough, right? (Part 2 follows below.) Now, (if Mr. Broderick didn't make you feel like quitting) on to the guitars: Ibanez Ibanez is the first name many players think of when it comes to shred. For the past thirty years Ibanez guitars have been played by some of the slickest players in rock and metal, from Steve Vai all the way up to Herman Li. Ibanez RG920 - Red Desert Ibanez RG920 - Red Desert There’s a reason they’ve built such an impressive reputation. Ibanez necks are legendary, and perhaps the fastest in the industry. And their hardware is high-quality as well. Unlike many gear manufacturers, Ibanez makes most of their hardware themselves rather than relying on the brand power of well-known pickup and hardware manufacturers. The result is legendary pieces like the Edge Zero II Bridge, Wizard neck and IBZ pickups. While there are many great Ibanez models, the “S” and “RG” series are the ones that offer the most to the shred crowd. Both are similar in design, with Strat-type bodies, a pair of humbuckers and usually a single coil in the between. But the S is a thinner guitar, with a sleeker design and a contoured top, where the RG is a bit beefier. Even high-end RGs are usually made from basswood, a tonewood that brings some warmth and woodiness. Ibanez S guitars are usually made from mahogany, a resonant tonewood that gives the Gibson Les Paul its character. Both series often feature a maple neck, though other tonewoods may be used, depending on the model. The Ibanez RG: Shredder Heaven! The Ibanez RG: Shredder Heaven! Jackson Jackson is another name people think of when it comes to metal, and shredding. The Rhoads, Kelly, King V and Warrior are all amazing designs that put out great metal sounds. Choosing one Jackson model above the others is almost impossible: You just end up feeling like you need one of each! That said, when I think of shredding and Jackson I think of the Soloist and the Dinky. Jackson Soloist SLXQ Jackson Soloist SLXQ The Soloist is perhaps the flagship of the Jackson lineup, and many of metal’s hottest players have depended on it as their main guitar for years. Born in the ‘80s during the Age of Shred, the Soloist features the basic super-Strat design with two humbuckers, a fast neck and a whammy bar. The Dinky is similar to the Soloist, except for its slightly smaller body size. In the past many Jackson models were available with reverse headstocks, and this became one of the hallmarks of ‘80s metal. You’ll still find a few Dinky models available with these reverse necks. While the basics designs of the guitars remain the same, the appointments, materials and hardware vary depending on the model. Both the Soloist and Dinky are available with bodies made of basswood or alder, and usually feature maple necks. EMG and Seymour Duncan pickups, Floyd Rose tremolos and Dunlop hardware are features typical of several different models. More Insanity from Chris Broderick Fender A Stratocaster for shredding? With all of the incredible options we have today, it’s easy to forget about all of the great guitarists who have played a Fender Stratocaster. In many ways it is the original shedder guitar. It was a favorite of shred pioneers like Yngwie Malmsteen, Ritchie Blackmore and Jeff Beck, and even Eddie Van Halen built his legendary guitar from aftermarket Stratocaster parts. The Stratocaster was the model for the guitars like the RG and Soloist that would follow it its footsteps. Yes, even today there are lots of guitarists shredding on the Fender Strat. Fender Standard Stratocaster® Plus Top with Locking Tremolo, Maple Fingerboard, Aged Cherry Burst Fender Standard Stratocaster® Plus Top with Locking Tremolo, Maple Fingerboard, Aged Cherry Burst The Strat is a classic guitar, and for the modern shredder there are good and bad points. One of the bad things is that Fender no longer makes the American Standard Stratocaster with a Floyd Rose bridge. For players who use the whammy bar a lot, this could lead to serious tuning issues. Then again, Eddie did just fine with a Fender bridge for a long time. On the plus side, at least in my book, is the availability of the one-piece maple neck. This is a tough thing to find on modern metal guitars, and even those with maple fingerboards are usually several pieces glued together. Another plus is that Fenders Strats just sound great, as they always have. They are bright and snappy, usually with alder bodies, and with a humbucker in the bridge position they really nail that classic metal shred sound. EVH Wolfgang Special Electric Guitar - Black EVH Wolfgang Special Electric Guitar - Black EVH Eddie Van Halen is not only the greatest guitarist ever to walk the earth, he might also be the greatest tinkerer. From the time he was a teenager he tweaked and modified his instruments until he got the sound he wanted. But even though his “Brown Sound” tone became legendary, Eddie never rested on his laurels. He went through partnerships with companies like Kramer, Peavey and Ernie Ball in a quest to build the perfect guitar. Nowadays, Eddie owns his own company in his EVH brand, and has presented us with perhaps the ultimate creation of his life’s work, the EVH Wolfgang. The Wolfgang combines all the great stuff that makes Eddie’s sound, from custom-wound pickups, to the Birdseye maple neck, to the Floyd Rose with his patented D-tuna system. Wolfgang guitars have come a long way from Eddie's original designs so many years ago. They're now available with hardtail bridges, ornate bindings, ebony figerboards with block inlays and nickel-covered pickups. Charvel was once one of the best guitar brands for shredding, and they're still among the top choices today. Charvel was once one of the best guitar brands for shredding, and they're still among the top choices today. Charvel Charvel guitars were once well-loved in the metal community, and the San Dimas Stratocaster was legendary. For the uninitiated, the San Dimas Strat was basically a jacked-up Stratocaster made by Charvel guitars in the 1980s. Charvel So-Cal Style 1 HH - Black Charvel So-Cal Style 1 HH - Black Back then they were everywhere, in the hands of some of the best guitar players in metal and hard rock. If you played metal and wanted a seriously hot-rodded Stratocaster this was your weapon of choice. Today, Charvel is owned by Fender and their Desolation series guitars are great choices for metal players. But if shred is your thing the So Cal and San Dimas models of their Pro Mod series are still where it's at. Carvin One more company I recommend checking out is Carvin. These guys build high-quality, hand-made-in-the-USA guitars specifically to your specifications. For the shredder, this means getting all the good stuff you want, exactly how you want. Classic Carvins like the DC series and V220 are built for shred, and Carvins are known for their slick necks. You won’t find them at your local music store though. Carvin sells direct to the buyer from their own website. Long Live the Shredder I hope this article gave you some idea of where to start on your quest for the right guitar to meet your needs. Remember that great guitar players have used all kind of different instruments, and even though the guitars recommended above have served shredders well over the years there is nothing wrong with choosing your own path. My choice? Maybe I'm old-school, but when it comes to shred the Strat-style does it for me, and the Charvel Strat is the ultimate hot-rodded Stratocaster. But I think every one of the guitars mentioned here will get the job done in a big way. Keep on practicing, never give up, and good luck on your quest to find the best guitar for shredding! Other repair tipsProblem Diagnosis and Cure
HIGH ACTION TOO MUCH NECK RELIEF, NUT SLOTS NOT DEEP ENOUGH, BRIDGE/SADDLES TOO HIGH, OR ANY COMBINATION OF THESE LOW ACTION, NOTES BUZZING NECK IS BACK-BOWED, NUT SLOTS TOO DEEP, BRIDGE/SADDLES TOO LOW, OR ANY COMBINATION OF THESE . MAY NEED FRETWORK TO MAINTAIN CLEAN PLAYING IF YOU WANT TO KEEP LOW ACTION. ELECTRICS NOT WORKING (ELECTRIC) BROKEN CONNECTION @ JACK, FAULTY SWITCH, SHORT IN WIRING, POOR SOLDER JOINT. ELECTRICS NOT WORKING (ACOUSTIC) BROKEN CONNECTION @ JACK, DEAD BATTERY, SHORT @ BATTERY CAP, BROKEN PICKUP, CONTROLS NEED CLEANING. TREMOLO BRIDGE GUITAR - WON’T STAY IN TUNE OR CAN’T INTONATE WORN OR LOOSE LOCKNUT, GUITAR NECK IS LOOSE, TREMOLO BRIDGE PINS DRIFTING, STRINGS PINCHING IN NUT, TOO MUCH DRAG THROUGH NUT AND STRING TREES. SCRATCHY SOUND WHEN KNOBS TURNED CONTROLS NEED CLEANING OR REPLACEMENT. GETS BUZZY IN SUMMER/ HARD TO PLAY IN WINTER GUITAR IS HUMIDITY SENSITIVE AND REQUIRES SEASONAL MAINTENANCE, ESPECIALLY TRUSS ROD ADJUSTMENT. PICKUPS HUM POOR OR NO GROUND CONNECTION, SINGLE COIL P-U 60 CYCLE NOISE IS ACCENTUATED WITH HIGH-GAIN AMP SETTINGS, SHIELDING MAY BE REQUIRED, HUM-CANCELING P- U’s MAY NEED TO BE INSTALLED. PICKUPS SQUEAL / SCREECH THIS IS MICROPHONIC NOISE AND HAS AN ABRUPT & UNCONTROLLABLE THRESHOLD. OCCURS COMMONLY IN OLD AND/OR SINGLE COIL P- U’s. P - U’s MAY NEED TO BE WAX DIPPED (POTTED) OR REPLACED. INTERMITTENT SIGNAL / CUTS OUT BAD SOLDER CONNECTION OR SWITCH, HOT CIRCUIT MAY BE TOUCHING GROUND WIRE SOMEWHERE IN CONTROLS, CORRODED JACK CONTACTS. VOLUME CONTROL INEFFECTIVE/ CUTS OUT TOO QUICKLY CONTROL WILL NEED REPLACEMENT OR "TONE CIRCUIT" MODIFICATION. A LINEAR POTENTIOMETER INSTEAD OF USUAL AUDIO POT MAY BE DESIRED. BUZZING / DEAD NOTES ON NECK TRUSS ROD TOO TIGHT, WORN FRETS, POOR SET-UP, POOR FRETWORK FROM FACTORY. WILL NEED SET-UP OR FRET WORK. FINGER NOISE ON STRINGS STRINGS ARE OLD AND TARNISHED OR RUSTED, FRETS NEED CLEANING & POLISHING, FLAT OR SEMI-FLAT WOUND STRINGS MAY BE DESIRED. STRING ENDS STUCK IN TREMOLO BRIDGE CLAMP BLOCKS HAVE BEEN OVER TIGHTENED AND ARE SPLIT AND SPREAD, LOCKING SCREWS ARE STRIPPING AND JAMMED FROM OVER-TIGHTENING. IN STANDARD TREM BRIDGES, THE HOLES MAY BE TOO SMALL FOR THE STRING BALLS. HOLES WILL NEED TO BE ENLARGED. STRINGS BREAK AT HEAD STRING IS PINCHED IN NUT SLOT, SHARP BURR @ TENSION BAR, STRING TREES, OR HOLES IN STRING POSTS. STRINGS BREAK AT BRIDGE SADDLES WORN, SHARP BURR AT SADDLES OR STRING ANCHOR POINT. SADDLE CROWN TOO STEEP OR SHARP. STRINGS BREAK IN MIDDLE WORN OR SHARP FRETS; "DING" IN FRETS; STRINGS TOO OLD – MORE FREQUENT STRING REPLACEMENT REQUIRED. STRAP BUTTON LOOSE STRIPPED OR WORN SCREW HOLE. HOLE NEEDS TO BE PLUGGED (WITH WOOD) AND RE-DRILLED. AWKWARD CONTROL PLACEMENT OR FEW CONTROL OPTIONS GUITAR CAN BE REWIRED TO SUIT NEEDS OF PLAYER. SIGNAL BREAKS UP BAD SOLDER CONNECTION, FAULTY SWITCH, HOT/GROUND SHORT AGGRAVATED BY VIBRATIONS IN GUITAR. WEAK BATTERY (ACTIVE SYSTEMS) CRACKED OR BROKEN NECK DON’T FIX IT YOURSELF!!!!! NOTHING IS HARDER TO FIX THAN A BAD REPAIR. THIS IS OFTEN AN INEXPENSIVE REPAIR EXCEPT FOR REFINISHING THE DAMAGED AREA ON MORE EXPENSIVE INSTRUMENTS WITH COLORED PAINT. OPEN STRING TWANGS IN NUT NUT SLOT TOO WIDE, NOT ENOUGH BACK TENSION BEHIND NUT, NUT SLOT CUT TOO LOW. BROKEN OR CHIPPED NUT THIS CAN OFTEN BE REPAIRED WITH "DENTAL" STYLE FILLING AND RE-CUTTING, OTHERWISE NUT REPLACEMENT IS REQUIRED. CONVERT RIGHT HANDED GUITAR FOR LEFT HANDED PLAYER MAY NEED ADJUSTMENT OF SADDLE(s), BRIDGE, PICKGUARD, &/or CONTROLS. NUT WILL NEED RESLOTTING OR REPLACEMENT. DIFFICULTY OF WORK DEPENDS ON GUITAR. CRACK IN FACE OR SIDE NEEDS CAREFUL GLUE, CLAMP, REFINISH AND REINFORCEMENT ON THE SIDE DEEP CRACK W/ GAP (WON’T CLOSE) NEEDS TO BE SPLINTED, REINFORCED & REFINISHED. HUMP IN NECK @ BODY FRET DRESSING FOR MILD HUMP -- RE-FRET &/or FINGERBOARD LEVELING FOR SEVERE CASES HIGH ACTION THAT CAN’T BE ADJUSTED BRIDGE AND SADDLE PROFILING FOR MILD CASE -- NECK RESET FOR SEVERE CASE HEEL SEPARATION FROM BODY RESET NECK ON BETTER GUITARS. "SALVAGE" FIX ON CHEAP GUITARS INVOLVES PENETRATING GLUE AND A BOLT THROUGH HEEL AND NECKBLOCK, DISGUISED WITH A STRAP BUTTON. FRETS BUZZING @ 1 st POSITION FRETS MAY BE WORN DEEPLY FROM HEAVY USE WITH OPEN CHORDS – NEEDS FRET DRESSING OR PARTIAL FRET REPLACEMENT WON’T TUNE WELL MAY NEED SADDLE SLOT FILLED & RE-CUT -- MAY NEED GOOD SETUP -- MAY NEED TUNERS TIGHTENED OR REPLACED OR INSTALLATION OF "INTONATED SADDLE" 2 of 3 Acoustic Guitar Repair • Action / Set Up • Binding • Braces • Bridge • Bridge Plate • Bridge Pins • Buzzing - Noise • Care / Maintenance • Cleaning • Convert Rt. to Lt. • Cracks • Fingerboard • Finish • Fret Replacement • Fret Types • Glue • Intonation • Neck Damage / Issues • Neck Angle • Neck Resets • Nut • Part Glossary • Pickguard • Pickups • Saddle • Strap Buttons • String Changing • String Choices / Effects • Truss Rod • Tuning Machines • Tuning Troubles Acoustic Guitar Set Up's Adjusting Action For Playability & Tone Action is a term used to describe the way an instrument is adjusted and how well it plays. Action is most commonly thought of as how high the strings are from the frets. A Basic Guitar Set Up Includes: Adjusting the Truss Rod Lowering the Saddle Height Cutting Proper Nut Slot Depth Checking for Loose Hardware Cleaning The Fingerboard & Frets Restringing & Tuning A good set up can: • Increase comfort by decreasing pressure on the players finger tips • Eliminate or decrease buzzing • Improve sustain and tone • Improve intonation Depending the abilities of the instrument and the needs of the player adjustments can be made to improve the instruments action and increase the comfort of playing. I like to have my customers play for me, even if they're just beginning. The opportunity to communicate and watch someone's playing style is essential to getting it right. The feel that's right for you is as unique as the instrument you play. Setting Up An Instrument Common Measurement Conversions 3/32" = .093 = 2.3mm = .23cm 1/8" = .125 = 3.18mm = .32cm Let's start with a few measurements... String Height At 12th Fret Saddle height directly affects how high the strings sit above the frets.Saddle radius/contour also affects the instruments action as the curvature of the saddle changes the strings height. Not all instruments play the same with the identical set-up and a player's pick attack and style will certainly contribute to how an instrument is set up. I mention this because it can be the difference between a professional set up, and one "done by the numbers". What is the most common string height?Most factories set action at 3/32" to 7/64" on the bass E string at the 12th fret and 2/32" to 5/64" on the treble E. Measure Distance Between Top of 12th Fret and Bottom of String Place a ruler on top of the 12th fret and measure the distance between the top of the fret and the bottom of the outer E strings. High action on an acoustic guitar not only affects the intonation, it can make the instrument difficult, if not painful, to play. String Height At The Nut String height at the nut should be as low as possible without causing open string buzz. The distance between the string and the 1st fret would nearly always be below .020 (.5 mm). When I am certain of the condition of the frets I set action at the nut as low as possible. String height at the nut can also be affected by the condition of the frets, string gauge and pick attack. To check string height at the nut, fret each string on the 3rd fret and check the gap between the string and the 1st fret. While some instruments may still play clean if the string is touching the first fret, most will require a gap of a few thousands to avoid buzzing. Proper Nut Specs • Outer string positioning to prevent fret edge roll off • Equal string to string spacing • Bottom slot angle provides sustain and clarity • Slots width keeps strings from binding • Depth to provide lowest action and best intonation. Correct Neck Relief Appropriate relief (bow) in the neck gives the strings amble room to vibrate without hitting the frets. Too much relief and a neck feels "mushy" towards the center. Read more about this adjustment on thetruss rod page. Intonation An instrument that is not intonated properly will not play in tune when moving up and down the fingerboard. Even after tuning the guitar, players will notice certain notes are sharp or flat. Correcting intonationissues obviously makes a big difference in the way an instrument sounds. Level and Well Crowned Frets Frets need to be perfectly level and have a nicely formed crown. Frets of inconsistent height can cause buzzing, also know as fretting out. Things That Can Raise or Lower String Height Humidity / Dryness Moisture causes the woods of an instrument to swell, loss of moisture will cause them to shrink. Most will find that during the summer or times of high humidity the top may swell and lift the strings higher off of the fingerboard making it more difficult to play. On the other hand, instruments that have been left without proper humidity will often become dry, which can cause the top to drop and create buzzing problems. You may also encounter sharp fret ends that are now exposed due to the shrinking of the fingerboard. During times of low humidity it is essential that you keep your instrument properly humidified. Read more about humidity. Wear and Grooves The grooves of the nut and/or bridge saddle will wear as the strings pass over them. As the strings pull to and fro across the nut andsaddle they are slowly but surely deepening the groove. Excessive wear in the nut slots may cause the strings to buzz when played open since they are now too close to the frets. Grooves in the saddle can affect intonation and cause strings to break Tension and Top Bellying It is particularly common for the action on flat top instruments to raise over time due to the tension placed on the top. The strings continual pull on the bridge and top can create a slight arching which raises the action over time. While a slight arch is quite normal, greater changes in the tops shape may be and indication of structural problems such asloose braces or a warped or cracked bridge plate. Changing String Gauge If you change the gauge of strings you are using, be it heavier or lighter, there will be a change in tension on the top and neck of the instrument. When setting up an instrument you must choose what gauge of string you will be using so that the action can be adjusted accordingly. Changing the string gauge will effect your set up. Structural Problems Loose braces, loose bridges, loose necks, cracks and other structural problems may first become apparent when a player notices a significant change in an instruments action. Guitar Binding Repair Binding is found on many instruments and can be used along the outline of the top, back, peghead and fingerboard. Not only is binding decorative but it also serves to protect and seal the end grain of the wood. Binding Problems Shrinkage Shrinking binding can often be reglued if its condition is still solid. Extreme or fluctuating temperature and humidity levels can cause binding to loosen. Wood will expand and contract as the humidity changes, the more drastic the changes, the more stress to the glue joints. To prevent stressing the glue joints an instrument should be kept properly humidified. Celluloid Binding Decay Decay Celluloid's deterioration can be so severe that replacement is the only option. Severe deterioration of the bindings and celluloid pickguard on certain vintage instruments can also effect the surrounding area by causing corrosion of nickel and other discoloration, particularly when the instrument has been stored in a closed case for decades. Cracking A common area to see binding cracks is at the end of the frets. When fingerboards shrink due to dryness the frets may extend past the edge of the shrunken fingerboard placing pressure on the binding. This results in fine line cracks at the ends of the frets. Repairing Loose Binding If binding has seen considerable shrinkage or been subjected to humidity and temperature changes, the binding may come loose from the body or neck. The tight area of the waist is a very common spot for binding to loosen. If the shrinkage is minor the binding can sometimes be gently pushed back into place and reglued. Considerable shrinkage leaves the binding too short to simply force back into place as the tension would surely cause it to pop loose again or not seat properly. Regluing In instances where the binding has not cracked but has simply come unglued I frequently choose to loosen the binding to the point of the manufacturer’s original seam to remove the tension created by shrinkage. To avoid damaging the finish, Titebond is often used to repair small areas of loose binding after the channel and binding has been scraped. Binding loosened to factory seam at heel. Masking protects instrument from strong adhesives that damage finish. Repairing Cracked Binding Binding on the fingerboard and body can develop cracks, especially if the instrument has been thru extreme temperature or humidity changes. Loose binding is easy to snag and break. A fingerboard can shrink if humidity levels drop too low. As a result the frets are then wider than the board, placing pressure on the binding which can cause cracks near each fret.. Be sure to address humidity concerns to avoid more damage. Finish Considerations Because binding is under the finish, removing it will cause chipping of the finish along its edges. This is a consideration when choosing the proper method of repair. Instruments with thinner finishes may show far less evidence of a binding removal and repair than one with a very thick finish. Generally speaking refinishing is avoided when regluing loose bindings and repairs are noticeable but not terribly unattractive. Replacement of binding often requires finish work. While the type of adhesive used for binding repair will vary according to the type of binding and the situation, many of these adhesives are harmful to the finish itself. Extra care must be taken to thoroughly protect the finish when performing binding repairs. See also: Binding Replacement Loose Guitar Braces Loose Back Brace Braces reinforce and strengthen the top and back of most acoustic instruments. The braces on an acoustic instrument bare the brunt of string tension placed on the instrument and it is essential that they be securely glued in place. Because most acoustic flat tops are no more than say .100+/- of an inch, braces play a huge role in keeping everything together. Signs of Loose Bracing: • Bulging • Top rotation (dip in front of bridge, hump behind) • Ripples / Waviness on flat panels • Cracks • Rattling/vibration/changes in tone • Stress to glue seams Checking Braces Some times we aren't aware of loose braces. They are usually discovered by inspection after a bulge is noticed, a rattle is heard or perhaps a bridge repeatedly comes loose. A thin feeler gauge will slide under a loose brace. I start by inspecting the interior of the guitar with a light and mirror, but sometimes that isn't enough. Loose and split braces that have no visible gap can be difficult to spot. After eyeballing it I turn to my favourite brace checker, a simple feeler gauge. A thin feeler gauge will easily slip between a loose brace and the top or back. Cracked / Split Braces A cracked/split brace can elude even the best eagle eyes. While inspecting the braces with an interior light and mirror a split brace may give no cosmetic clue as to it's whereabouts. Handling each brace is sometimes necessary to locate the mystery brace as the crack can be very fine with no gap or separation. Paper strip shows location of a hidden crack Even though these braces are radiused (shaped to render the top/back slightly arched) this one has begun to curl up excessively. Warping can occur when a brace is left loose for a long period of time or the instrument is subjected to a dry environment. Gluing Loose Braces Before gluing the brace, old glue must first be removed to insure good adhesion. I go to great lengths to avoid leaving glue behind which would make these kinds of repairs most obvious. Loose top braces are often glued using deep c-shaped clamps available thru luthier supply companies. Back braces are often glued with the use of interior "jacks". On occasion I may use an interior jack in combination with an exterior clamp. This allows me to place greater pressure on a back brace without the risk of damaging the instrument. I use a small nylon wedge to lift the brace away from the panel and permit glue application. What glue is used to repair loose braces?In most cases an aliphatic resin glue such as Titebond regular water soluble glue is used. Some vintage instruments may warrant using hide glue. "Jacks" are often used to glue loose back braces Replacing Braces When left un repaired a loose brace can actually come completely free from the top or back. On many occasions I have inspected a guitar only to find a missing brace, one can only wonder where it got off to. When dealing with flat top acoustic guitars with typical, round soundholes, most braces can be repaired without removing the back. As seen in a previous photo, a loose brace can warp over time. Excessive warping can make the brace far to stiff to be clamped back into position. In such cases removal and/or replacement is often necessary. I have successfully made an installed many top and back braces without removing the back. This excludes the X brace, it is two braces where one lies over another. This is tedious work as the radius must be copied and the brace positioned while placing ones hand, clamps, mirror and light inside the sound hole all at once. Difficult access does require the back to be removed for some repairs. Acoustic Guitar Bridges Gluing A Loose Guitar Bridge It is important to check the glue joint between the bridge and top to ensure there are no gaps. Thin paper slid beneath loose bridge. A thin piece of paper can be used to determine the extent to which the bridge is loose. If there is evidence that the bridge is loose it should be inspected and repaired if necessary. Neglecting a loose bridge can create more damage if it breaks free and tears fibers from the top. A loose bridge can also shift forward and damage the finish. Possible Causes: • Heat / Dryness • A loose X-brace • Glued to painted surface • Damaged bridge plate • Insufficient glue Before a loose bridge is reglued it is removed from the top. I use specially designed heating blankets which direct the heat to the bridge and avoid overheating the top or finish. A flexible, smooth spatula serves to separate the bridge from the top once the adhesive is softened. Regluing loose bridge All old glue is removed from the top and bridge to provide a clean surface for re-gluing. A bridge caul is used to evenly distribute the pressure and a clamp is used with exterior and interior cauls. Heat / Dryness Can Soften Glue Leaving an instrument in a hot car, attic or other hot environment may cause the glue to soften which can allow the bridge to shift or creep forward. Unfortunately this usually does some damage to the finish as well. Loose X-Brace / Top Deformity The X-brace helps to stiffen and strengthen the top of the guitar. It runs beneath the ends of the bridge and helps prevent a certain amount of top "rotation" and arching. When braces come loose string tension can change the shape of the top, causing excessive bellying behind the bridge, unsymmetrical bumps in the top and even a concave dip in front of the bridge. If the top's shape changes radically it can place incredible pressure on the glue joint between the top and bridge. Structural repairs are made prior to regluing the loose bridge and sanding of the bridge's base can improve the fit. Bridge Glued To A Painted Surface I don't believe I have ever seen this on an expensive instrument. Obviously this undesirable technique is chosen because it saves the factory time, however, it usually has poor results and almost always means the bridge will come loose ...eventually. Finish was not removed prior to bridge gluing. The finish must be removed so the bridge can be glued to the bare wood of the top. If the finish is very thick this can create a cosmetic problem. See Special Considerations below. Bridge Plate A cracked or warped bridge plate can also allow the top to deform, placing incredible tension on the top to bridge glue joint. Insufficient Glue Excessive clamping pressure may force too much glue out of the glue joint, though this is rare. Usually I see this on instruments where the bridge was not glued with traditional wood glue. Other Common Bridge Problems Cracks Cracks normally develop in two places on acoustic guitar bridges; thru the bridge pin holes and at the edges of the saddle slot. Minor cracking thru the bridge pin holes can sometimes be repaired when there are no other issues with the bridge. It is usually inadvisable to repair cracks at the edges of the saddle due to the constant tension. Warping Bridges that have been loose for a length of time can distort in shape. If enough twisting occurs replacement is necessary. A small amount of warp may be repairable by heating and clamping the bridge or planeing of the bottom when the bridge is thick enough. Thinned / Modified A neck reset is a costly repair to consider on inexpensive instruments. In an attempt to lower action on an instrument that needs a neck reset the bridge is sometimes thinned or modified. This is done because the saddle is already as low as possible. When resetting the neck on an acoustic guitar who's bridge has been previously thinned it is advisable to replace the bridge to return it to the correct height. Incorrect Saddle Placement Intonation problems caused by an inaccurate placement of the bridge and/or it's saddle may also require bridge replacement. My article on intonation will shed more light on this subject. Does the bridge effect tone? The bridge is a top brace, albeit an exterior one. A loose bridge weakens the structural integrity of the top and can affect the tone as a result of the poor coupling. An overly thin bridge also changes the dynamics of tension/torque placed on the top and the distance of the strings from the soundboard. Special Considerations Painted Guitar Bridges Removing certain painted guitar bridges poses another problem. Most manufactured classical guitar bridges are glued to the top before finish is applied. When these must be heated for removal the finish would need to be stripped to avoid a mess. Any plastic inlays on the tie block would also suffer damage. This requires stripping and refinishing of the bridge. For this reason it is often easier and cheaper to replace these when necessary and available. Plastic Inlays Some acoustic guitar bridges have been inlayed with plastic (celluloid) inlays. The heat necessary to soften the glue and remove the bridge will normally destroy celluloid, it must be removed or replaced. Heat does not harm actual pearl inlay, it simply melts the glue. Thick Top Finishes / Poor Surface Preparation In order to reduce prep time some factories may forego removing the finish beneath the bridge. Bridges glued to finish often pop loose, sometimes leaving pieces of the finish still glued to the bridge. Other manufacturers leave a small outline of finish around the bridge to ensure no bare wood is exposed around the edge of the bridge. It's important to realize that not all gaps around the edge indicate a loose bridge, as mentioned before, using a thin piece of paper around the edge can help determine how loose the bridge is. The Exception The only time that I would avoid removing the finish and instead, glue a bridge back down to it is when the finish is terribly thick. Think import guitar with polyester finish! A very thick finish is not only difficult to remove, it leaves a ledge of considerable thickness which would be hard to disguise. While this means the bridge may very well come loose in the future, the alternative is unsightly. One would need to scribe around the bridge, clear the finish and "inlay" the bridge into the clearing. Bridge Plate Repair Bridge plates are most commonly made from maple or rosewood and less frequently, spruce. String ends seated firmly against maple bridge plate. While the size and thickness of bridge plates differ, it's purpose is to reinforce the top and keep it from bellying (arching) excessively at the bridge where the strings place incredible tension on the top. Common Bridge Plate Problems Wear and Tear Around Bridge Pin Holes The ball end of the strings should hook around the edge of the bridge plate and be held there by the bridge pin. When the hole is enlarged by wear, the ball end of the string often pulls itself up into the hole instead of against the plate. Why do my bridge pins want to pop out when installing new strings? The ball end of the string wears away at the bridge plate, causing a once round hole to take on a keyhole shape. This wear permits the ball end to pull "up" into the plate and does not allow them to lock against the plate. When the ball end of the string no longer catches against the plate it often results in flying bridge pins. Another commonly seen symptom ...the thicker string winding which wraps around the ball end can now come close too or even touch the saddle. When this occurs the saddle may incur damage and intonationmay be affected. The string's end winding is contacting the saddle. This can cause excess wear on the saddle and problems with intonation. Warped Bridge Plate Many believe that smaller, thinner bridge plates attribute to good tone. They may also suffer from warping and cupping after years of string tension. Several manufacturers have flip flopped when choosing bridge plate size and thickness. The catch 22 here is that smaller, thinner bridge plates sound good but often lead to more costly repairs due to top bellying. As a result , certain manufacturers have gone from too small, to too large to just about right thru the years. A badly warped bridge plate may cause the top to belly excessively or distort in such a way that the bridge can not longer stay glued to the top due to the change. Cracked Bridge Plate Though not particularly common, bridge plates can crack. When this happens it often occurs thru the bridge pin holes. Loose Bridge Plates When checking for a loose bridge plate I will start by inspecting them with a light and mirror, if any doubt remains I will use a thin feeler gauge to insure there are no gaps present. Removing Bridge Plates As many of you have guessed, removing the bridge plate is not without risk. Heat and/or moisture is often used to soften the glue between the bridge plate and top. Because the top is relatively thin one must avoid overheating the area which can damage more vulnerable finish such as lacquer. Unfortunately accessing the plate thru the soundhole leaves room for little else ...like mirrors. This is one task that is, for the most part, done by feel. I use a number of hand made tools which allow me to work my way under the bridge plate and separate it from the top. Once removed, a new bridge plate is made from scratch and glued in place. To avoid splintering the bridge pin holes (which is commonly seen on inexpensive instruments) the new holes are drilled undersized and reamed to the correct dimensions. Tear out, which is often seen when the holes are drilled improperly can promote premature bridge pin hole wear if chips and tear out occurs around the hole. Repairing Worn Bridge Plates While warped, cracked and loose bridge plates should be replaced, worn bridge pin holes can be repaired without replacing the plate in some cases. Gibson guitar bridge plate showing signs of wear. Note the screws which go thru the bridge and are hidden beneath inlay. I have used a couple of different methods to repair worn bridge pin holes including plugging and re-drilling them. For simple wear and tear however an easier method is to install a PlateMate© which will completely cover the worn holes. Rosewood bridge plate with PlateMate© installed allowing the strings ball end to catch securely on the edge of bridge plate. It can be very aggravating trying to string a guitar who's bridge pins continually pop out when string tension is applied. To lessen the effect I recommend you put a gentle bend in the end of the string at the ball end which will encourage it to hook and lock onto the edge of the worn hole. You can also turn a fluted bridge pin around, placing the groove away from the string to further close the gap as well. Guitar Bridge Pins The ball end of the string locks against the bridge plate and prevents the strings from flying out, but once the round hole becomes elongated it can permit the string's ball end to pull up into the bridge plate. As the ball end pulls into the hole it forces the bridge pin out, usually with gusto! As a means to lesson the effect you can put a gentle bend in the end of the string (at the ball end) which will encourage it to lock onto the edge of the hole. You can also turn a fluted bridge pin around, placing the groove away from the string to further close the gap as well. Severe wear will require bridge plate repair. Why do my bridge pins want to pop out when installing new strings? The ball end of the string wears away at the bridge plate, causing a once round hole to take on a keyhole shape. This wear permits the ball end to pull "up" into the plate instead of locking against it. Read more about bridge plates. Types of Bridge Pins Fluted (grooved) and Solid bridge pin Fluted bridge pins have a groove cut in them which provides room for the string to pass between the pin and bridge. Solid bridge pins require notches in the bridge to accommodate for the strings diameter. Because the bridge pin material can effect the tone and sustain on an instrument, some may desire to experiment with different bridge pin materials. Common Bridge Pin Material • Wood- Ebony, Boxwood, Rosewood etc. • Bone - FWI, Mammoth Ivory, Bone • Plastic - Tusq®, ABS etc. • Metal - Alloy, Brass Fitting Though bridge pins come in different sizes/tapers the most common is 3° and 5°. On occasion it is necessary to fit bridge pins so they will seat correctly, this is done with bridge pin reamers. A bridge pin reamer normally has only one cutting edge/blade to produce a nicely rounded bridge pin hole free from chatter. I have seen some factories drill the hole thru the bridge and bridge plate without reaming it for proper bridge pin fitting. These pins often sit very high on the bridge. When purchasing custom bone or ivory bridge pins, make sure to inquire about the different bridge pin sizes available. This will allow you to choose the correct bridge pin reamer to create a proper fit. If unsure, ream a hole in a test block and check the pins seating first. Guitar Buzzing ? Fix Fret & String Buzz Types of Guitar Buzzing Problems Fret Out or String Buzz - This happens when a string comes in contact with a fret and a buzzing sound occurs. This is the most frequent cause of annoying buzzes. See chart for diagnostics. Hardware Buzz - Parts can also cause buzzing. Probably the most common items which buzz on acoustic guitars are loose input jacks and loose tuning machine bushings. Pre-amps and pickup components that are not seated well can also rattle. Sympathetic Buzz - Thankfully this is not too common. Certain frequencies can set off strange rattling and vibrations. These types of buzzes differ in that they occur only when certain frequencies are played. Loose Brace Rattle- Braces that split or come loose in an acoustic guitar can sometimes be heard rattling against the top or back when playing or tapping. Causes of Fret Buzz Symptom Possible Cause Remedy Open String Buzz Buzzes when played open, stops when string is fretted. Nut Worn or poorly cut nut slot is placing the strings too close to the frets near the nut. Replace nut or shim to add height. Set up instrument properly. One Spot Buzz Buzzes on one note, or one area but stops when moving away from that spot. Frets Frets are not level, one or more is too high/low. Loose or sprung fret is rising out of the fingerboard. Hump in fingerboard. Wear or deep grooves in frets. Secure all loose frets, level and dress. Fret leveling and/or replacement of worn frets. Upper Fret Buzz Buzzes where the neck attaches to the body. Notes seem to fret out when playing near the body. Fingerboard On acoustics, section of fingerboard that is glued to the top may rise/fall with temperature/moisture extremes due to changes in the top. Fingerboard is warped in a way to render the end too high (most common on archtop's). Evaluate for dryness, humidify if necessary. Frets near f/b extension may need leveling. In rare cases the board must be planed to remove hump. Buzzes When I Strum Hard Buzzing occurs when strumming or picking aggressively but can be silenced when playing lightly. Set Up Insufficient relief in the neck. Poor set up. String gauge too light. Adjust truss rod. Set up instrument properly. Use heavier strings. Buzzes Everywhere Buzzes nearly Frets Frets may be worn out or too low. Replace frets. everywhere even though it is set up properly, will often disappear if string is fretted hard or closer to the fret and plucked softly. Very small fret wire used. Frets Out Buzzes nearly everywhere all the time, strings are literally touching the frets in the center or other area of the fingerboard. Neck Truss rod may be way too tight back bowing the neck. Neck could be a warped, or have excess back bow even after truss rod is loosened. Set up instrument properly. Adjust truss rod for more relief. Use heavier strings if relief can not be created thru truss rod adjustm Is Your Guitar Too Dry? Learn to properly humidify your guitar, spot signs of dryness and avoid damage. Damage Caused By Dryness Guitar with concave top. Shortly after heat systems are turned on I am frequently flooded with crack repair inquiries. Open Center Seam Open Center Seams Nearly all flat top acoustic guitars have tops that are made from 2 pieces of wood. You will often hear the term "bookmatched top" as this describes the process of taking two pieces of wood cut from the same log, like pages of a book. These two pieces are layed open and glued down the center. When dryness begins to flatten the top this seam is commonly the first to give way under the stress. Are cracks covered by warranty? Cracks resulting from a lack of humidity or extreme heat are not the result of a manufacturing defect and therefore manufacturers do not cover this repair under warranty. Also be aware that some manufacturers will void the warranty of a very dry instrument. Temperature Extremes Dangerous environments include: • A hot car • Direct sunlight • Near a wood stove, fireplace or heater • The attic Heat is used to loosen glue joints on guitars for repair. Excessive heat can soften glue joints and allow them to loosen or slip. One of the most common predicaments I see on flattop guitars as a result of excessive heat is a sliding bridge. Once heated, the bridge can lift or actually begin to slide towards the sound hole. While this is easily spotted there are other areas of the instrument that can be adversely affected that are not as easy to spot. Frets, neck joints, braces and literally anywhere glue is used can be affected by heat. Finish checking and crazing are often the result of temperature shock caused by taking a very cold instrument into a very warm environment suddenly. When instruments are shipped or transported during the winter it is highly advisable to let the instrument slowly warm up to room temperature before removing it from the shipping carton or case. Severe Finish Checking on Mahogany Topped Gibson Signs Of A Dry Guitar Washboarding / Top Grain Prominent This resembles a washboard in my mind. I personally use the termcorduroy. These are raised lines in the top which are noticeable to the touch. The soft wood between the darker grain lines has lost its moisture and the grain now stands prominent. Warning: once this becomes severe cracks are usually imminent. Take heed, this may be your last chance to avoid cracks. Dried Spruce Guitar Top Lines, which resemble corduroy are a common sign of dryness. Sharp Fret Ends The fingerboard has shrunk due to the loss of moisture but obviously the metal fret wire does not. The frets are now wider than the fingerboard and the sharp ends can become apparent. yow! This is particularly noticeable on unbound fingerboards. Action (String Height) Lower The top has begun to flatten out as it looses moisture and the action is lowered as a result. The fingerboard extension (portion of the fingerboard which is glued directly to the top) may also sink a bit causing a bend in the area where the neck and body join. Concave Top After dead flat comes concave. If you've gotten to this point without a crack you are very lucky. Cracks / Opening Seams After a fair amount of moisture loss an instruments wood panels begin to shrink. Eventually this change can prove too stressful for the wood and it cracks. If left unattended these cracks can spread open and create even more costly and highly visible repairs. Ideally, humidity should be kept around 45%. How do I humidify my guitar? When the humidity in your home is very low (say 20-35%) it is best to use a room humidifier in conjunction with an instrument humidifier. If the air is very dry, a small sponge is likely to be insufficient. And for those with a collection of instruments, refilling instrument humidifiers could be quite a chore, easier instead is to control the rooms humidity with a room humidifier. Where To Start • Install a hygrometer to read humidity in your home • Install a soundhole humidifier and/or a • Use a room humidifier • Keep humidifiers filled • Store the instrument in its case Too Much Humidity? The reason it's important to use a hygrometer is to determine the humidity levels in your home. While low humidity is very common in the winter here in Virginia, not all areas share our troubles. In the summer humidity levels generally stay around 50% and above, eliminating the need for humidifiers during those times. Instruments that find their home on islands and states where humidity is very high can also be affected by the high humidity and rather than needing additional moisture, they need less. Precautions Drips Anytime a humidifier is used with an instrument it is essential that water is not allowed to drip into the instrument. If enough water is spilled inside of an instrument the wood can swell and create finish damage or haze. Also keep in mind that, depending on your location, humidity levels may increase during the summer and eliminate the need for a humidifier. Silica Gel Packets The purpose of the silica gel pack is to absorb moisture and keep everything dry. Unless you are living in a humid area these are not necessary and can do harm. Apparently it is the case manufacturers who place them in the case. Storage It is usually best to store the instrument in the case. Not only does it protect it from damage, the case can offer more protection from severe and sudden environmental changes. Cleaning Guitar Finishes, Fretboards & Frets Cleaning The Finish The type of finish (gloss, satin, lacquer, poly...) and physical condition of a finish can help determine the best method of cleaning. If we were to compare cleaners to sandpaper, we are choosing the least abrasive cleaner that will do the job. Polishing Cloths PROS Easy, fast clean up, no residue to accumulate in cracks CONS Won't remove heavy dirt and grime While a nice flannel cloth is adequate for many players, those trying to polish dark finishes will find that a high quality Microfiber Cleaning Cloth is a better choice. Microfiber is very soft and adds less swirl marks than more abrasive materials. It is hard to avoid tiny swirl marks in any finish so you want to use the softest material possible on dark finishes to keep them to a minimum. Excessive cleaning and rubbing on dark finishes and gold plated hardware should be avoided to lessen the effects. While cloths alone don't remove heavy dirt and grime they are excellent choices for players who like to wipe their instrument off after playing. Spray Cleaners PROS Non-abrasive, safe for satin finish CONS Can make a mess of heavily soiled finishes Spray cleaners are liquid cleaners that contain a fair amount of water. They are good for a quick cleaning where removal of smudges and fingerprints is the basic requirement. A Word About Satin & Flat Finishes Spray cleaners are also preferred over paste cleaners for non-glossy finishes. Satin finishes take on a somewhat shiny appearance particularly in areas under constant friction like the back of the neck or where your arm rest on the top with time. In order to slow the process, overzealous polishing should be avoided as friction creates shine. Spray Cleaner used on very dirty finish Avoid Spray Cleaners On Very Dirty Finishes Using liquid spray cleaners on heavily soiled instruments can create a bit of a mess. I see this most often on instruments that are heavily soiled, think "dirt so thick you could scrape it with a fingernail". Dirt will absorb the water in the spray and turn white or yellowish. While the sight gives pause it is a sure sign you are not going to get very far cleaning with spray. At this stage I resort to using paste polishes or compounds for removal of dirt, usually with allot of elbow grease. Paste Polishes PROS Shines lightly dulled finishes, removes fine scratches and dirt CONS Not recommended for satin finishes, can build up in cracks Paste polish can accumulate in chips in the finish When cleaning more heavily soiled finishes or trying to restore the natural gloss that has dulled, a non-abrasive paste polish is a good start. These cream polishes will usually remove dirt and very fine scratches. When cleaning delicate finishes or one's with chips and scratches I recommend applying the polish directly to the cloth. Working the polish into the cloth helps reduce the amount of build up that can form if one gets polish on bare wood or in cracks and finish chips. Dried polish turns white when dry. Avoid using paste polishes on raw wood (fingerboards and bridges) and use caution when polishing near cracks or finish chips to avoid impacting them. Buffing Compounds PROS Works on deeper scratches CONS Requires some expertise to avoid trouble Obviously not all scratches can be removed with non-abrasive paste cleaners ...and that's a good thing because we don't want to accidentally be buffing thru our guitar's finish. Polishing compounds are similar to sandpaper in that they come in many different grades and abrasions. Most of us use them in conjunction with a machine buffer due to the time and strength required to do it by hand. I have restored and improved many finishes by light wet sanding and buffing, however, this is something best left to someone who has the experience required to avoid a catastrophe. Machine buffing and coarse compounds are literally removing the top layer of finish. If too much is removed you can burn thru the finish completely leaving raw wood exposed. Vintage Guitar Finishes On older instruments with thin or damaged finish it is best to get some advice on cleaning it. De-laminating finish, heavily chipped or thin finishes can pose problems when cleaning. Cleaning Fingerboards Painted Fingerboards Some fingerboards have been clear coated, maple boards andRickenbacker come to mind. On painted fingerboards I use paste polish, not steel wool, to clean the board and frets. Polishing frets with paste polish will turn your cleaning cloth black. If cleaning a maple fingerboard with worn, exposed wood, avoid contaminating those areas with the blackened cloth. Fingerboards sprayed with a flat or satin finish can become glossy with repeated polishing and friction. Unfinished Fingerboards While 0000 steel wool is still a staple around my shop for light cleaning, I hate the mess it makes. I frequently use Dunlop's Fingerboard Cleaner in my shop and really like it. It does a good job of cleaning heavy dirt without having steel wool hair everywhere. Make sure to use a rag you intend on tossing afterwards as a filthy board will make a mess of your nicer Micro fiber polishing cloths. Oiling The Fingerboard Oiling an unpainted fingerboard makes the board look good and may help to prevent dryness which can lead to cracks. While there are many oils safe for fingerboards, some may leave a sticky residue which attracts dirt. Mineral oil, Danish oil and lemon oil are all popular choices. Weekly oiling is not necessary or recommended. In general, oiling the fingerboard a few times a year should be sufficient for average playing use. Severe cracking of the fingerboard can be a sign of dryness and the instrument should be properly humidified to avoid more damage. Cleaning Frets Clean and polished frets are not just pretty, a highly polished fret crown makes for some slick string bending. While steel wool certainly cleans fingerboards and brightens up dull nickel it does little to create the super fine polishing that's associated with a first class fret polish. Micro-Mesh polishing cloth is one of my favorite products for polishing frets. Micro-mesh is available in several grits, just like sandpaper, but is fine enough to use without fear of changing the fret's height. For the do-it-yourselfer who is frequently cleaning their frets and is not looking to mask the entire board and spend a good deal of time polishing the frets, a product such as Planet Waves Fret Polishing Kit (pictured) or the popular Gorgomyte Fret Cleaning Cloth will do the trick. How To Turn A Lefty Into A Righty (and vice versa) Requirements Nut Replacement In order to "convert" an acoustic guitar a couple of things must be changed. First, the nut must be replaced as the string slots will be too small to accommodate the bass strings and too large for the treble strings. Simply cutting the small slots wider for the bass strings will still leave the treble strings to vibrate freely in the large slots which no only looks bad, it usually results in buzzing. Because of the shape of most nuts, it is not possible to simply flip them around. Saddle Slot Angle The angle of the saddle slot on an acoustic guitar/bass determines string length and has a direct and profound effect on the instrument's intonation (it's ability to play in tune in all areas of the neck). In order to correct the intonation and reverse the angle of the saddle the slot must be filled and pre-cut, or the bridge completely replaced. Pickguards and Trim Pickguards, while they can be removed, often leave a very noticeable 'tan line', so many players opt to leave them and simply add another or go without. Saddle slot is filled prior to rerouting the correct position. Make a 12 String into A 6 String Some will read that heading and think..."duh, like leave 6 strings off genius" and while you'd be correct there are other issues to consider. Considerations Neck Width The first issue that dissuades most would be the width of a 12 string neck. If you like neck width akin to a classical guitar then I suppose that may not be a big deal. Bracing Another thing to remember is that a 12 string guitar is braced for 12 strings. Most of the time the reduction in tension due to the missing strings simply does not excite the top in a way to produce a good tone, albeit there is likely to be exceptions. Neck Stiffness A few 12 string guitar may have such stiff necks that they do not bow or relieve properly without the tension from all 12 strings. In those cases, after releasing all tension on the truss rod the neck still fails to pull itself straight or provide a suitable amount of relief. Cost Professional conversions would require the top and the neck to be replaced, which will exceed the cost of many moderately priced guitars as this is being done by a luthier, not in a factory where equipment does 90% of the work. Keep in mind that the original top is braced heavier, has a much larger bridge, has a bridge plate with 12 holes in it. A neck built for a 6 string guitar will have a fingerboard that is not as wide as the original, which would leave obvious tell tale signs where the original glued to the top and where the heel meets the body. So, now one can understand why my reply is normally...go shopping for a 6 string guitar or ...leave 6 strings off. Crack Repair What Caused My Acoustic Guitar To Crack? A washboard texture which looks somewhat like corduroy is one of the first signs of dryness. It is very important that you know how to recognize this and what to do about it should your guitar start to show these signs of dryness. In the picture below the soft spruce top has lost a great deal of moisture and the dark grain lines now stand prominent, the ridges are noticeable to the touch. Cracking is likely if the problem isn't addressed and its dry season continues. A dried out spruce top often resembles corduroy. Tops are build with radius or arch. As the instrument dries out this arch will flatten and the washboard texture may already be noticeable. If humidity is low and the instrument continues to dry out the arch will flatten and can become concave when terribly dry. If your instruments top begins to dip and become concave without cracking you're pretty lucky, now is the time to begin humidifying. The majority of instruments that are truly dry will crack the top first , very dry instruments can also split along their sides or seam lines. On one of those, a good rap or bump to the side can result in the side splitting wide open, not a pretty sight. Common Signs of Dryness • Washboard texture on top • Lower action due to a flatter (dropping) top • Sharp fret ends • Loss of top or back arching Straightedge reveals concave guitar top. Repairing Cracks While some cracks are relatively easy to repair it's important to realize that are often a one shot deal. When repairing cracks it is essential that the separated halves are well aligned and the work is done cleanly. Reversing a bad repair is far more difficult and expensive than having it done correctly to begin with. When repairing most cracks I like to have a caul on the inside and outside of the instrument that keeps both sides of the crack aligned while gluing. Cracks Near The Pickguard Several manufacturers employed the process of attaching the pickguard directly to the bare wood of the top before spraying the instrument. Unfortunately these shrinking celluloid pickguards can cause a problem. If they maintain a good grip on the top while shrinking it places formidable stress on the top. If the pickguard shrinks considerably a crack can develop on either side of it. To repair these cracks the stress must be eliminated by removing the pickguard and reattaching or replacing it. In an effort to avoid a repeat, and keep the new adhesive from pulling up wood fibers if removed again, this bare area of wood beneath the guitar is usually sealed with finish. View a Martin Pickguard crack repair. Finish Repair The real challenge to repairing most tight cracks is primarily with the finish. Stripping and refinishing the entire panel to render an invisible repair on a small crack would be overkill to say the least. Depending on the crack, finish repair may not be advisable or necessary. Glued cracks still leave a small valley in the finish. When repairing cracks it is usually a two part process; repairing the crack in the wood, and then repairing the finish. When repairing lacquer finishes a new lacquer "fill" is placed in the finish crack. This lacquer fill will begin to shrink almost immediately and a small depression is likely to appear, even after weeks of patient waiting. Lacquer is very high in solvents and it shrinks quite a bit. For this reason small chips, sink marks and cracks can reappear after a flawless repair days or even weeks after it has been done. I try and educate my customers to the nature of wood and lacquer so they understand what is possible. Taylor guitar damaged by impact. Photo of completed repair Cracks That Will Not Close More often than not, cracks that have spread open and will not close with humidity are spliced, filled with a inlay of wood. This dilemma is usually only found on older, very dry instruments, perhaps something that was left in a very poor environment. But there are other causes that can create the need for a splice, like something that has been damaged and wood is now missing or an area that is under so much stress that closure is not possible. A splice is an insert of wood, like a filler strip, that is inserted into the area that is open. If the crack that is being repaired does not follow a straight line but runs across the grain the splice is much wider as a symmetrical splice must be used. What about just filling the crack with putty, wouldn't that be easier?Oh my, would it! However, I don't do it. Putty and wood filler is not an acceptable repair method in most cases. While there are obviously some repairs that may require it, wood should be replaced with wood. Putty will shrink and usually just doesn't look right. Obviously on something very inexpensive, splicing or wood replacement can easily exceed its value. My Guitar Cracked, Now What? If there is any chance that the crack is related to dryness you shouldbegin humidifying the instrument. The best time to repair a crack on your instrument is before it has time to accumulate dirt and grime or worse, run like a bad pair of panty hose! (Sorry guys ...a Pinto on Nitrous?) If string tension puts stress on the crack you should remove it immediately. Cracks that go un-repaired can sometimes cause more serious issues, especially if it causes the wood to warp and twist out of alignment. If string tension stresses the area of the guitar that is damaged or cracked it should be removed until a repair can be made. Cleats Cleats are normally made from the same material as the panel which they are reinforcing. While there are some repairs that require reinforcement, I avoid cleats unless absolutely necessary, especially on clean cracks. As I point out to my clients, every guitar has a top and back crack...tops and backs are made from book matched wood, two pieces of wood glued together down the center. This is a glued seam and is not cleated. (The center strip used over many back center seams is there to reinforce the area when the back is routed for a center strip.) Cost Whether caused by impact or dryness, cracks can effect the braces as well. The alignment, finish damage and ease of closure all contribute to the overall cost. I offer free estimates to those desiring to have them repaired, I can not offer estimates based on pictures alone. Fingerboard Care & Repair Fingerboard Care Unfinished Fingerboards Most fingerboards are not painted. (Rickenbacker and Fender Maple boards are among the exceptions.) On unpainted fingerboards, using 0000 steel wool is a popular choice. It does however come with downside, lots of tiny hairs shedding and making a mess. Naphtha has also been used, put I personally find it's cleaning properties pretty limited. I prefer to use Dunlop's fingerboard cleaner. It is sprayed on and does an excellent job of cleaning even filthy fingerboards. I was pleasantly surprised the first time I tried it out on a 50+ year guitar with decades of caked on dirt. I would recommend using it with a disposable rag (I like the blue Scott shop towels). After cleaning the fingerboard micro fiber cleaning clothes can be used to lightly polish the frets. Steel wool will also do the trick, but again, makes a bit of a mess. When using steel wool on a fingerboard remember to avoid contact with any painted surface and protect pickups from the wool hair. After cleaning an unpainted fingerboard, follow up with some fretboard oil to restore some moisture. Let it soak in for a moment and then remove excess with a cloth. Fingerboards may require oiling periodically (every few months) but I would not recommend a weekly oiling. Fingerboards that are saturated with oil can become greasy which makes them attract dirt. Painted Fingerboards Painted fingerboards are cleaned in a similar manner to the finish on the instrument. Remember that nickel frets will turn your cloth black when polishing. Avoid contaminating areas of bare maple with polish or your blackened cleaning cloth. Fingerboard Repair Chipping Old or brittle fingerboards can turn a simple refret into quite a tedious job. I have re-fretted enough 80+ year old boards to know. Although chipping is unavoidable on some fingerboards, it can and should be repaired. This should never happen and was caused by incorrect removal of the frets. Yikes! Cracks Fine line cracks can develop in the fingerboard and stretch a distance of several frets. These are often spotted when cleaning the fingerboard and can be an indication that the instrument is dry and in need of humidity. If you see cracks develop in the fingerboard make sure the instrument is properly humidified. After properly cleaning the fingerboard to remove dirt and oil, fine cracks can be filled with wood dust and adhesive. The fill is then leveled and the board is lightly sanded and polished. Common Finish Issues Lacquer Checking / Crazing This is an extremely common, somewhat expected condition on older instruments with lacquer finishes. Checking will vary according to the extremes the instrument has been through. As an instruments wood expands and contracts with moisture content stress is placed on the finish. Heavy finish checking /crazing The lacquer itself is put thru allot of stress as this takes place and the finish may develop checking/crazing is a result of this movement. Checking looks like very fine finish cracks running in all directions. Extreme and sudden temperature changes can also cause finish checking, regardless of the instruments age. Can I avoid checking? If you travel with your instrument and it is subject to severe temperature changes, you should allow it to acclimate to room temperature before opening the case. When instruments are shipped to me they are left unopened until I am sure the contents have had the opportunity to warm/cool to room temperature slowly. You should also insure you are properly humidifying your instruments to avoid sever dryness. See my humidity article for more information. Can you repair finish checks? Because checking is a common occurrence on vintage instruments most should avoid refinishing as it is likely to happen again. An additional deterrent would be the negative effect on value. Yellowing Finish Instruments finished in nitrocellulose lacquer not only tend to craze with greater ease than the newest catalyzed finishes but they also yellow with age. An instruments finish can consist of a color coat and clear top coat or simply a clear coat. With age this clear top coat begins to turn yellow. That means a white guitar may eventually turn yellow and, since blue and yellow make green, older blue instruments can eventually turn green. This phenomenon is a simple fact of life and a natural occurrence with aging lacquer. While it's true that UV rays may accelerate the process (just peak under a pickguard), nothing can be done to stop nitrocellulose from yellowing. In fact, like crazing, it is a common and expected occurrence. Can you sand off the clear coat to remove the yellowing? As simple as that may sound the answer is no. Trying to sand off just the top clear coat and not damage the color is a lesson in futility. That being said, when I was young I attempted to sand off a refinish color to reveal the original finish on a vintage Fender Strat. What I found after days spent removing small amounts of finish was that the original coat had been sanded thru in areas as it was prepped for the refinish. Futility only a do it yourself er would attempt! Soft, Gooey Finish Lacquer is the most common finish used on vintage instruments and while it has great properties for touch up it can be damaged with certain solvents. Lacquer is a solvent based finish and can be damaged by contact with acetone and lacquer thinner. It can also be damaged with prolonged contact with water and denatured alcohol. One reaction that many are unaware of is lacquers nasty reaction to prolonged contact with vinyl. Vinyl will soften lacquer to a point that it will roll up under your fingers. Refinishing of the effected area is necessary. Peeling Paint (Delaminating) Different manufacturers have had issues with de-laminating finish at different times. De-lamination occurs when the top coat can not adhere to the underlying sizing or sealer. Much like the white Dodge's we see driving around with large patches of exposed gray primer, the top coat let's loose and chips off with little effort. Because this is an adhesion issue, overspraying without stripping to bare wood often results in a repeat. The surface must be re-prepared for refinishing. Cloudy White Finish Finish clouding on peghead of Alvarez guitar. Clouding refers to a milky white coloring that makes the clear coat far less transparent and foggy. I have only witnessed this phenomenon on inexpensive poly finished instruments. Due to the time and cost involved to strip and refinish one of these instruments it is a condition most are forced to live with. Because the clouding is in the finish, buffing and polishing have no effect. This is not usually seen when the instrument is new but develops over time. While I have ideas as to the cause I do not know for certain. How Do I Remove Scratches From My Guitar's Finish? Obviously scratches are a part of life, but on occasion we want to spruce up our instrument and erase some of the wear and tear associated with playing. Buffing scratches is an option if they don't go too deep. When buffing scratches out, quite literally, finish is being removed until you are at the bottom of the scratch, making the finish a smooth flat surface again. For heavy scratches, wet sanding often precedes buffing. While this is completely reasonable for very fine scratches, you can quickly guess why attempting to buff out a very deep scratch can end in disaster. On instruments with color, a clear coat sits atop the color coat. If too much clear is removed you may buff into the color coat. Doing so leaves a hazy dull ring around the area of transition. If the instrument is merely clear coated, the same applies, sanding or buffing thru the finish will leave bare wood exposed. Drop filling a scratch, leveling the fill with the surface and then buffing the instrument is another technique. However, when drop filling lacquer and other finishes, the fill normally shrinks with time and a dip is still seen even after a spotless repair. Glazes and waxes attempt to "fill" scratches and claim to make them less noticeable. However, coming from an ex-body shop manager and car detailing buff, it isn't as easy as all that. A good rule of thumb here is, if you can hear your fingernail click when running it across the scratch, it is probably too deep to wet sand or buff out. Refinishing Vintage Instruments When dealing with vintage and collectible instruments it is usually in the best interest of the owner to preserve its originality as much as possible, monetarily speaking. As is common with other antiques, refinishing is detrimental to the value often associated with rare or vintage instruments. Generally speaking, the only time I would recommend refinishing a vintage instrument is when damage is severe enough that it is simply required or when it has already been refinished very poorly as seen in this photo. This Martin D-28 appeared to have been painted with a brush. View same instrument after refinish. Types of Finish Repair Touch-Up When I use the term touch up I am usually referring to a relatively small area that can be repaired by brush work (drop filling finish into a chip or valley) or air brushing a small area. Lacquer which is drop filled by brush must be wet sanded and polished in order to render the smooth, glass like surface one expects to see. Of course the most difficult part of touching up chips or scratches is not necessarily the application of the lacquer but the blending of new with old. It is truly an art form in many respects and one must aptly judge the thickness of the finish they are dealing with in order to avoid sanding or buffing thru the finish. Lacquer Melting Flaking, brittle lacquer finish that is easily removed by simple contact can sometimes be stopped by amalgamating (re-melting) the finish. Finish that has separated from the wood can sometimes be reattached by this method. Top coats are normally diluted with a retarder and thinners that soften the original coat and allow the new coat of finish to melt into the existing finish. Overspray Overspraying refers to a technique whereby a new lacquer top coat is sprayed over the existing lacquer finish without completely removing the original finish. Aging It is not uncommon to run across instruments who's binding has begun to crumble and literally fall off. With this type of deterioration it is necessary to replace the binding and of course when we do so the new binding stands out like a brand new penny. Solution...we age it. We can age binding by applying a top coat of tinted lacquer to render the yellow hue we normally see on vintage instruments. On most instruments the yellow tint you see on the binding and other areas is simply the result of yellowing lacquer. Once the lacquer is removed you are likely to find white binding (assuming it was white when new). That's why worn areas often differ in color. Other repairs may also necessitate this synthetic aging technique. Non-lacquer Finishes When applying overspray one of the most crucial elements to success is adhesion. It is absolutely essential that our new top coat bite into the existing finish. That bite is one obstacle we often run into when trying to overspray finishes other than lacquer. Many of today's newer finishes are so hard and impervious to chemicals that overspraying them may not be an option. The factory can advise you of your finishes repair techniques. Cost Refinishing is usually cost prohibitive on anything by high quality, valuable instruments. A professional refinish requires neck, bridge and pickguard removal. These parts are not masked around as finish would pool at the edges and look unprofessional. As of August 2010 the Martin Guitar factory charged more than $900 for a complete refinish of the body of a D-28. (Neck not included) Likewise, the Taylor factory charged $800 for a complete refinish of a gloss finished body.*For exact prices contact the factory. You can easily see how much more one pays for man hours than for production line work. In some instances the cost to refinish an instrument exceeds it's replacement cost. This comes as quite a shock to most, but can be more understandable once the process is viewed. Lacquer Repair Challenges Lacquer is very high in solvents and as a result it shrinks quite a bit. For this reason, the lacquer used to fill a chip or crack can continue shrinking weeks after a nearly invisible repair. Realize that I am being quite picky to say that I can see the repaired area but I try and educate my customers to the nature of lacquer so they know what to expect. Refretting Guitars Step 1: Fret Removal I generally use heat when removing frets. It's a good way to determine if glue was used during installation and facilitates easier removal. In order to apply the heat only the to frets crown I use a wide tipped soldering iron. I like to file a small notch in the tip so it can seat on the crown without sliding around. In order to pull frets out cleanly, I use a small pair of end nippers that I have filed to flatten the head which rest against the fingerboard. Instead of pulling frets out, I am "pinching" the out. The thin blades of the end nippers slide beneath the crown of the fret and gently wedge them upward as I walk the nippers from one end of the fret to the other, never lifting the pliers but using the wedge effect. Older, brittle boards require patient care as the tang of the frets tends to pull small chips free as the fret is lifted from the slot. When you've re-fretted as many 80 year old fingerboards as I have, it isn't a question as to whether they will chip, it's how badly. Removing the frets correctly means less repair is necessary after removal. Heat can damage and destroy celluloid binding and inlays. It is critical that the irons tip touch nothing but the fret crown. Chip Repair Some of you have witnessed less than professional fret jobs that left the fingerboard littered with chips. While chip out can not always be avoided it can and should be repaired. Amongst my favorite techniques is using some sawdust sanded from the fingerboard mixed with Duco cement. Fills are then block leveled and further fingerboard prepping can begin. Step 2: Prepping The Fingerboard For Frets Sanding The Radius With the frets out and the neck adjusted flat it can now be checked for trueness and planed if necessary. To properly plane a neck straight I feel the best sanders to use are close or equal to the length of the fingerboard. Longer planes and sanding blocks cover a greater surface area and make equal removal of material far easier. A radius gauge is an easy way to measure the fingerboard's radius and choose the correct caul for sanding. After planeing, if necessary, I switch to lighter grit sandpaper and a sanding caul that is radiused to match the intended fingerboard radius. A long straightedge is used to ensure the neck is straight and no high/low spots remain. Cleaning The Fret Slots When working on a newer instrument I may use the air hose to blow the sanding dust from the slots. On delicate vintage boards air pressure is enough to blow chips out of the board and is best avoided. A feeler gauge can be used to measure the width of the fingerboard slot and determine the fret tang size needed. While nearly everyone knows that fret wire comes in many different crown sizes (short, tall, wide, skinny) some are unaware that it also comes with different size fret tangs. Using the correct tang size is essential and should not be overlooked. Fret Tang Choices Using a fret tang that is too small for the fret slot can cause frets to quickly loosen and lift. It can also weaken the stiffness of the the neck as the lack of fret slot compression allows the neck to bend more easily. A fret tang that is too large can add too much compression to the neck. When large enough, this can actually back bow the neck as it adds mass to each fret slot... a technique I use to strengthen and straighten older necks with no adjustable truss rod. The fret slots on unbound fingerboards can be cleaned with a traditional fret slotting saw of the appropriate size. Bound necks require very short bladed saws that will fit between the binding or, my favorite, a small hook tool that nicely scrapes the slot clean. Changing The Fingerboards Radius To some extent the original radius can be changed if desired. We are however limited by the fingerboards inlays and overall thickness. A drastic change to the radius could require so much wood removal that we endanger the inlays or thin the board. Compound Radius vs Single Radius A "compound radius" means the board starts out with a tighter radius at the nut and gently tapers into a flatter radius. A fingerboard with a single radius is shaped the same from the nut to the heel. While we all have our preferences as far as fingerboard radius is concerned I will through out a few tips, but mind you YMMV. Because a tighter radius produces a rounder fingerboard, chord players and those with hand problems may enjoy the tighter radius of 7.25" or 9". The biggest problem with a tight radius occurs when attempting a substantial string bend with average to low action. The string will contact the fret and fret out or buzz. If your a heavy string bender avoid the vintage 7.25" radius or prepare to meet high action. A radius of 16" or flatter may be preferred by those playing lead. These are generalizations of course. How do I know which radius is best for me? Take the instruments that feel most comfortable to you and measure their fingerboard radius. (Or check their specs. online.) If there's a consensus, you've dialed it in. If not, it may not matter much to you. Step 3: Fret Wire Preparation Bending Fret Wire Some fret wire is sold in straight lengths while others come in a coil. Before pressing the fret wire into the prepared fret slots it should be cleaned with Naphtha or similar solvent to remove oil. It is then sent thru a Fret Bender to bend the radius to match the fingerboard. Nickel fret wire wants to "spring" when being pressed into the fret slots and it is usually necessary to slightly over radius it. Stainless steel fret wire is another story. Because it is rigid and retains it's original arch it should be bent to match the fingerboard exactly. Fret Wire Size For more information on fret wire size and materials, check out my Fret Wire page. Step 4: Installing New Frets Cutting Fret Wire When the fingerboard has no binding each fret is cut slightly longer that the fretboard's slot and clipped flush with the fingerboard's edgeafter installation. Cutting Frets For Bound Fingerboards Bound fingerboards require far more work. Each fret must have it's tang cut to fit between the binding, leaving the crown to overlay the binding. Once the tang has been cut with fret wire nippers, the remaining bur is filed so the crown can sit flush against the binding. The fret wire's tang is clipped and the remaing bur filed away. Gluing Frets In Glue is used when necessary. A new fingerboard rarely "needs" to have it's frets glued in as using the appropriate fret tang will enable the fret to grip the board nicely. Older, brittle boards or one's that have been re-fretted numerous times, some, less than professionally, may require gluing. Some boards simply don't grip the fret wire as intended and feel a bit soft when installing frets...all reasons to be safe rather than sorry. (Maple, I'm talking to you.) An instrument that is subject to low humidity and less than ideal care may also be a candidate for glued in frets. Subjecting an instrument to dry climates can cause shrinking and swelling of the fingerboard which can cause frets to spring free. While this problem is best addressed by taking proper care of the instrument, if it's a known problem glue adds a little insurance. Because I use the compression method I will either be tapping the frets in with a fretting hammer or pressing them in with a arbor press. To avoid dinging the new fret when installing them I use a fretting hammer with a plastic tip. The arbor press is equipped with "feet" which are machined from brass and are shaped to match the fingerboard's radius. With the fret sitting atop the slot the arbor press pushes the fret into the slot. Beveling The Fret Ends Frets are slightly beveled on the edge.. Manufacturers vary a bit on how they bevel and round the fret ends, but the object is the same....no sharp edges! Can someone over bevel the fret ends? Yes! In severe cases the outer E strings may lie over or terribly close to this bevel and cause the string to roll off the frets edge when playing. With the new frets installed, filed flush with the fingerboards edge and properly beveled we can move onto leveling, re-crowning and polishing them. Continue to Fret Leveling Special Considerations Necks Without Adjustable Truss Rods When tension is placed on the neck it is normal to see some amount of relief or upward bow. When the relief becomes excessive we tighten the truss rod to counteract it and draw the neck straight again. What if the guitar has no adjustable truss rod? While most instruments built after the turn of the century do indeed have a truss rod, not all of them are adjustable. Some of these necks merely use a rod or hardwood inlay to stiffen the neck. Comparison of Truss Rod Types The T-Bar and Square Bar strengthen the neck but are not adjustable. When an instrument without an adjustable truss rod suffers from too much relief or a permanently bowed neck, planeing and refretting can often improve it's playability. Even after planeing a neck flat it may still bow a considerable amount under tension if the neck is weak. In an effort to stiffen it, fret wire with oversized fret tangs can be used for additional compression. Because this is just as much experience as it is technique, the correct size tang must be chosen to insure the neck does not end up back bowed. Rubber Necks There are necks that I can flex with my hands, some can actually see them flexing while playing. While planeing and refretting on of these may improve them somewhat it can be a risky adventure. A neck that shows itself to be weak in this manner is not likely to undergo a radical transformation simple because it has been re-fretted with oversized tangs. Careful examination is in order here, as well as an up front, honest conversation with the owner. Putting money into a refret when the neck is in serious trouble can be hopeful thinking. Gibson And Those Binding Nubs If you look closely at the frets on a bound Les Paul you can see a small "cap" of binding at the end of each fret. We've referred to these as nubs, nibs, fret caps... When these instruments were manufactured the board was fretted, the frets where filed even with the edge of the board and then the binding was attached. The binding, which sits proud of the fingerboard is then scraped level with the fingerboard leaving the small nub of binding at the end of each fret. Many like the feature as it prevents strings from catching under the ends of the frets when they are rolled off the edge of the fingerboards (which can certainly be prevented without them BTW). When refretting an instrument fretted in this manner, those nubs disappear while sanding the fingerboard. It is unavoidable when the entire fingerboard is being re-fretted as the fingerboard must be resurfaced to prepare for the new frets. When performing only a partial refret on this type of neck, the nubs are usually preserved but more time and expense is incurred to precisely match the shape and fit of the old frets. I think it's fun and enjoy the satisfaction of preserving the look of the original, I would not however, enjoy doing that on all 22 frets of a Les Paul. lol Bar Frets Bar frets differ from traditional fret wire in that the crown and tang are exactly the same size, unlike the mushroom shape of today's wire. Traditional fret wire can not be used to refret an instrument that has bar frets due to their size. Today's fret wire tang is not large enough to fill the fret slot of a fingerboard who originally had bar frets. Sources for bar fret wire pop up from time to time but I no longer have it in stock and do not offer it. You can see picture's of a bar fret refret here. Guitar Fret Wire - Types and Sizes The position of the fret on the fingerboard indicate the location of the next note, as a result, their positioning and the shape of their crown are crucial for good intonation. Guitars may require refretting for many reasons, the most obvious being to replace worn frets or change their size. However, refretting is also necessary when correcting neck issues that require planeing of the fingerboard. Fret Wire Specs Fret Size • Crown Width (Popular size range .078 - .110) • Crown Height (Popular size range .035-.055) • Tang Fret Material • Nickel (18% Nickel-silver) • Soft Nickel • Brass • Stainless Steel • EVO Copper Alloy (nickel free) Vintage instruments sometimes used a fret wire which is uniform in size (flat instead of mushroom shaped.) These are known as bar frets. Choosing The Right Fret For Your Guitar There are many choices available when it comes to fret size. Most players however will develop a preference for size depending on their style. Fret wire can be measured when the size is unknown. Tall Frets Taller frets (higher than say .045) are often favored by string benders. Their height make it easy to push the string when bending. They also produce a clear note without allot of pressure. The downside is, hard fretters tend to bend the string sharp. Short Frets You either love these or hate them I think. They have a barely there feel to them. Think fretless wonder. The string really drags against the board when bending. Skinny Frets Fret crown widths below .080 is what I would call a skinny fret. These are often seen on vintage guitars, banjos and mandolins. These are good on intonation, but can wear more easily. Wide Frets Wide fret wire of .100-.110 is most often used on electric guitars and basses. These generally wear slower than skinny frets. Excessive wear on wide frets can throw intonation off. Common Fret Problems Wear Strings wear grooves in the fret's crown. Most players can easily spot the grooves worn in frets by string contact. As grooves grow deeper, buzzing may occur because the string now sits lower and contacts the next, higher (less worn) fret. But wear is not always seen as small grooves. Heavy string benders will also notice that the once round fret crown has flattened which can alter the string's contact point and effect intonation. Worn frets can be leveled and dressed only if sufficient fret height remains to permit filing. Sharp fret ends When the edges of frets suddenly become sharp (no recent fret work) it is usually an indication that the fingerboard has lost moisture and shrunk. When humidity levels drop the fingerboard can shrink enough to leave the edge of the frets now slightly extended. A fret dressing can smooth the sharp edges but the instrument should also be properly humidified to prevent other damage. Frets are too high Some new instruments come with fret wire measuring .055-.060 high. Higher frets are not for everyone, especially those with a firm fretting technique which is likely to cause notes to go sharp. Frets can be filed to reduce their overall height and re-crowned. View my article on fret leveling for details. Frets are too low Speaking of fretless wonders...wow! Not all wear appears as grooves in the fret. Many times the wear is evident by the lack of roundness to the crown. String bending acts like a file continually filing away at the crown of the fret. In an attempt to correct fret height inconsistence, frets can also be filed too low when a less experienced craftsmen is attempting to level the frets. Loose / Lifted Fret The fret's tang can loose it's grip on the fingerboard and spring loose which causes it to stand proud of the surrounding frets. When this happens, the note prior to the lifted fret will normally buzz against this high fret. Loose fret ends often catch the treble E string when bending. Loose frets can be secured and leveled when height permits. If many are spotted refretting is usually necessary to address the cause of the problem. Gaps Under Frets On guitars with bound fingerboards, shrinking of the binding can produce a gap large enough to catch the treble E string when pulling it over the edge. If only a few our present I will fill the gap to eliminate the problem. If the binding shrinkage has introduced gaps at every fret, the board should be re-radiused to eliminate all gaps and re-fretted. Glues Used In Guitar Repair Aliphatic resin is amongst the most popular woodworkers glue used in instrument building and repair. Titebond Type 1 original formula and various other brands such as LMI and Garrett Wade which are available in both white and yellow. This is the glue most factories use to assemble and repair instruments and it is easy to work with. Unlike Hide glue, it is ready to use straight from the bottle. Woodworkers glue is water soluble, has longer working times than Hide glue. It softens with heat and is very strong. Titebond Glue I use Hide or Aliphatic glue for nearly all wood to wood repairs including gluing bridges, bridge plates, braces, necks, most cracks and fingerboards. For the novice or do-it-yourself er this is going to be the glue of choice. On instruments most glue joint failures are hardly ever related to the glues strength. The most common culprit is insufficient glue, heat exposure or poor surface to surface contact. Glue is not a filler and should not be considered a fix for a poorly fitting joint. When repairing loose braces or bridges there is no need to seek a stronger adhesive as carpenters glue is more than ample. Most glue joint failures are hardly ever related to the glues strength. Titebond or other aliphatic glues are more than strong enough to do the job. Hide Glue Hide glue is one the oldest glues used in instrument making and repair. This glue is sometimes frowned upon because it is a little high maintenance. Hide glue is purchased in a dry form, mixed with water and then heated before use. It must be kept hot to prevent it from gelling and this requires a glue pot or other means to produce the heat necessary. There is no denying that hide glue stinks! Hide glue will stick to itself, it is water soluble, and does not creep like aliphatic glue. There is/was an instant Hide Glue available but you want to steer clear of that. Super Glue (Cyanoacrylate) Super glue happens to be an indispensable tool in this trade and it is also a very dangerous one in the hands of some. Unfortunately someone used superglue on loose braces I use super glue primarily when repairing things other than glue joints. In other words, super glue is never used on loose braces, bridges (when they're wood gluing to wood), end pins, open seams, pickguards etc. Its most popular use is fingerboard cracks, bridge cracks, inlay repair and the like. It can be colored and used in many applications but because it is permanent it is not suitable for wood to wood glue joints. Another dangerous but wonderful use for super glue is finish chip repair on some of the newer finishes. It is clear, dries hard, shrinks very little and is sandable, a perfect candidate for finish repair and used by most factories. Permanent adhesives like super glue and epoxy should not be used to glue bridges, braces, necks and other instrument glue joints/seams. Epoxy Most of the warnings that come with super glue apply to epoxy. It is a permanent adhesive that you must sand to remove once hardened. Like super glue it should not be used on joints and seams. Epoxy can also be tinted and used to fill chips in bridges, fingerboards and the like. Guitar Intonation Why A Guitar Won't Play In Tune My guitar does not play in tune, even after I know I've tuned it correctly. Some chords sound in tune while others don't. This article details the reasons a guitar will not play in tune. To view information about "staying" in tune, please refer to my article ontuning issues. Checking Intonation To check intonation you will need an electronic tuner. Tune your instrument to pitch and fret each string naturally at the 12th fret. If notes played at the 12th fret are dramatically sharp or flat, the intonation may require correction. Things That Can Cause Poor Intonation • Physical placement of saddle (this determines the string's length) • Wear on the string's contact points (frets, nut, saddle) • Very tall frets • String gauge • High Action (too much distance between the fret and string) • Playing technique High Action Very high action (string height) causes a string to be stretched as it is fretted. In the same way that bending a string causes the note to become sharp, pressing a string down when the action is quite high will also cause string stretch. When string height at the nut is too high, chords and notes in the first position are often out of tune. Correction: The instrument should be properly set up. Excessive Neck Relief A neck with far too much relief (bowing in the neck) not only shortens the distance between the nut and saddle, it raises the string's distance from the frets. Correction: Adjust the truss rod to obtain proper neck relief and set up if necessary. Leaning Saddle The saddle should sit firmly in the bridge. A loose saddle can lean forward, shortening the string's length and sharpening the intonation. Correction: Replace the saddle for proper fit. Worn Saddle Crown Deep notches in the saddle may change the string's length. Correction: Replace or re-surface the saddle. Fret Wear Frets that are badly grooved or have flat crowns will also throw off intonation as the string's length is changed. Correction: Worn frets can be leveled and re-crowned to remove the grooves. Severely worn frets may require replacement. Fret Height Instruments with very tall fret wire can play incredibly sharp if the string is fretted hard. Using an electronic tuner fret a note and watch the tuner as you apply more or less pressure to the string to view the effects. Correction: If the fret crown is very tall, fret leveling and re-crowning can reduce it's height. String Quality & Gauge String quality has really only been an issue for my clients when purchasing no name strings from auction sites. While seemingly cost effective some are notorious for bad intonation. When re-stringing an instrument that has been properly set up it is important to use the same string gauge. Saddle compensation, neck relief and action have all been set for a particular string gauge. Increasing the tension of the strings can cause sharper intonation. Correction: If the instrument played in tune before and no changes have been made to the instrument you may wish to change strings first. Saddle Placement The string is always resting in the nut's slot and on the saddle's crown. Changing the position of the saddle or nut will therefore change the length of the string. A string that is too long will cause the intonation to be flat at the 12th fret. A string that is too short will cause the intonation to be sharp at the 12th fret. Correction: The saddle's crown may need compensation or, in more severe cases, the bridge saddle slot may need to be moved. Fret Spacing I hate to mention this as I fear far too many people will jump to this conclusion in error, but I still encounter this on occasion. This is generally seen on inexpensive imported instruments and some vintage pieces with hand slotted fretboard's. Correction: Fingerboard replacement. Playing Technique Some players have a rather powerful fretting technique in which they place excessive pressure on the strings when fretting. If the instrument happens to have fairly tall frets the combination often results in sharp intonation. To illustrate, use an electronic tuner and play a note using varying fretting pressure. The tuner will show you how your pressure effects the note. A Word About Scale Length Common Scale Lengths* Martin Dreadnought 25.4" Martin 000-28 24.9" Taylor Grand Auditorium 25.5" Gibson J-45 24.75" *some editions may vary When trying to determine the Scale Length on an instrument measure the fingerboard from it's start (where it touches the nut) to the center of the 12th fret. Double this number to arrive at the Scale Length. Scale Length can be determined by measuring from the end of the fingerboard, to the center of the 12th fret and doubling it. In order to compensate for the sharpening that occurs when fretting notes up the neck, additional string length is added to the scale length in order to provide better intonation. If you look at the saddle on a steel string guitar you will quickly realize that they are not in a straight line (with the exception of some classical guitars). Saddles are slanted because string length is actually added to the instruments scale length in order to off set the sharpening of the note which occurs when the string is stretched while being fretted. The larger the string, the more compensation is usually necessary, thus the bass side of the saddle will be further from the fingerboard than the treble side. Adjusting Guitar Intonation The first step to correcting your instrument's intonation is to address any issues that can cause intonation problems. If you haven't done so already take a look at my list, most new intonation problems will be caused by one of these issues. Knowing the cause is the first step to fixing the problem. Check Your Intonation To check your guitar's intonation you will need a tuner preferably, a chromatic tuner. Tune your instrument to pitch and fret each string naturally at the 12th fret. This note is one octave higher than the open string note and should be in tune (neither flat nor sharp.) If notes played at the 12th fret are dramatically sharp or flat, changes to the strings length and position of the saddle (or shape of it's crown) may be necessary. When correcting poor intonation on an acoustic guitar I use an electronic tuner to evaluate the strings tuning at the 12th fret. I record this information for reference while making adjustments. Only after any issues that can contribute to poor intonation are corrected do I may further adjustments to the nut and/or saddle. Installing A Compensated Saddle Installing a pre-made drop in compensated saddle is usually a simple upgrade. If your instrument has already been set up properly you can use your original saddle as a reference when sanding the height of the new one. If the instrument has any playability issues a set up should be performed along with the saddle upgrade. Most saddles are either 3/32" or 1/8" wide. When purchasing a replacement, height can be filed by sanding. Graph-Tech®, makers of Tusq® brand saddles, provide a large selection of pre-made compensated saddles. See assortment in right sidebar. When pre-made saddles are not available thru retailers or from the original manufacturer the saddle must be made from scratch. In these instances a saddle blank is used and shaped to fit. Dark lines show the peak of the saddle and the strings contact point. Compensated saddles allow us to alter the individual string length and adjust intonation. For instruments in need of extra fine tuning the shape of the compensated crown may need to be filed by hand, adjusting the length for each string individually. This is a more costly, time consuming method which may be required when good intonation can not be achieved using a premade saddle. Installing Compensated Nuts Compensated nut Fretting a string stretches it and stretching a string will sharpen it slightly. To offset this sharpening,length is added to the instrument's scale length to compensate. However, lengthening the string to compensate for fretted notes also lengthens the open string. Compensation of the nut can be achieved in different ways. Most have settled on a "shelf system" whereby the nut overhangs the end of the fingerboard which renders it slightly shorter. This eliminates the need to permanently modify the fingerboard's length by cutting it. Earvana® is one example of a prefabricated compensated nut. The Buzz Feiten Tuning system® is another method. Modifications are made to the position of the nut or fingerboard length. Intonation is then adjusted according to slightly offset tunings which are determined by string gauge, scale length and action. My advice is to try the self-nut first, before modifying the fingerboard's length. I find it difficult to justify shortening the fingerboard of a vintage or valuable instrument. Using Tuning Techniques Just as there are several theories about ideal saddle and nut compensation, there are also different ways which we can tune our instrument. One of the most popular methods is to use a chromatic instrument tuner to tune the open (unfretted) strings. Other methods include using harmonics to tune or tuning 2 particular chords until they are in tune with one another. You can use whatever method you feel pleases your ear. Correcting Saddle Location Some instruments suffer from poor intonation because the bridge and/or it's saddle slot is not located properly. It is either too close to the fingerboard causing sharp intonation, or too far, causing flat intonation. This instrument played terribly sharp due to a misplaced bridge. The yellow arrow reveals the correct location for saddle placement. When possible (and appropriate), the original slot is filled and re-routed to correct the problem. Ebony was used to fill the original saddle slot prior to reslotting. When the correct placement is not possible a new bridge is made to avoid placing the saddle too close to the bridge pins. A bridge slotting jig serves as a guide for my laminate trimmer. Bridge Replacement On the bridge below, moving the saddle's position would have placed it too close to the bridge pin holes. Instead a new bridge was made. It is quite common to see this scenario on Martin guitars built in the 70's (though they are not the only example). Note the positions of the bridge pin holes and saddle slot. The top bridge is an original, the bottom is the replacement. Also of note is the proximity of pickguard to bridge. Physically moving an acoustic guitar bridge to correct the intonation would leave behind a nasty unfinished area on the top which would be easily noticeable even with touch up. The alterations I make allow the bridge to sit on the same "footprint" and are only noticeable to those well acquainted with the original design. In Search Of Perfect Intonation Having every single note in perfect tune is beyond the abilities of many equal tempered instruments. There are in fact compromises and for a select few ...they may always be disappointed with the intonation of a fretted instrument. Guitar Neck Problems Bowed Necks (Excessive Relief) The upward bow caused by string tension only becomes a real problem when it is excessive and unadjustable. The truss rod's main job is to keep the strings from pulling the neck into a exaggerated bow shape. A problem occurs when the bowing can not be controlled or adjusted by the truss rod. This happens when either the neck has no adjustable truss rod, the rod is broken or it has merely lost the battle with tension and is helpless to straighten the neck. When appropriate, some necks can be planed and re-fretted with a fret wire which has wider fret tangs to encourage straightening and stiffening of the neck. Twisted / Warped Twisted Neck Fingerboard has been planed to correct. Unlike excessive relief (an upward bow of the neck) a twist occurs in such a way as to render the neck lower on one side than it is the other. Very minor twisting may not create noticeable playing issues but more substantial deformities can cause fret out and buzzing. Although twisted necks need to be evaluated to determine the best remedy, planeing is sometimes a remedy. Because wood is removed, the severity of the twist, fingerboard and neck thickness must be taken into consideration. It should also be mentioned that a new instrument exhibiting neck twist may continue to do so in the future, making the repair temporary. Planeing an older neck, which has likely taken a set and stopped twisting is more favorable. Breaks frequently occur where the peghead meets the neck. Broken Pegheads Without a doubt, the most vulnerable area of the neck is the point at which the peghead and neck merge. The angle of the peghead creates what is called "grain run out". This makes the area behind the nut more vulnerable than other areas. Neck Volute Adds mass to strengthen a vulnerable spot. In an attempt to reinforce this area you will find that some manufacturers have used different methods. As seen on many Martin guitars, additional wood is left in place to thicken the area. This is known as avolute. Others have chosen to make the neck out of more than one piece of wood. The peghead grain can then be closer to quarter and joined to the neck via scarf joint or other method. Regardless of the methods used to build guitar neck's breaks occur. Broken Peghead Loose Necks A set neck (glued on guitar neck) can come loose where it attaches to the body by impact, heat or failed glue joint. A loose neck can create high action and often leaves a visible gap between the heel of the neck and the sides. You should remove string tension if you discover the neck is loose from the body to prevent severe damage. Because necks are attached to the body using several methods, the repair will depend on the cause. This neck heel fractured after coming loose and being left under tension. This Ovation's neck was epoxied in place. The glue held but the actual wood failed (after impact), leaving bits of the heel still glued to the dovetail joint. Cost Because most acoustic guitars are glued in place, the cost to replace an un-repairable neck is usually prohibitive on less expensive instruments. A neck fitting on an instrument with a glued in dovetail and the cost of the replacement neck can easily run up a bill of $500 to $800 or more depending on the manufacturers pricing of the neck itself. Bolt on necks which do not require as much labor are often less expensive to replace. When a factory made neck is unavailable and a used, donor neck can not be found, custom replacement necks can be made by those offering this as a service, I do not. Acoustic Guitar Neck Angle Acoustic guitars may require a neck angle reset once the action (string height) has risen and methods to lower it have been exhausted. Does My Guitar Need A Neck Reset? Increased String Height Above Frets Rising action can make an instrument difficult, even painful to fret. It also plays havoc with intonation. Normally string height is lowered by performing a set up which makes adjustments to the truss rod, nut and saddle height. Eventually, however, some instruments arrive at a point to which no further adjustments are available. Low Saddle Guitars that are in need of a neck reset often have a very low saddle. As the arch (belly) of the top rises thru years of string tension, the saddle is lowered to counteract it. Eventually the saddle is shaved as low as possible and the neck's angle must be reset to accommodate the new arch of the top. Very low saddles can diminish the volume and tone of the instrument. Insufficient Angle Plane of fingerboard passes below the top of the bridge indicating the need for neck resetting. To assess the neck angle a long straight edge can be used. It is placed down the center of the fingerboard to the bridge. As seen in the picture above, the arch of the top has risen and the bottom of the straight edge now falls below the top of the bridge, literally running into it. Ideally the a straightedge, sitting atop the frets, should pass over the top of the bridge slightly when no string tension is on the instrument. It's also important to note that, when possible, the neck relief (bow) is removed to provide a more accurate measurement of neck angle. Causes Many are under the impression that neck resets are necessary because the neck moves, in actuality that is rarely the case. While necks do bow under tension, a properly working truss rod can adjust the amount of bow (relief) in the neck. Neck resets are performed because the top's arch has increased, raising the string height. We often call this "top belly". Neck resets are most often necessary because tension has caused the top to belly, which raises the bridge and string height. Neck angle and neck relief are two entirely different things though both affect string height. Neck Angle is the pitch (angle) at which the neck is set in the body and requires neck removal to change. Neck Relief is the amount of curvature (bow/relief) in the neck itself and is controlled by the truss rod. A neck with excessive relief can also create high action. When checking neck angle with a straightedge the neck should be adjusted straight if possible. Other Considerations Loose Necks Guitar necks are normally bolted or glued to the neck block. If the neck should come loose from the block, string tension could pull it's heel out of the neck block, effectively changing it's angle. This condition would be readily apparent as a gap beneath the heel would be visible with tension is placed on the neck. Loose Neck Block A more difficult (and far more rare) issue to spot is a loose neck block. Because the neck is glued to the neck block it too must be securely glued to the top, back and sides. (Note some mortise style neck blocks may not touch the back.) A neck block that has shifted can cause the neck angle to change when tension is applied and it moves within the body. This can occur when an instrument is left in a hot environment and the glue has softened. A thin feeler gauge can be used to check for gaps between the body and neck block. Loose neck block Under tension the neck angle would shift as a result. I have also seen this on inexpensive instruments with neck blocks that have limited contact with the top and back. Epiphone's® FT seriesguitars with bolt on necks are notorious for loose neck blocks (as well as other issues). Loose or Broken X-Brace & Worn Bridge Plates Though rare, I have also seen a significantly loose X-brace's cause high action due to excessive bellying of the top. The X-brace supports and stiffens the top as does the bridge plate. When a large section is loose it can permit excessive bellying, which raises the action. Cost Neck resets are generally only performed on relatively valuable instruments due to the cost. Along with resetting the neck angle, most instruments will require a complete refret so the fingerboard can be planed. A neck reset with refret starts at $650. Acoustic Guitar Neck Reset Step 1: Loosening The Fingerboard Extension Before removal of the neck begins the portion of the fingerboard which glues to the top must be loosened. Heat is applied to soften glue beneath the small area of fingerboard that overhangs the top. I personally use a specially designed heating "blanket" which is similar in size to the fingerboard's extension. This allows me to heat only this part of the fingerboard without heating the surrounding finish. Before the days of handy sized heating blankets I used a traditional clothes iron. This required shielding the instrument's top from the heat to avoid blistering lacquer and other vulnerable finishes. With the glue soft from heating I use a smooth spatula to slide between the fingerboard and top. Using a smooth, even polished spatula insures the finish around the fingerboard is not scratched. When the finish is fragile I use low tack, paper tape to protect it. (Think Post-It® sticky) On vintage instruments with flakey finishes it can really come in handy. Step 2: Steaming The Neck Loose With the fingerboard still hot I remove the fret which lies directly above the dovetail pocket. On nearly all instruments this is one fret up from where the neck meets the body, this is usually the 15th fret. With this fret removed I can now drill a hole straight thru the fret slot which will lead directly into the pocket. This serves to avoid any visible signs or changes to the fingerboard that would indicate a repair had been done. Drilling a hole thru the fret slot helps to avoid any obvious change to the instrument. Steam is injected into the neck block to soften the glue. Instruments with loose necks may permit steam to escape around the heel of the neck. When this is an issue I use an air hose to blow steam away from the area, keeping it dry and cool. Some truss rod nuts are accessible beneath the fingerboard extension, as a result steam will also find it's way out thru the truss rod hole and care must be taken to plug the hole and protect the interior of the instrument. Steaming usually takes only a few moments. In all but a few instruments water soluble glue is used. Because a well fit dovetail is relatively tight, very little glue is between the dovetail and sides of the neck block. Step 3: Removing The Neck Pushing the neck free from the body. As the glue is softened the neck begins to move with effort.As separation becomes apparent I apply pressure to the heel cap to press the neck out of the block. When the fit is very tight I use what I call my "sissy jig". It's a real life saver when my bionic thumb can't do the job. Step 4:Changing The Necks Angle Once the neck and joint have dried and old glue is removed the neck's angle is changed by shaving material from the heel. I use chisels to remove the majority of wood, followed by sanding sticks when necessary. A new taper of the heel's sides will increase the neck angle. When string height has risen due to an increase in the top's arch (belly) material is removed from the bottom portion of the heel, tapering gently to the top of the heel (below the fingerboard). With the instrument lying on it's back this adjustment would pitch the neck back, placing the peghead closer to the bench. Wood is removed in very small increments, the neck placed back in the pocket to recheck it's angle, rinse and repeat... As detailed in my article on neck angle we are adjusting the necks angle to insure it's plane passes over the bridge. While shaving wood from each side of the heel, the side to side pitch of the neck is also closely watched. Removing more wood from one side than the other would place the outer E strings unequally from the edge of the fingerboard. Ideally the center of the fingerboard should run right between the D and G bridge pin holes. When dealing with vintage instruments it is not uncommon to find that the bridge is not dead center on the top, so to avoid an issue the neck is centered using the bridge, not the top's center glue seam. Step 5: Shimming The Neck Block After adjusting the neck's side to side angle and it's pitch, shims are used to lock the dovetail in place. I glue mahogany shims to the sides of the neck block and start the process of fitting the actual dovetail, that which "locks" the neck in place. The shims are sanded to insure an even fit from top to bottom of the heel. A well fit dovetail will hold a neck in place before glue is even applied. At this point all angles are re-checked to insure nothing has been overlooked. Step 6: Re-gluing The Neck The easiest part of the job ...gluing the neck back in place. Titebond Regular is applied to the sides of the dovetail joint and beneath the fingerboard extension. Clamps are used above the dovetail and over the fingerboard to insure complete seating of the joint. Gluing the neck back on a Martin guitar. The Grand Finale Titebond (and other aliphatic glues) are water soluble. This permitted the neck to be removed with steam. It also makes clean up relatively easy as well. Warm water will clean up dried glue that has squeezed out during clamping. Now that the angle of the neck has changed the fingerboard is now bending slightly downward to make contact with the top. For a truly professional job the fingerboard is planed straight and refretted. The tiny holes drilled beneath the 15th fret filled and now a distant memory. Due to the changes in the neck's angle, the instrument's saddle andnut may need to be replaced during the set up. Cost Neck resets are not often performed on inexpensive instruments for the simple reason that they can actually be replaced cheaper than they cost to repair. Neck resetting a dovetail joint like the one detailed above start at$650. Nut Replacement Guitar nut The nut is placed at the end of the fingerboard and controls the strings spacing, distance from the edge of the fingerboard and their height above the first frets. Nuts can be made from a variety of materials and require adjustment or replacement when wear and tear creates problems. Common Problems: • Open string buzz • Slots too big for the strings diameter • Outer E strings sit too close to edge • String binding, pinging • High action at first fret • Poor intonation Tapping nut loose Removing The Nut Some guitar nuts are very easy to remove. Using a block of wood to distribute the impact, a small tap of the hammer will pop them loose if they sit with only one side against wood (the fingerboard). However, it is a different story when the nut sits in a channel. These have support from the peghead and fingerboard. Trying to tap these forward could damage the peghead veneer and nut. Avoiding Finish Chips Many manufacturers install the nut on the neck prior to paint work. When that finish is thick it is easily chipped when removing the nut. The best chance to avoid chipping is to score the paint around the sides of the nut and across the peghead with a fresh x-acto blade. Inlaid (Boxed In) Nuts Nuts that sit in a channel (inlaid nuts) can be removed in a number of ways, all depending on what technique best suits the situation. Tapping the nut sideways often loosens to the point that it can be removed by hand. Pushing nut out sideways Griping the nut with blunt end nippers is another option but the risk remains that the nut may crack or be damaged by the attempt. Some nuts have been glued in a very tight channel using un-necessarily strong adhesives, this makes them very difficult if not impossible to remove in one piece. When this is the case it is sometimes necessary to cut a relief kerf in front of the nut (.008 slot) so that it may be tapped forward and loosened. The minor relief slot is difficult to detect and filled by the new nut. Under some of the most difficult circumstances, the nut must be sawn in half and literally collapsed in order to remove. This is done to avoid damaging the nut slot or peghead. Installing A New Nut Pre-slotted and shaped Ready made nuts are available for installation on many instruments, however, adjustments to the slots must still be made. Slots must be filed to insure their width and depth create correct string height. Using nut files to cut string slot width and depth This is done using gauged Nut Files which are made specifically for cutting nut slots. The use of inappropriate tools can quickly ruin the nut and cause buzzing. Made From Scratch Nuts are often made from scratch when a different material is desired or a ready made nut of appropriate size is not available. Most material is available in blanks and are shaped accordingly. I like to tackle it in this order: • Sand blank to correct width for slot • Sand base to sit properly in slot (some are angled) • Sand basic height • Mark E to E string spacing • Shape sides of nut to proper width • Cut preliminary string slots • Sand final shape • Polish material • Install and cut final string depth Ivory nut being shaped The most difficult stage in making guitar nuts from scratch is probably spacing the strings properly. The initial cuts are extremely important. I would recommend starting with a razor saw (small kerf) to make the initial slot and then increase the width in steps to keep slot perfectly centered. Adjusting String Height It is important to have the instruments saddle height and truss rod set properly prior to cutting the string depth in the nut. Cutting a slot too deeply will place the string against the first fret and result in buzzing. A good indication that the nut slots are cut/worn too low is strings that buzz only when played open (un-fretted). Slot Depth The depth of the slots in the nut determine how closely the string comes to the frets, particularly the first fret. It is critical that the string have ample room to vibrate without contacting the first fret or you'll have an annoying open string buzz. Adversely, nut slots that have not been cut properly can leave the strings higher than necessary above the first fret. This creates discomfort and higher action. A minor adjustment (say .020) can make a very noticeable difference. High action at the nut also sharpens intonation. Slot Width Each string slot should just slightly exceed the diameter of it's string. If the slot is smaller than the string it may bind and create tuning problems. (And that annoying pinging sound when tuning up.) If you've ever had to lift a string from a nut slot when changing strings it's a sure sign the slot is too small. When changing string gauges, an increase in string diameter sometimes require an adjustment to the slots width. Slot Angle The slots must also be angled correctly. If the angle is too steep the string may actually rest on just a small portion of the slot causing premature wear as it is sitting on a small peak. On instruments with minimal peghead angle the angle is especially critical for a clear, clean sound. A poorly angled nut slot can create a buzz like sound that can often be silenced if downward pressure is applied to the string behind the nut (over the peghead). This is often a sign that the string is not contacting the nut slot properly. The sound very closely mimics the sound of the string hitting the first fret when the slot is too deep. Nut Height/Final Shape Once the slots have been deepened I may remove material from the top of the nut, if need be, to avoid having the strings deeply buried in the nut. I want the slots deep enough to keep the strings from popping out when plucked but not so deep that they're buried. Raising Action at the Nut There are good reason's to salvage an original nut if possible. First of all vintage instruments often have lovely ivory and ebony nuts that are just too nice to scrap. And of course, it is cheaper, especially if you have an instrument for which no pre-made plastic nut is available. Making a bone nut for a $100 guitar would not make much sense. My method of raising the nut is to laminate matching material to the bottom of the nut. I use the term laminate and not shim because it is glued to the nut and can only be removed by sanding. How about filling low slots and re-cutting?Superglue and baking powder have been used to fill nut slots that have been cut too low. I do not like the tone I hear from this method and prefer to raise the nut as a whole and re-cut. Shims are placed beneath the nut and are often destroyed if the nut is ever removed again. I have seen the made from wood veneer, paper even pieces of credit cards. In my opinion, they look awful. When laminating material to the base of the nut it becomes permanent and more difficult to see. The nut can then be removed just as any other without having to make a new shim. Securing a Loose Guitar Nut If a nut pops loose I recommend using a couple of drops Elmer's or wood glue to reattach it. The use of permanent adhesives can create problems should the nut need to be removed for future repairs. A small dab between the end of the fingerboard and the nut will do the trick and permit easy removal that does not damage the bottom of the slot when removing. Lubricating Nut Slots On occasion it is helpful to lubricate the nut slot to reduce friction, binding and pinging. Because acoustic guitar usually have light colored nuts, using white graphite is often preferred to pencil lead graphite. Replacing Pickguards (Scratch Plates) Depending on the instrument, some pickguards may be a cinch to remove while others stick quite well and require care to avoid damage. The first thing you want to know is what finish is on the instrument and whether the pickguard adheres to finish or directly to bare wood. Most pickguards require heating to soften the adhesive prior to removal, a task that warrants caution as overheating lacquer and delicate finishes can cause them to blister and create an enormous problem. I prefer a hairdryer to soften the adhesive. Removing the adhesive left by a self stick pickguard. Finishes, like Taylor's U. V. cured finish and other polyester finishes withstand heat far better than lacquer and shellac. I've used a number of items to help aid the removal from a plastic putty blade to dental floss and thin fishing line. Sticky residue left behind can usually be removed with Naphtha, which would be safe on a variety of finishes though a bit slow for the more durable surfaces. Martin's Shrinking Pickguards Pickguards glued directly to the bare wood can cause top damage when they shrink.View a Martin pickguard replacement. Once the pickguard is removed you will usually find a tan line, a change in color caused by the woods U. V. exposure. While this tan line is a helpful guide Tan Line Top did not darken beneath pickguard to correctly position the replacement, it also means that you are forced to replace the original guard with one similar or larger unless you want to see the shading. Pickguard Types Clear Pickguards For those who don't prefer pickguards but are afraid of damaging the finish you may opt to install a clear pickguard. Clear pickguard material is much thinner than regular celluloid pickguard material and applies much like a sticker. While this can sound ridiculously easy, more experience is needed to apply these correctly than a traditional guard. The clear pickguard acts like a sticker and bubbles are sure to find their way between the material and the top if not applied correctly. I install these by floating them on a bed of water and using a squeegee to force out any bubbles before adhesion. Starting from the tip and working slowly towards the bottom, being careful to never touch the adhesive. Though these are easy to cut with scissors, the crisp factory edge that's required for a professional looking pickguard requires cutting with a template or purchasing one directly from the factory or supplier. Clear, removable pickguards are similar to the vinyl stickers that cling to glass. Pre-made Pickguards Vintage pattern pickguard Most of what you'll find in the $5-$10 range today are basic, stamp cut pickguards. Luckily there are several tort and multi-colored pickguards available that give those of us who dislike the plain pepperoni that seems to be so common. Greven® pickguards by Turtleworks® happen to be my favorite replacement on vintage Martin's and those looking for unique patterns. The color on these go throughout the material as opposed to some pickguards being made today with a faux tort pattern covered by a clear top laminate. Hand-Made Pickguards When the appropriate shape and size are not available or when creativity strikes pickguards can also be made from scratch. Plastic is scored heavily and snapped free Using the original as a template, I scribe around the edges with an awl until a deep channel is made. The material can then be snapped free and the edges dressed, beveled and buffed. Online retailers who specialize in pre-made pickguards have a catalog of templates and can make replacement guards even when the original is not available. Thick Pickguards Thick Celluloid Pickguard Thicker pickguards can also pose a problem, a common issue is celluloid decay which causes them to crumble. It begins with a crazed, shattered like appearance which advances to the point of disintegration. These too must be replaced but unfortunately an exact material match is not usually available and we must use what's available. ArchTop and Floating Pickguards These are also made from thicker material, usually around .100-.125 thick as opposed to the thinner material used on many flat top guitars. They attach to the top by brackets and screws. These are obviously quite easy to remove and replace yourself. Finding replacements for these pickguards has gotten much easier as shops have manufactured templates by which they can remake the guard using your material choice. When they do not stock a template for your instrument many will offer to make one using a tracing of the original. Inlaid Pickguards Want something truly personal? Most inlay artist can give your instrument a truly personal touch by inlaying a pattern of your choice into a pickguard. Acoustic Guitar Pickup Choices Types Undersaddle Pickups Piezo pickups that are installed under the saddle have a small wire passing thru the bridge and top thru a tiny hole drilled beneath the saddle. The input jack is mounted in the end bock, taking the place of the original end pin. Fishman Matrix LR Baggs Element PROS Feedback resistant CONS Loss of direct coupling between saddle and bridge Contact Pickups Contact pickups are usually mounted on the bridge plate though there are some that mount to the bridge or top. They sense the vibration of the soundboard and as such are adept at picking up any tapping on the body. Because contact pickups do not rely on the saddles height or the strings pressure they often excel in providing a well balanced, even string balance and are ideal for instruments with non-standard saddle slots. LR Baggs iBeam PROS Balanced string to string output CONS Will pick up taps on top and finger noise Soundhole Pickups These are easy to install pickups that mount in the soundhole. They can be used on instruments which one would prefer not to alter or to uninstall easily. Quite honestly, these use to sound simply awful, nothing more than a single coil electric guitar pickup on an acoustic guitar. Today however advances in technology have changed their bad reputation. Dean Markley Pro Mag Fishman Rare Earth PROS Avoid any modifications to guitar CONS Very visible, different tone Dual Source Pickups Dual source pickups are exactly what the name implies. Instruments with dual source systems achieve their sound by blending 2 different pickups. These types of pickups often give the player more options when shaping their sound and perhaps more importantly to some...the ability to use the microphone only when feedback is not an issue. Fishman Rare Earth Blend LR Baggs Dual Source LR Baggs Anthem PROS Blending of input source yields greater tonal range CONS Expensive, bulky Internal Microphones Microphones are often hailed for their accurate reproduction of sound. Due to a microphones natural tendency to feedback when used in a loud setting many opt to use them in a dual source set up, giving the user the ability to blend 2 pickup sources and handle a larger variety of demands. LR Baggs Anthem Microphone PROS Tone reproduction CONS Feedbacks easier than other pickups Acoustic Guitar Saddles The saddle sits directly in front of the bridge pins on an acoustic guitar. The position of the saddle affects: • Intonation (the guitar's ability to play in tune) • Action (string height above frets) • Tone (different materials change tonal properties) Most acoustic guitar saddles are either 3/32" or 1/8" wide. Types of Saddles Drop In Saddles A drop in saddle sits in a routed slot in the bridge. These are fairly easy to remove and should not be glued in place. Lowering drop in saddles is done by removing material from the bottom, unless the saddle's crown or radius also needs work. Long (Set) Saddles Set saddles extend into the wings of the bridge and are usually glued in place to prevent movement. The ends of these saddles are further shaped after being glued in place to give the bridge and saddle a uniform shape. To remove a long saddle that has been glued in place the saddle itself must be heated to soften the glue. The top and finish must be protected from heat to avoid damaging the finish, particularly lacquer, as it is easily damaged by heat. I use a protective shield that leaves nothing but the saddle exposed before heating it with a hair dryer. Compensated Saddle Compensated saddles change the strings length by varying the position of the saddle's crown (point of contact). Compensated Saddle Compensated saddles are used to improveintonation which effects the instruments ability to play in tune up and down the neck. Adjustable Saddles Adjustable saddles are raised and lowered via screws making height adjustments very easy. The downside, they provide very poor coupling between the strings and bridge and don't always result in the best tone. As these saddles are raised a greater gap between bridge and saddle is created. Adjustable saddles use screws to change string height It is not uncommon to have this style of saddle replaced by upgrading the instrument's bridge which removes this hardware and uses a traditional drop in saddle. Conversion bridges are made to match the original's outline but equipped with a traditional drop in saddle. Adjusting Saddle Height When we use the word "action" we are referring to the distance between the strings and the top of the frets. As any player knows, having an instrument set up properly makes them sound and play better. The saddle's height directly effects the instrument's overall action and string height. Prior to lowering a saddle, neck relief should be correct. Lowering A Drop In Saddle When lowering drop in saddles, the saddle is removed from the bridge, marked for reference and material is usually removed from the bottom to avoid having to reshape the crown. This is particularly helpful if the saddle's crown is compensated. Lowering A Set Saddle A bit more patience is required to reduce the action height on guitars with set saddles. These saddles are normally glued in place and material is removed from the top (crown) to reduce their height. If material was removed from the bottom the saddles length would be shortened and an obvious gap would appear between it and the bridges saddle slot. After the appropriate amount of material is removed the saddle must be re-shaped to produce the rounded crown. Why do saddles require lowering? As age and string tension pulls on the top of a guitar, it's arch (belly) increases and raises the action. The saddle is lowered to counteract those changes. Changing The Radius The radius is the arched ( E to E) shape of the saddles crown. In general, most manufacturers match the saddle's radius to that used on the fingerboard. Having a saddle that is over radiused may place the D and G strings un-necessarily high. Raising The Saddle When saddles are too low it is best to replace them. Adding shims beneath a drop in saddle can have a negative impact on tone. Saddles With Integrated Pickups Ovation and other manufacturers use specially formed saddles that fit into their pickups. These saddles should not be sanded or altered. Instead, shims are added or removed from the bridge saddle slot beneath the pickup to adjust string height. Why Are Saddles Different Heights? Because the top of a flat top guitar takes on a greater arch (belly) with time, the saddle gives us the ability to lower the action when this arching raises string height further above the frets. The angle at which the neck is set will also influence the height of the saddle. Instruments that need a neck reset often have very little saddle protruding above the bridge. Very Low Saddles The saddle on many flat top guitars will eventually meet their limits. Having been lowered repeatedly thru the years, they are now too low for further adjustment. On a valuable or high quality instrument a neck reset is the corrective action. Resetting the neck angle will permit the saddle height to return to normal and lower the action. Having a very low saddle reduces the downward pressure on the saddle and can negatively effect the output of under saddle pickups. When the instrument does not warrant the expensive of a neck reset, bridge thinning may also be an option. Again, this is not recommended on valuable instruments as it simply adds to the repairs needed.... neck reset + new bridge = even more money! Thinning a bridge is an option only if the bridge itself is thick enough to allow for a reduction in height. We must take into consideration the depth of the saddle slot as well. A shallow saddle slot does not provide the support necessary to keep a saddle in position. Tweaks Bridge pin hole ramping If a saddle is too low, the strings will pass across the saddle and into the bridge pin holes without enough angle to produce good tone. The result is a sound that very much resembles a sitar to me. In order to increase the string's angle into the bridge pin hole a ramp can be filed at the front of the bridge pin hole. I refer to this as "ramping". The additional string angle which it creates can help to clean up the "sitar" sound and place more pressure on the saddle. I nstalling Strap Buttons Installing a strap button on a guitar or other instrument is by no means rocket science but it pays to be cautious and mindful of what you're doing. This article will detail the way I do it, the tools I use and tips for proper installation. If I showed you some pictures of do-it-yourselfers gone wrong you would quickly understand how such a little job can create such big problems. What's Needed: • A strap button with mounting screw and felt washer • An awl for marking the correct position • A tapered drill bit that matches the mounting screw • Wax for lubricating the screw • A countersink to prevent finish chip I take a few steps that some may consider needless but do so to insure a perfect outcome every time. While my technique may be overkill for some, others will appreciate my attention to detail and assumption that caution is never a waste of time. There's something about drilling a tiny hole in a $10K guitar that can make even an avid woodworker squirm. Choose The Position If you don't get this right it's all downhill from here. When choosing the spot to mount a button it must pass a few simple test.... • Will the hole I'm about to drill contact a neck bolt? There are more and more manufactures using bolts in their construction and you need to know where they're located before drilling a hole. Most of the time a cover plate or label will be used on the end of the neck block to conceal the bolts. You need to find out first where the bolts are located. • Will the button interfere with my fretting hand? You definitely don't want the button mounted so close to the fingerboard that you and it will make constant contact when playing up the neck. • Does the position of the button hold my strap securely?Buttons should be pointed towards the floor, not the ceiling. Placing a button on the wrong side of the neck is a common problem for do-it-yourselfers. Mark The Spot Once you are sure about its position you can mark the spot with an awl. This indentation keeps the drill bit from walking when it's time to drill the hole .Typically (that does not mean always) the button will be at a distance half way between the heel and bottom of the fingerboard. Many manufacturers use mounting bolts that pass thru the neck block and into the heel. It is critical that you are aware of the position of that bolt if present. Bevel The Finish This will not apply to all finishes but is quite important when dealing with instruments who's finish tends to chip easily. When a drill bit or wood screw first enters the hole it lifts the wood slightly and this can cause some finishes to chip. This is done with a very light touch and is meant to merely bevel the finish, not create a countersink in the wood. I may repeat this more than once if the finish warrants it. With truly problematic finishes I may even run lacquer thinner around the hole to melt down any finish that wants to lift. Drill The Hole Tapered drill bit with tape to mark depth As I mentioned previously, I use a tapered drill bitthat matches the strap button screw. This ensures that the screw has gripping power thru its entire length. This is a pretty important screw and we want to make sure it's going to hold for years...oops, forever! A Touch Of Wax When installing screws for the first time I often choose to place a bit of hard beeswax on the screw to cut back on friction. Once a screw is lubricated very lightly with wax it should go in firmly but not so forcefully you risk cracking the neck. That is an even greater concern when drilling into the heel cap! Common Problems • Drilling into a neck bolt which makes it necessary to plug the hole and drill another. That could ruin your whole day! • Placing the button on the wrong side of the neck. The button should be pointing to the floor not the ceiling. • Drilling too small of a hole and splitting the heel when installing the screw. Feel the pain! • Drilling too large of a hole. Or... watching your peghead break off when the neck plummets to the floor after the strap button popped out. • Taking a large chip of finish off with the drill bit. I have a flare for the dramatic huh? When you have seen all of these scenarios, as I have, then you realize that people have and can make all of these mistakes. Wide Flat Heels Wide heel with strap button Here's a button that's been installed in the heel cap. While this is a popular spot on instruments with wide heels and cut-a-way sides, it isn't the best scenario. Some "athletic" players have a tendency to push the guitar away from their body, which pulls at the strap button. If you are impersonating Elvis I would stick with a traditional placement. Loose Strap Buttons If a strap button is very loose, so much so that the screw spins freely and the button can be pulled out by hand, it is best to repair the hole by plugging it and re-drilling. I use a small dowel, or a toothpick, if it is large enough. Should I glue the button in the hole? That would be a rather emphatic no! Glued in screws are often broken when someone attempts to re-tighten them. Titebond is best for gluing dowels as Superglue would ooze out of the hole, causing damage to the finish. Once the glue dries I level the dowel with the finish and drill it for a new strap button screw. Keeping the dowel to the smallest size necessary means it will be invisible when the strap button is installed. Only A Little Loose When a screw still has gripping power but still will not snug up, we can sometimes reinforce the hole instead of plugging it. I have to say this again...do not glue the screw in the hole! I take medium viscosity superglue and coat the walls of the screw hole in order to build them up slightly, thereby decreasing the actual size of the hole and hardening the walls. More than one coat may be necessary, however, before installing the screw the glue must be dry! Changing Guitar Strings Restringing Your Guitar One reason we find ourselves constantly re-tuning a guitar is string slippage. Strings need to be anchored securely at the bridge and at the tuning machines to insure they do not slip. When strings slip they loose tension and the guitar goes out of tune. This is one method of winding the strings around the tuning machines to eliminate string slippage. Winding Strings Around the Tuning Machines Step by step guide to restringing your acoustic guitar. Step 1: Bring the string down the center of the peghead and thread it out towards the tuner's knob. Step 2: Leaving a bit of string length to wind around the tuner, bend the string gently towards the top of the peghead. Step 3: Pass the string up and under itself. Step 4: Keeping tension on both ends of the string, fold the string over itself. Step 5: Continue to hold tension on the string and begin to wind. The string should be wound down the shaft to increase the strings angle over the nut. The End Result The strings own winding "clamps" down on it to prevent string slippage. More Restringing Videos Stringing Slotted Pegheads Instruments with slotted pegheads benefit from a different method to reduce binding of the string in the nut slot. What Guitar Strings Should I Use? Basic Choices Choosing the right strings for your guitar is more than picking your favorite brand. The size and material the string is made from can effect your guitar's action (string height) and tone. String Gauge (Size) Strings come in different sizes. When speaking of acoustic guitar strings we often denote the size by stating; light gauge, extra light gauge, medium gauge, etc. Larger gauge strings can help boost volume and sustain but can be more painful on tender fingertips unaccustomed to the tension or those bending strings. Lighter gauges are often easier to fret and bend, but very light strings can cause some players to over-bend the string causing the note to play sharp. Material A strings material also affects tone. Common materials are Nickel, Bronze, Phosphor Bronze, Stainless and Silk and Steel. Brand Though most of us have our favorite brands, another way to experience different tone is to try various materials. How String Tension Effects Your Guitar Here's how using smaller or heavier gauge strings effects your guitar... Action (String Height) First and most importantly is our set up. Instruments that have been set up properly to insure appropriate string height, nut slot width/depth, intonation and neck relief have been done using the string gauge the player is using. If one changes string gauges, more or less tension is being placed on the instrument depending on whether they go up or down in string gauge. This can affect everything about your set up and require several adjustments. If you are experimenting with tone, try various materials and brands but remember to choose the same gauge to avoid changing the action. Sound / Volume Besides affecting the action, a change in tension may also affect the sound (sustain and tone). Some players may choose to increase the string gauge on their instrument in hopes of increasing volume and sustain. A common complaint when using very light or extra light gauge strings is a loss of volume, sustain and a thin or twangy sound. Comfort Alright, not that you could have missed it but ...bigger gauge=more tension, and more tension=more pressure on your fingertips while fretting. This tension is painful at first but callus and frequent playing reduce or eliminate it with time. Let's not forget string benders. Not all of us can take an .011 gauge E string and bend it 2 notes sharp. Any players choose their string gauge according to their playing demands. Extra light gauge strings which offer little resistance to the players touch can easily be over bent when fretting or string bending. Special Considerations Not all instruments can handle medium gauge strings just as not all instruments fair well with extra light strings on them. Here are some things to consider... Age / Construction While most new instruments are solid enough to give the player the option to choose from several string gauges, vintage pieces or those with structural problems may limit your options. Older instruments that were originally designed to be strung with gut strings or were braced lightly, require very light gauges and should be structurally sound before submitting them to tension. If you are thinking about stringing up a vintage instrument for the first time I highly recommend having it inspected. All braces should be securely glued to the top and back. The bridge and bridge plate should be inspected and all other areas of stress should be checked for cracks or looseness. Neck Relief Another common problem that robs us of our string choice is the necks condition. Let me give you an example: A 1967 Fender Strat comes in with a neck that is slightly back bowed (fingerboard is higher in the middle than the ends). After inspecting the truss rod I learn that it is completely loose, leaving us without the ability to introduce proper neck relief by loosening the truss rod. We opt for a heavier gauge string that puts more tension on the neck, pulling it straight. Likewise a neck with entirely too much relief may require a lighter gauge string in reduce the tension with hopes of decreasing relief. More information on common neck issues and truss rod problems. Adjusting Guitar Truss Rods Truss rod adjustments are made to alter the straightness (flatness) of the neck. Truss rods often require adjusting after changing string gauges or when temperature and humidity change the amount of bow in the neck. Read how to check neck relief, find the truss rod nut,determine the correct measurement and avoid common problems. Checking Neck Relief Relief is calculated with the instrument tuned to pitch so we can measure the bow created by string tension. Checking Relief With a Straightedge With a straightedge placed between the D and G strings, bow will become apparent. The largest gap is usually towards the center of the neck. The distance between the top of lets say the 7th fret and the bottom of our straightedge can be measured with a feeler gauge to give us an exact measurement. Checking Relief Using The Strings Fret the string on the 1st and last fret of the neck. Measure the gap between the string and top of 7th fret. (14 fret neck) More commonly we use the string itself as a straightedge. Fret the string at the 1st and last fret. Measure the gap between the bottom of the string and the top of the 7th fret. A capo can be used on the first fret to free up one hand. A large gap will indicate the neck has too much relief and the rod may require tightening to straighten the neck. No gap may indicate the neck is dead flat of backbowed which may require loosening the truss rod to add relief. What does it mean if there is no gap? If no gap is seen between the bottom of the string and the top of the fret then either the neck is dead flat or it is back bowed. When To Adjust The Truss Rod Common problems associated with, but not exclusive to, neck relief are: • Buzzing • High action • Poor intonation Ideally we are adjusting the truss rod to render the neck as flat as possible without creating too much string buzz. It is important to understand that there is no single measurementthat will be correct for all acoustic guitars. String gauge, playing style, neck and top stiffness can vary from one guitar to the next and as a result, so can ideal neck relief. Measurements .004"- .006" is probably best for light pickers, jazz musicians and instruments strung with medium gauge strings. .008"- .012" is probably best for hard strummers, guitar's strung with extra light gauge strings and fingerboards with a tighter fingerboard radius. How I Adjust Truss Rods The measurements above serve as simple guidelines and starting points to those still learning about neck relief. How else would we understand what "just a little" or "way too much" actually equals? When making truss rod adjustments I first assess the instrument's action and playability along with the players aggressiveness and playing style. That is why truss rod adjustments are normally done in conjunction with a set up. Starting with a dead flat neck I increase neck relief slightly until the instrument plays without buzzing. That being said ...you must have an understanding of what other issues can cause an instrument to buzzwhen using this as your gauge. Locating The Adjustment Nut Adjusting a russ rod nut located at the peghead At The Peghead Truss rod nuts are located at either the peghead or the end of the neck. Nuts located at the peghead are often concealed behind a small truss rod cover and are easily accessible. These will require either an allen head wrench or a socket style truss rod wrench. At The Heel Truss rod nuts located at the heel end of the neck are often accessible thru a hole just beneath fingerboard extension and thru the top brace. A heel end truss rod nut accessible thru a hole in the top brace. In general these will require an allen head wrench which will pass thru the hole and straight into the nut. The depth at which this nut is located can vary which means some instruments will require a longer wrench than others. Using an L shaped allen wrench on these truss rod nuts provides greater leverage. The Hidden Nut A few instruments have truss rod nuts at the heel that are not readily visible. A mirror must be placed inside to see the access point. These often require specially shaped wrenches which will snake around the top brace and back up to the heel of the neck. Notice the curved wrench to the left below ...this passes under the top brace and back up to the truss rod nut. An assortment of truss rod wrenches Which Way Do I Turn? Tightening A Truss Rod (Righty Tighty) If a neck has too much relief (upward bow) tightening the truss rod will straighten the neck. How? The truss rod is actually compressing the neck exerting pressure against the backside of the neck which causes it to bend backwards. Loosening A Truss Rod If a neck is too flat or backbowing, loosening the truss will add relief. How? Relief is actually created by string tension, once a truss rod has been completely loosened the strings not pull relief into the neck with less resistance. Changing string gauges may require a truss rod adjustment as this changes the tension on the neck.. Finding a balance between the tension exerted by the strings and by the truss rod is how we control the amount of relief. This is why the instrument should be tuned to pitch before adjusting the truss rod in most cases. How Far Do I Turn The Truss Rod Nut? Start by making small adjustments, say 1/8th of a turn. On some instruments this may result in a noticeable change in relief, in others it may not. The amount the rod must be turned will vary according to the type/quality of truss rod and amount of adjustment necessary. Adjusting the truss rod with the instrument tuned to pitch will allow us to gauge our progress and continue re-checking relief before making further adjustments. Precautions The number one reason people won't touch the truss rod is that they are afraid of making a mistake and damaging it. It's a healthy fear actually but once you understand how it functions and get some practice you should be able to make these adjustments yourself. Some important things to remember: • Use the appropriate sized wrench/socket (if in doubt check the manufacturer's website) • Start by loosening the rod a little first* • Stop if you encounter resistance** • Stop if the adjustments you've made do not change anything Numerous instruments have come to me with striped truss rod nuts, this is avoidable in most situations. Using the wrong sized wrench/socket may permit it to round out the threads and ruin the nut. Not all truss rod nuts are replaceable, some are welded to the rod. Be sure to use the correct wrench! Common Truss Rod Nut Sizes Martin & similar acoustics 5mm allen head Gibson & similar acorn style nuts 5/16" socket Taylor & similar small nuts 1/4" socket *If a truss rod is already as tight as it can go, starting an adjustment by tightening the nut first could end in a horrifying pop. If one starts by loosening the nut slightly they can quickly get a feel for how much tension is already on the rod. **Starch resistance and creaking sounds can be a sign that the truss rod should not be adjusted further and is more than enough reason to stop and seek help. Installing Tuning Machines Shrunken celluloid tuning machine button Tuning machine replacement s necessary when desiring a better quality tuner or to replace a damaged one. With the exception of some bass tuners they are normally sold as sets, not individual tuners, Worn out tuners often have excessive play between the round and worm gear resulting in skipping or play in the tuning machine arm (movement with response from the tuning machine post). Generally speaking, if you can find retrofitting replacements for your instrument this is normally a simple procedure. When the machine head bushing has a nut and washer then it must be removed before the tuners will come out, other simply have press fit bushings when do not need to be replaced if the same design is being used. Selecting New Tuners When choosing a replacement tuner that is not identical to that which you are replacing it is important to note measurements of: • Post height • Post hole size • Mounting screw pattern • And sometimes, tuning arm length Tuning post height can vary. It is important to insure the string hole will still be accessible once the tuner and it's bushing are installed on the peghead. Be sure to check the specifications before drilling any new holes. Fitting New Tuners If you are replacing your old tuners with identical tuners then you need little more than a screwdriver and nut driver, however, if the original style is not available or not desired some upgrades may require modifications. Such modifications may include: • Enlargement of peghead holes for larger shafts or ferrules • Filling old mounting screw holes • And though rare, filling and re-cutting of peghead holes to accommodate for different spacing for tuners mounted on a plate Care should be taken to avoid chipping the finish or peghead veneer when removing pressed in machine head ferrules. When dealing with vintage instruments it is highly advisable to seek a retrofitting replacement so that no changes are made if possible. Gear Ratios ........15:1 18:1 20:1 The gear ratio indicates how many times the tuner button is rotated 360° to one turn of the tuners post. A higher ratio permits finer adjustments, reducing the aggravation of tuning up and down repeatedly before perfect tuning is achieved. Removing Tuning Machine Bushings Tuning machine bushings, also called ferrules, are inserted into the front side of the peghead and act as a collar for the post. Some bushings screw to the tuner, others are pressed into the peghead and held in place by friction. When removing a press fit bushing care must be taken to avoid chipping the peghead or finish. Some of these bushings are extremely tight. Others have been glued in place in an attempt to keep them from falling out...not recommended procedure. The safest method I have found to remove them is to press them out. Using a simple wood block which I have drilled to match the diameter of the bushing, it is placed over the ferrule and a dowel is used to press it up and out. Sometimes you can do it by hand, on very tight bushings, I must use a clamp. My instrument won't stay in tune, are the tuners at fault? In general, worn out tuners make an instrument hard to tune. Loss of tuning has many causes. Read more here. Loose Bushings The ferrules (bushings) that press into the fingerboard don't always fit snuggly. If one isn't careful it is quite easy to loose these when the strings are removed. To tighten bushings that are only slightly loose without permanently gluing them into the peghead hole I shrink the diameter of the hole. If the gap is minor and does not warrant filling and re-drilling then I use superglue to build up the walls of the hole until it becomes smaller in diameter. Again, we do not want to glue the ferrule to the peghead as damage can result when it must be removed. The superglue is applied and completely dry befo Guitar Tuning Problems Guitar Will Not Stay In Tune One common tuning complaint is having to repeatedly tune an instrument. It can be tuned and it will play in tune up and down the neck but it requires frequent re-tuning. If any instrument will not stay in tune it all boils down to couple of possible factors: String Stretch • New strings require stretching and take time to settle in • Note bending stretches strings String Slippage When string tension is lost thru string slippage, re-tuning is required. Slippage can occur for reasons such as: • Ball end needs to seat against bridge plate • String binding in the nut or saddle slot • Strings poorly wound around tuning post • Poorly tied to tie block (classical guitars) • Badly worn tuning machines When re-tuning is frequently necessary, most of the time, the string is slipping at the tuning machine. How can I keep my strings from slipping around the tuning post? This winding technique is one way to tie strings to the tuning machine to eliminate slippage. What If My Guitar Will Not Play In Tune? After tuning your instrument you find that certain fretted notes sound out of tune or chords do not sound in tune with themselves. Intonation correction is often necessary to remedy this issue. Using Electronic Tuners When one is first learning to play, tuning an instrument properly can be quite the task. For that reason most of us start out using instrument tuners until we develop an ear for tuning. Common Instrument Tunings (Largest String First) Guitar E A D G B E 4 String Bass E A D G 5 String Bass B E A D G 6 String Bass B E A D G C Mandolin GG DD AA EE Ukulele G C E A Electric Guitar Bridges Tune O Matic (TOM) Bridges The saddles on a tune-o-matic style bridge are raised and lowered as a unit. The outer thumb wheels beneath the bridge control it's overall height. Each saddle has a screw which permits forward and backward movement that enables us to adjust string length, which setsintonation. ABR or Nashville? The Gibson® Tune-O-Matic style bridge comes in different styles which can lead to confusion. While there are several differences an easy comparison is the mounting post. The ABR's bridge post are an all threaded rod and use a thumbwheel for height adjustment. Gibson ABR style saddle The Nashville TOM bridge uses inserts which are installed into the body, the bridge post then screws into the inserts for height adjustment. They are threaded at the base and normally solid (un-threaded) at the top. Other noticeable differences: Nashville bridges are wider from front to back, which increases the travel of the saddle. This gives us a greater range for adjusting intonation. Chrome Or Nickel? Nickel parts tarnish over time and will begin to look dull. This is often preferred on vintage instruments. Chrome plating remains shiny and does not tarnish. When comparing two new parts (chrome vs. nickel) you may notice chrome looks more "blue", while nickel appears more "yellow". Tremolo Style Bridges Bridges, such as those commonly seen on Fender Stratocaster's have two large screws in the front which the assembly pivots (rocks) on. These also control how far above the body the bridge sits. Individual string height and intonation is also available. Each saddle has two small allen head screws which act as feet and control the saddle's height and therefore the string height. A single screw, towards the back controls string length and intonation. Floating Tremolos The Floyd Rose® style floating tremolo has lovers and haters. While it may the right tool for the job, it doesn't come without it's fair share of headaches. For those not using their floating tremolo, it is a simple matter to block the tremolo and essentially make it a hardtail. Fine Tuners On the top of the bridge are 6 small thumbwheels which serve as fine tuners. Because most instruments equipped with these tremolo's also incorporate locking nuts, tuning must be done at the bridge. String Lock Down To the rear are allen head screws which press against a small block inside the bridge's saddle which acts as a vice for holding the end of the string securely. When replacing a string, the screw is loosened and a new string (minus it's ball end) is inserted into the space in front of the small block. The string lock down screw can then be tightened. Saddle Mounting Screws Loosen one of these and your saddle may go flying forward, wreaking havoc on the intonation. These screws clamp down on the saddle and keep it in place. They are loosened when intonating the instrument requires the saddle's position be moved forward or backward. Most bridges have two holes in the plate beneath the saddle to permit greater flexibility of positioning. If intonating the saddle requires it be moved considerably, changing holes may be required to allow the saddle mounting screw to contact the saddle firmly. Guitar Electronics Repair Skip to: Pots | Switches | Jacks | Wiring | Shielding | Soldering Volume & Tone Pots (Potentiometers) Cleaning A scratchy sounding pot could be a sign that dirt or corrosion is effecting the contacts inside of the pots casing. Pots can be cleaned by spraying into the open area of the pot below the soldering lugs. In order to clean the pot you will need to spray contact cleaner into the opening of the case. I prefer DeoxIT as it comes in both a spray, which adds pressure to "blow" junk out of the case, and a bottle, which provides precise application when trying to avoid a mess. Now turn the knob repeatedly to allow the cleaner to thoroughly "scrub" at the contacts. Badly worn or defective pots will remain scratchy or intermittent regardless of vigorous cleaning and should be replaced. Replacing Pots "Pot" stands for potentiometer. Volume and Tone pots are the same component but a capacitor is soldered to the ground lug of the tone pot. This cap prevents a certain amount of treble from grounding out. Using The Right Potentiometer • Linear and Audio • Resistance OHM's (250K, 500K, 1meg etc.) • Split shaft or solid shaft • Long thread or short thread • Size (Mini or Standard) When replacing a volume or tone pot you need to know the specs of the pot you are replacing. You can measure a functioning pots resistance using an OHM meter. Attach a lead to each of the outer lugs, rotate the pot fully in both directions and take an OHM reading of resistance. Tone vs. Volume Pot Many manufacturer's use the same pot for both volume and tone. Others may use Audio Taper for volume and Linear Taper for tone. Linear vs Audio Linear taper pots are marked with an A (ex. A500k, 500KA). Audio taper pots are marked with a B or Lin. Using an OHM meter attach one lead to the outer soldering lug and one to the center lug. With the pot rotated to center the resistance will equal to 1/2 of the pots total resistance if it is a linear pot. OHMS (Value/Resistance) 250K, 500K, 1MEG Pots are given values according to their resistance which is measured in OHMS. Check the wiring diagram or original pot casing for value. Checking A Pots Resistance - Using an OHM meter, attach the leads to outer soldering lugs. Rotate the pot fully to measure resistance. Long Shaft vs. Short Shaft Long shaft pots are often necessary when the pot is passed thru the actual top of the instrument. (ex. Les Paul). Short shaft pots are used when mounting directly to a thin pickguard. (ex. Strat) Split Shaft vs. Solid Shaft The type of shaft used on a pot dictates the types of knobs that can be used. Solid shaft pots are ideal for knobs which are secured by a set screw thru the side. Split shaft pots use knobs which press on. Solid & Split Shaft Pots A small brass sleeve can be used on a split shaft pot to accomodate screw on knobs. Mini Pots While you could use a mini pot in place of a standard size pot, these are most often seen on instruments with active electronics and cramped control cavities. . Push/Pull Pots Serve as a traditional rotating pot as well as a switch which is actuated when pulled up and pushed down. Multi-Function Pots Multi-function pots such as push/pull and stacked or concentric pots add an additional function to the pot. They can be used when limited space is available or no additional holes are desired. Removing press on knobs with rag Removing press on knobs with guitar picks for leverage Switch Replacement There are a number of different switches being using on electric guitars today: • 3, 4 and 5 way selector switches • Toggle switches • Push/pull switches • Sliding switches • Multi-function pots 5 Way Selector Switch Worn switches can suffer from a variety of symptoms including popping and scratchy sound, sloppy movement and intermittent or total loss of connection. Because some of these can also be symptoms of a loose wire or corrosion the switch should be cleaned with contact cleaner and all wiring connections checked. Replacing a bad switch can be as easy as removing the wire from the faulty component and soldering it to the same lug of the replacement part. 5 Way Switch Found On Some Imports If the connections of your replacement part do not match the original switch make sure you are using the correct part. The black 5 way switch on the right is often found in import guitars. While I recommend upgrading when possible, some switches will not mount up properly due to differences in screw layout. Output Jack Repair We have two common problems with output jacks, one is a broken wiring connection. (See below for connections). This happens easily once the jack becomes loose as it can twist just enough to pull the wires loose. The prong often looses it's "spring" A second common problem we encounter is a poor mechanical connection. When inserting a cord into a jack, the click you feel is the tip of the cord seating against the metal prong on the end of the jack. With use this prong may spread outward and loose a bit of it's tension. A gentle bend of the prong may be just enough to create a solid connection, however, metal fatigue can dictate the need to replace. Soldering Connections On a mono output jack you will find two soldering lugs, one for the ground (frequently black), the other for the hot wire. The hot wire is often coming from the center lug of the volume pot. When viewing an output jack you can follow the lug's path ...the hot wire lug will lead to the prong, the ground lug will lead to the center of the jack. Wiring Repair Most often this is a problem on vintage instruments who have seen better days or those that have been improperly repaired. Loose wiring, cold solder joints, broken connections and burnt insulation can all cause problems. By far the most common wiring problem is broken wiring at the jack. The jack must be kept secure or it may begin to rotate when the cord is installed and removed. Eventually a loose jack may twist the wiring until the connection is broken. Cold solder joints can be a bit of a mystery as hazy dull solder is not always apparent. Check each wire for bare spots and missing insulation to insure it can not ground against another component. Soldering The web is a great resource that can give you the basics on soldering but if you doubt your ability I would of course recommend letting a shop handle it for you. When soldering parts on your instrument make sure to cover the body and protect the paint as solder loves to spit and pop. A hot blob of solder on the paint makes a nifty crater you may not want. Small alligator clips serve as heat sinks. Heat Sinks Heat sinks should be used to prevent heat from damaging vulnerable capacitors and other components. I will place a small alligator clip on the capacitors wires which will dissipate some of the heat that would normally pass straight to the capacitor. A bare area in the wire can ground to other metal components and create shorts, be careful to avoid contacting other wires when soldering in cramped cavities. Cold Solder Joints When making solder joints to switches and pots, the lug and wire should be heated by the tip of the iron and the solder pressed (or flowed) onto the joint. In this manner you can avoid cold solder joints as both components are properly heated prior to the application of solder. Melting solder on the tip of the iron does not insure the actual components are being heated properly. Shielding Electric guitar pickups can pickup frequencies from many sources. Most common interference is caused by florescent lighting, computer screens, power pack adapters and other sources. Shielding lines the routed cavity as well as the back of the pickguard. A "tab" is used to complete the connection from cavity to pickguard. Shielding an instruments electronics cavity is one way to reduce interference and 60 cycle hum. Single coil pickups are notorious for humming and shielding may help to improve the situation. There are some pickups however that are just plain noisy and show little improvement regardless of effort (short of replacing them.) Shielding is done by lining the instruments control cavity with special adhesive backed copper foil, though heavy duty aluminium foil sprayed with adhesive can also be used. When overlapping multiple pieces of shielding a drop of solder is used to ensure continuity. A "tab" of shielding is brought over the edge of the cavity which serves as a bridge to connect the shielded cavity with the shielded pickguard. I place this tab over a screw hole so the screw pulls the two pieces of cooper together. Wiring Diagrams Many web surfers contact me looking for a wiring diagram for an unusual / no name / import guitar after having no luck online. And sometimes you aren't going to find it, however, if you have an electric guitar that is similar to lets say a Strat ... it has 3 single coil pickups (and they are 2 wire pickups), one 5 way switch, 2 tone pots and 1 volume pot then you can simply use a Strat wiring diagram. It's often easiest to think of the instrument in terms of components not brand. Acoustic Guitar Repair • Action / Set Up • Binding • Braces • Bridge • Bridge Plate • Bridge Pins • Buzzing - Noise • Care / Maintenance • Cleaning • Convert Rt. to Lt. • Cracks • Fingerboard • Finish • Fret Replacement • Fret Types • Glue • Intonation • Neck Damage / Issues • Neck Angle • Neck Resets • Nut • Part Glossary • Pickguard • Pickups • Saddle • Strap Buttons • String Changing • String Choices / Effects • Truss Rod • Tuning Machines • Tuning Troubles Acoustic Guitar Set Up's Adjusting Action For Playability & Tone Action is a term used to describe the way an instrument is adjusted and how well it plays. Action is most commonly thought of as how high the strings are from the frets. A Basic Guitar Set Up Includes: Adjusting the Truss Rod Lowering the Saddle Height Cutting Proper Nut Slot Depth Checking for Loose Hardware Cleaning The Fingerboard & Frets Restringing & Tuning A good set up can: • Increase comfort by decreasing pressure on the players finger tips • Eliminate or decrease buzzing • Improve sustain and tone • Improve intonation Depending the abilities of the instrument and the needs of the player adjustments can be made to improve the instruments action and increase the comfort of playing. I like to have my customers play for me, even if they're just beginning. The opportunity to communicate and watch someone's playing style is essential to getting it right. The feel that's right for you is as unique as the instrument you play. Setting Up An Instrument Common Measurement Conversions 3/32" = .093 = 2.3mm = .23cm 1/8" = .125 = 3.18mm = .32cm Let's start with a few measurements... String Height At 12th Fret Saddle height directly affects how high the strings sit above the frets.Saddle radius/contour also affects the instruments action as the curvature of the saddle changes the strings height. Not all instruments play the same with the identical set-up and a player's pick attack and style will certainly contribute to how an instrument is set up. I mention this because it can be the difference between a professional set up, and one "done by the numbers". What is the most common string height?Most factories set action at 3/32" to 7/64" on the bass E string at the 12th fret and 2/32" to 5/64" on the treble E. Measure Distance Between Top of 12th Fret and Bottom of String Place a ruler on top of the 12th fret and measure the distance between the top of the fret and the bottom of the outer E strings. High action on an acoustic guitar not only affects the intonation, it can make the instrument difficult, if not painful, to play. String Height At The Nut String height at the nut should be as low as possible without causing open string buzz. The distance between the string and the 1st fret would nearly always be below .020 (.5 mm). When I am certain of the condition of the frets I set action at the nut as low as possible. String height at the nut can also be affected by the condition of the frets, string gauge and pick attack. To check string height at the nut, fret each string on the 3rd fret and check the gap between the string and the 1st fret. While some instruments may still play clean if the string is touching the first fret, most will require a gap of a few thousands to avoid buzzing. Proper Nut Specs • Outer string positioning to prevent fret edge roll off • Equal string to string spacing • Bottom slot angle provides sustain and clarity • Slots width keeps strings from binding • Depth to provide lowest action and best intonation. Correct Neck Relief Appropriate relief (bow) in the neck gives the strings amble room to vibrate without hitting the frets. Too much relief and a neck feels "mushy" towards the center. Read more about this adjustment on thetruss rod page. Intonation An instrument that is not intonated properly will not play in tune when moving up and down the fingerboard. Even after tuning the guitar, players will notice certain notes are sharp or flat. Correcting intonationissues obviously makes a big difference in the way an instrument sounds. Level and Well Crowned Frets Frets need to be perfectly level and have a nicely formed crown. Frets of inconsistent height can cause buzzing, also know as fretting out. Things That Can Raise or Lower String Height Humidity / Dryness Moisture causes the woods of an instrument to swell, loss of moisture will cause them to shrink. Most will find that during the summer or times of high humidity the top may swell and lift the strings higher off of the fingerboard making it more difficult to play. On the other hand, instruments that have been left without proper humidity will often become dry, which can cause the top to drop and create buzzing problems. You may also encounter sharp fret ends that are now exposed due to the shrinking of the fingerboard. During times of low humidity it is essential that you keep your instrument properly humidified. Read more about humidity. Wear and Grooves The grooves of the nut and/or bridge saddle will wear as the strings pass over them. As the strings pull to and fro across the nut andsaddle they are slowly but surely deepening the groove. Excessive wear in the nut slots may cause the strings to buzz when played open since they are now too close to the frets. Grooves in the saddle can affect intonation and cause strings to break Tension and Top Bellying It is particularly common for the action on flat top instruments to raise over time due to the tension placed on the top. The strings continual pull on the bridge and top can create a slight arching which raises the action over time. While a slight arch is quite normal, greater changes in the tops shape may be and indication of structural problems such asloose braces or a warped or cracked bridge plate. Changing String Gauge If you change the gauge of strings you are using, be it heavier or lighter, there will be a change in tension on the top and neck of the instrument. When setting up an instrument you must choose what gauge of string you will be using so that the action can be adjusted accordingly. Changing the string gauge will effect your set up. Structural Problems Loose braces, loose bridges, loose necks, cracks and other structural problems may first become apparent when a player notices a significant change in an instruments action. Guitar Binding Repair Binding is found on many instruments and can be used along the outline of the top, back, peghead and fingerboard. Not only is binding decorative but it also serves to protect and seal the end grain of the wood. Binding Problems Shrinkage Shrinking binding can often be reglued if its condition is still solid. Extreme or fluctuating temperature and humidity levels can cause binding to loosen. Wood will expand and contract as the humidity changes, the more drastic the changes, the more stress to the glue joints. To prevent stressing the glue joints an instrument should be kept properly humidified. Celluloid Binding Decay Decay Celluloid's deterioration can be so severe that replacement is the only option. Severe deterioration of the bindings and celluloid pickguard on certain vintage instruments can also effect the surrounding area by causing corrosion of nickel and other discoloration, particularly when the instrument has been stored in a closed case for decades. Cracking A common area to see binding cracks is at the end of the frets. When fingerboards shrink due to dryness the frets may extend past the edge of the shrunken fingerboard placing pressure on the binding. This results in fine line cracks at the ends of the frets. Repairing Loose Binding If binding has seen considerable shrinkage or been subjected to humidity and temperature changes, the binding may come loose from the body or neck. The tight area of the waist is a very common spot for binding to loosen. If the shrinkage is minor the binding can sometimes be gently pushed back into place and reglued. Considerable shrinkage leaves the binding too short to simply force back into place as the tension would surely cause it to pop loose again or not seat properly. Regluing In instances where the binding has not cracked but has simply come unglued I frequently choose to loosen the binding to the point of the manufacturer’s original seam to remove the tension created by shrinkage. To avoid damaging the finish, Titebond is often used to repair small areas of loose binding after the channel and binding has been scraped. Binding loosened to factory seam at heel. Masking protects instrument from strong adhesives that damage finish. Repairing Cracked Binding Binding on the fingerboard and body can develop cracks, especially if the instrument has been thru extreme temperature or humidity changes. Loose binding is easy to snag and break. A fingerboard can shrink if humidity levels drop too low. As a result the frets are then wider than the board, placing pressure on the binding which can cause cracks near each fret.. Be sure to address humidity concerns to avoid more damage. Finish Considerations Because binding is under the finish, removing it will cause chipping of the finish along its edges. This is a consideration when choosing the proper method of repair. Instruments with thinner finishes may show far less evidence of a binding removal and repair than one with a very thick finish. Generally speaking refinishing is avoided when regluing loose bindings and repairs are noticeable but not terribly unattractive. Replacement of binding often requires finish work. While the type of adhesive used for binding repair will vary according to the type of binding and the situation, many of these adhesives are harmful to the finish itself. Extra care must be taken to thoroughly protect the finish when performing binding repairs. See also: Binding Replacement Loose Guitar Braces Loose Back Brace Braces reinforce and strengthen the top and back of most acoustic instruments. The braces on an acoustic instrument bare the brunt of string tension placed on the instrument and it is essential that they be securely glued in place. Because most acoustic flat tops are no more than say .100+/- of an inch, braces play a huge role in keeping everything together. Signs of Loose Bracing: • Bulging • Top rotation (dip in front of bridge, hump behind) • Ripples / Waviness on flat panels • Cracks • Rattling/vibration/changes in tone • Stress to glue seams Checking Braces Some times we aren't aware of loose braces. They are usually discovered by inspection after a bulge is noticed, a rattle is heard or perhaps a bridge repeatedly comes loose. A thin feeler gauge will slide under a loose brace. I start by inspecting the interior of the guitar with a light and mirror, but sometimes that isn't enough. Loose and split braces that have no visible gap can be difficult to spot. After eyeballing it I turn to my favourite brace checker, a simple feeler gauge. A thin feeler gauge will easily slip between a loose brace and the top or back. Cracked / Split Braces A cracked/split brace can elude even the best eagle eyes. While inspecting the braces with an interior light and mirror a split brace may give no cosmetic clue as to it's whereabouts. Handling each brace is sometimes necessary to locate the mystery brace as the crack can be very fine with no gap or separation. Paper strip shows location of a hidden crack Even though these braces are radiused (shaped to render the top/back slightly arched) this one has begun to curl up excessively. Warping can occur when a brace is left loose for a long period of time or the instrument is subjected to a dry environment. Gluing Loose Braces Before gluing the brace, old glue must first be removed to insure good adhesion. I go to great lengths to avoid leaving glue behind which would make these kinds of repairs most obvious. Loose top braces are often glued using deep c-shaped clamps available thru luthier supply companies. Back braces are often glued with the use of interior "jacks". On occasion I may use an interior jack in combination with an exterior clamp. This allows me to place greater pressure on a back brace without the risk of damaging the instrument. I use a small nylon wedge to lift the brace away from the panel and permit glue application. What glue is used to repair loose braces?In most cases an aliphatic resin glue such as Titebond regular water soluble glue is used. Some vintage instruments may warrant using hide glue. "Jacks" are often used to glue loose back braces Replacing Braces When left un repaired a loose brace can actually come completely free from the top or back. On many occasions I have inspected a guitar only to find a missing brace, one can only wonder where it got off to. When dealing with flat top acoustic guitars with typical, round soundholes, most braces can be repaired without removing the back. As seen in a previous photo, a loose brace can warp over time. Excessive warping can make the brace far to stiff to be clamped back into position. In such cases removal and/or replacement is often necessary. I have successfully made an installed many top and back braces without removing the back. This excludes the X brace, it is two braces where one lies over another. This is tedious work as the radius must be copied and the brace positioned while placing ones hand, clamps, mirror and light inside the sound hole all at once. Difficult access does require the back to be removed for some repairs. Acoustic Guitar Bridges Gluing A Loose Guitar Bridge It is important to check the glue joint between the bridge and top to ensure there are no gaps. Thin paper slid beneath loose bridge. A thin piece of paper can be used to determine the extent to which the bridge is loose. If there is evidence that the bridge is loose it should be inspected and repaired if necessary. Neglecting a loose bridge can create more damage if it breaks free and tears fibers from the top. A loose bridge can also shift forward and damage the finish. Possible Causes: • Heat / Dryness • A loose X-brace • Glued to painted surface • Damaged bridge plate • Insufficient glue Before a loose bridge is reglued it is removed from the top. I use specially designed heating blankets which direct the heat to the bridge and avoid overheating the top or finish. A flexible, smooth spatula serves to separate the bridge from the top once the adhesive is softened. Regluing loose bridge All old glue is removed from the top and bridge to provide a clean surface for re-gluing. A bridge caul is used to evenly distribute the pressure and a clamp is used with exterior and interior cauls. Heat / Dryness Can Soften Glue Leaving an instrument in a hot car, attic or other hot environment may cause the glue to soften which can allow the bridge to shift or creep forward. Unfortunately this usually does some damage to the finish as well. Loose X-Brace / Top Deformity The X-brace helps to stiffen and strengthen the top of the guitar. It runs beneath the ends of the bridge and helps prevent a certain amount of top "rotation" and arching. When braces come loose string tension can change the shape of the top, causing excessive bellying behind the bridge, unsymmetrical bumps in the top and even a concave dip in front of the bridge. If the top's shape changes radically it can place incredible pressure on the glue joint between the top and bridge. Structural repairs are made prior to regluing the loose bridge and sanding of the bridge's base can improve the fit. Bridge Glued To A Painted Surface I don't believe I have ever seen this on an expensive instrument. Obviously this undesirable technique is chosen because it saves the factory time, however, it usually has poor results and almost always means the bridge will come loose ...eventually. Finish was not removed prior to bridge gluing. The finish must be removed so the bridge can be glued to the bare wood of the top. If the finish is very thick this can create a cosmetic problem. See Special Considerations below. Bridge Plate A cracked or warped bridge plate can also allow the top to deform, placing incredible tension on the top to bridge glue joint. Insufficient Glue Excessive clamping pressure may force too much glue out of the glue joint, though this is rare. Usually I see this on instruments where the bridge was not glued with traditional wood glue. Other Common Bridge Problems Cracks Cracks normally develop in two places on acoustic guitar bridges; thru the bridge pin holes and at the edges of the saddle slot. Minor cracking thru the bridge pin holes can sometimes be repaired when there are no other issues with the bridge. It is usually inadvisable to repair cracks at the edges of the saddle due to the constant tension. Warping Bridges that have been loose for a length of time can distort in shape. If enough twisting occurs replacement is necessary. A small amount of warp may be repairable by heating and clamping the bridge or planeing of the bottom when the bridge is thick enough. Thinned / Modified A neck reset is a costly repair to consider on inexpensive instruments. In an attempt to lower action on an instrument that needs a neck reset the bridge is sometimes thinned or modified. This is done because the saddle is already as low as possible. When resetting the neck on an acoustic guitar who's bridge has been previously thinned it is advisable to replace the bridge to return it to the correct height. Incorrect Saddle Placement Intonation problems caused by an inaccurate placement of the bridge and/or it's saddle may also require bridge replacement. My article on intonation will shed more light on this subject. Does the bridge effect tone? The bridge is a top brace, albeit an exterior one. A loose bridge weakens the structural integrity of the top and can affect the tone as a result of the poor coupling. An overly thin bridge also changes the dynamics of tension/torque placed on the top and the distance of the strings from the soundboard. Special Considerations Painted Guitar Bridges Removing certain painted guitar bridges poses another problem. Most manufactured classical guitar bridges are glued to the top before finish is applied. When these must be heated for removal the finish would need to be stripped to avoid a mess. Any plastic inlays on the tie block would also suffer damage. This requires stripping and refinishing of the bridge. For this reason it is often easier and cheaper to replace these when necessary and available. Plastic Inlays Some acoustic guitar bridges have been inlayed with plastic (celluloid) inlays. The heat necessary to soften the glue and remove the bridge will normally destroy celluloid, it must be removed or replaced. Heat does not harm actual pearl inlay, it simply melts the glue. Thick Top Finishes / Poor Surface Preparation In order to reduce prep time some factories may forego removing the finish beneath the bridge. Bridges glued to finish often pop loose, sometimes leaving pieces of the finish still glued to the bridge. Other manufacturers leave a small outline of finish around the bridge to ensure no bare wood is exposed around the edge of the bridge. It's important to realize that not all gaps around the edge indicate a loose bridge, as mentioned before, using a thin piece of paper around the edge can help determine how loose the bridge is. The Exception The only time that I would avoid removing the finish and instead, glue a bridge back down to it is when the finish is terribly thick. Think import guitar with polyester finish! A very thick finish is not only difficult to remove, it leaves a ledge of considerable thickness which would be hard to disguise. While this means the bridge may very well come loose in the future, the alternative is unsightly. One would need to scribe around the bridge, clear the finish and "inlay" the bridge into the clearing. Bridge Plate Repair Bridge plates are most commonly made from maple or rosewood and less frequently, spruce. String ends seated firmly against maple bridge plate. While the size and thickness of bridge plates differ, it's purpose is to reinforce the top and keep it from bellying (arching) excessively at the bridge where the strings place incredible tension on the top. Common Bridge Plate Problems Wear and Tear Around Bridge Pin Holes The ball end of the strings should hook around the edge of the bridge plate and be held there by the bridge pin. When the hole is enlarged by wear, the ball end of the string often pulls itself up into the hole instead of against the plate. Why do my bridge pins want to pop out when installing new strings? The ball end of the string wears away at the bridge plate, causing a once round hole to take on a keyhole shape. This wear permits the ball end to pull "up" into the plate and does not allow them to lock against the plate. When the ball end of the string no longer catches against the plate it often results in flying bridge pins. Another commonly seen symptom ...the thicker string winding which wraps around the ball end can now come close too or even touch the saddle. When this occurs the saddle may incur damage and intonationmay be affected. The string's end winding is contacting the saddle. This can cause excess wear on the saddle and problems with intonation. Warped Bridge Plate Many believe that smaller, thinner bridge plates attribute to good tone. They may also suffer from warping and cupping after years of string tension. Several manufacturers have flip flopped when choosing bridge plate size and thickness. The catch 22 here is that smaller, thinner bridge plates sound good but often lead to more costly repairs due to top bellying. As a result , certain manufacturers have gone from too small, to too large to just about right thru the years. A badly warped bridge plate may cause the top to belly excessively or distort in such a way that the bridge can not longer stay glued to the top due to the change. Cracked Bridge Plate Though not particularly common, bridge plates can crack. When this happens it often occurs thru the bridge pin holes. Loose Bridge Plates When checking for a loose bridge plate I will start by inspecting them with a light and mirror, if any doubt remains I will use a thin feeler gauge to insure there are no gaps present. Removing Bridge Plates As many of you have guessed, removing the bridge plate is not without risk. Heat and/or moisture is often used to soften the glue between the bridge plate and top. Because the top is relatively thin one must avoid overheating the area which can damage more vulnerable finish such as lacquer. Unfortunately accessing the plate thru the soundhole leaves room for little else ...like mirrors. This is one task that is, for the most part, done by feel. I use a number of hand made tools which allow me to work my way under the bridge plate and separate it from the top. Once removed, a new bridge plate is made from scratch and glued in place. To avoid splintering the bridge pin holes (which is commonly seen on inexpensive instruments) the new holes are drilled undersized and reamed to the correct dimensions. Tear out, which is often seen when the holes are drilled improperly can promote premature bridge pin hole wear if chips and tear out occurs around the hole. Repairing Worn Bridge Plates While warped, cracked and loose bridge plates should be replaced, worn bridge pin holes can be repaired without replacing the plate in some cases. Gibson guitar bridge plate showing signs of wear. Note the screws which go thru the bridge and are hidden beneath inlay. I have used a couple of different methods to repair worn bridge pin holes including plugging and re-drilling them. For simple wear and tear however an easier method is to install a PlateMate© which will completely cover the worn holes. Rosewood bridge plate with PlateMate© installed allowing the strings ball end to catch securely on the edge of bridge plate. It can be very aggravating trying to string a guitar who's bridge pins continually pop out when string tension is applied. To lessen the effect I recommend you put a gentle bend in the end of the string at the ball end which will encourage it to hook and lock onto the edge of the worn hole. You can also turn a fluted bridge pin around, placing the groove away from the string to further close the gap as well. Guitar Bridge Pins The ball end of the string locks against the bridge plate and prevents the strings from flying out, but once the round hole becomes elongated it can permit the string's ball end to pull up into the bridge plate. As the ball end pulls into the hole it forces the bridge pin out, usually with gusto! As a means to lesson the effect you can put a gentle bend in the end of the string (at the ball end) which will encourage it to lock onto the edge of the hole. You can also turn a fluted bridge pin around, placing the groove away from the string to further close the gap as well. Severe wear will require bridge plate repair. Why do my bridge pins want to pop out when installing new strings? The ball end of the string wears away at the bridge plate, causing a once round hole to take on a keyhole shape. This wear permits the ball end to pull "up" into the plate instead of locking against it. Read more about bridge plates. Types of Bridge Pins Fluted (grooved) and Solid bridge pin Fluted bridge pins have a groove cut in them which provides room for the string to pass between the pin and bridge. Solid bridge pins require notches in the bridge to accommodate for the strings diameter. Because the bridge pin material can effect the tone and sustain on an instrument, some may desire to experiment with different bridge pin materials. Common Bridge Pin Material • Wood- Ebony, Boxwood, Rosewood etc. • Bone - FWI, Mammoth Ivory, Bone • Plastic - Tusq®, ABS etc. • Metal - Alloy, Brass Fitting Though bridge pins come in different sizes/tapers the most common is 3° and 5°. On occasion it is necessary to fit bridge pins so they will seat correctly, this is done with bridge pin reamers. A bridge pin reamer normally has only one cutting edge/blade to produce a nicely rounded bridge pin hole free from chatter. I have seen some factories drill the hole thru the bridge and bridge plate without reaming it for proper bridge pin fitting. These pins often sit very high on the bridge. When purchasing custom bone or ivory bridge pins, make sure to inquire about the different bridge pin sizes available. This will allow you to choose the correct bridge pin reamer to create a proper fit. If unsure, ream a hole in a test block and check the pins seating first. Guitar Buzzing ? Fix Fret & String Buzz Types of Guitar Buzzing Problems Fret Out or String Buzz - This happens when a string comes in contact with a fret and a buzzing sound occurs. This is the most frequent cause of annoying buzzes. See chart for diagnostics. Hardware Buzz - Parts can also cause buzzing. Probably the most common items which buzz on acoustic guitars are loose input jacks and loose tuning machine bushings. Pre-amps and pickup components that are not seated well can also rattle. Sympathetic Buzz - Thankfully this is not too common. Certain frequencies can set off strange rattling and vibrations. These types of buzzes differ in that they occur only when certain frequencies are played. Loose Brace Rattle- Braces that split or come loose in an acoustic guitar can sometimes be heard rattling against the top or back when playing or tapping. Causes of Fret Buzz Symptom Possible Cause Remedy Open String Buzz Buzzes when played open, stops when string is fretted. Nut Worn or poorly cut nut slot is placing the strings too close to the frets near the nut. Replace nut or shim to add height. Set up instrument properly. One Spot Buzz Buzzes on one note, or one area but stops when moving away from that spot. Frets Frets are not level, one or more is too high/low. Loose or sprung fret is rising out of the fingerboard. Hump in fingerboard. Wear or deep grooves in frets. Secure all loose frets, level and dress. Fret leveling and/or replacement of worn frets. Upper Fret Buzz Buzzes where the neck attaches to the body. Notes seem to fret out when playing near the body. Fingerboard On acoustics, section of fingerboard that is glued to the top may rise/fall with temperature/moisture extremes due to changes in the top. Fingerboard is warped in a way to render the end too high (most common on archtop's). Evaluate for dryness, humidify if necessary. Frets near f/b extension may need leveling. In rare cases the board must be planed to remove hump. Buzzes When I Strum Hard Buzzing occurs when strumming or picking aggressively but can be silenced when playing lightly. Set Up Insufficient relief in the neck. Poor set up. String gauge too light. Adjust truss rod. Set up instrument properly. Use heavier strings. Buzzes Everywhere Buzzes nearly Frets Frets may be worn out or too low. Replace frets. everywhere even though it is set up properly, will often disappear if string is fretted hard or closer to the fret and plucked softly. Very small fret wire used. Frets Out Buzzes nearly everywhere all the time, strings are literally touching the frets in the center or other area of the fingerboard. Neck Truss rod may be way too tight back bowing the neck. Neck could be a warped, or have excess back bow even after truss rod is loosened. Set up instrument properly. Adjust truss rod for more relief. Use heavier strings if relief can not be created thru truss rod adjustm Is Your Guitar Too Dry? Learn to properly humidify your guitar, spot signs of dryness and avoid damage. Damage Caused By Dryness Guitar with concave top. Shortly after heat systems are turned on I am frequently flooded with crack repair inquiries. Open Center Seam Open Center Seams Nearly all flat top acoustic guitars have tops that are made from 2 pieces of wood. You will often hear the term "bookmatched top" as this describes the process of taking two pieces of wood cut from the same log, like pages of a book. These two pieces are layed open and glued down the center. When dryness begins to flatten the top this seam is commonly the first to give way under the stress. Are cracks covered by warranty? Cracks resulting from a lack of humidity or extreme heat are not the result of a manufacturing defect and therefore manufacturers do not cover this repair under warranty. Also be aware that some manufacturers will void the warranty of a very dry instrument. Temperature Extremes Dangerous environments include: • A hot car • Direct sunlight • Near a wood stove, fireplace or heater • The attic Heat is used to loosen glue joints on guitars for repair. Excessive heat can soften glue joints and allow them to loosen or slip. One of the most common predicaments I see on flattop guitars as a result of excessive heat is a sliding bridge. Once heated, the bridge can lift or actually begin to slide towards the sound hole. While this is easily spotted there are other areas of the instrument that can be adversely affected that are not as easy to spot. Frets, neck joints, braces and literally anywhere glue is used can be affected by heat. Finish checking and crazing are often the result of temperature shock caused by taking a very cold instrument into a very warm environment suddenly. When instruments are shipped or transported during the winter it is highly advisable to let the instrument slowly warm up to room temperature before removing it from the shipping carton or case. Severe Finish Checking on Mahogany Topped Gibson Signs Of A Dry Guitar Washboarding / Top Grain Prominent This resembles a washboard in my mind. I personally use the termcorduroy. These are raised lines in the top which are noticeable to the touch. The soft wood between the darker grain lines has lost its moisture and the grain now stands prominent. Warning: once this becomes severe cracks are usually imminent. Take heed, this may be your last chance to avoid cracks. Dried Spruce Guitar Top Lines, which resemble corduroy are a common sign of dryness. Sharp Fret Ends The fingerboard has shrunk due to the loss of moisture but obviously the metal fret wire does not. The frets are now wider than the fingerboard and the sharp ends can become apparent. yow! This is particularly noticeable on unbound fingerboards. Action (String Height) Lower The top has begun to flatten out as it looses moisture and the action is lowered as a result. The fingerboard extension (portion of the fingerboard which is glued directly to the top) may also sink a bit causing a bend in the area where the neck and body join. Concave Top After dead flat comes concave. If you've gotten to this point without a crack you are very lucky. Cracks / Opening Seams After a fair amount of moisture loss an instruments wood panels begin to shrink. Eventually this change can prove too stressful for the wood and it cracks. If left unattended these cracks can spread open and create even more costly and highly visible repairs. Ideally, humidity should be kept around 45%. How do I humidify my guitar? When the humidity in your home is very low (say 20-35%) it is best to use a room humidifier in conjunction with an instrument humidifier. If the air is very dry, a small sponge is likely to be insufficient. And for those with a collection of instruments, refilling instrument humidifiers could be quite a chore, easier instead is to control the rooms humidity with a room humidifier. Where To Start • Install a hygrometer to read humidity in your home • Install a soundhole humidifier and/or a • Use a room humidifier • Keep humidifiers filled • Store the instrument in its case Too Much Humidity? The reason it's important to use a hygrometer is to determine the humidity levels in your home. While low humidity is very common in the winter here in Virginia, not all areas share our troubles. In the summer humidity levels generally stay around 50% and above, eliminating the need for humidifiers during those times. Instruments that find their home on islands and states where humidity is very high can also be affected by the high humidity and rather than needing additional moisture, they need less. Precautions Drips Anytime a humidifier is used with an instrument it is essential that water is not allowed to drip into the instrument. If enough water is spilled inside of an instrument the wood can swell and create finish damage or haze. Also keep in mind that, depending on your location, humidity levels may increase during the summer and eliminate the need for a humidifier. Silica Gel Packets The purpose of the silica gel pack is to absorb moisture and keep everything dry. Unless you are living in a humid area these are not necessary and can do harm. Apparently it is the case manufacturers who place them in the case. Storage It is usually best to store the instrument in the case. Not only does it protect it from damage, the case can offer more protection from severe and sudden environmental changes. Cleaning Guitar Finishes, Fretboards & Frets Cleaning The Finish The type of finish (gloss, satin, lacquer, poly...) and physical condition of a finish can help determine the best method of cleaning. If we were to compare cleaners to sandpaper, we are choosing the least abrasive cleaner that will do the job. Polishing Cloths PROS Easy, fast clean up, no residue to accumulate in cracks CONS Won't remove heavy dirt and grime While a nice flannel cloth is adequate for many players, those trying to polish dark finishes will find that a high quality Microfiber Cleaning Cloth is a better choice. Microfiber is very soft and adds less swirl marks than more abrasive materials. It is hard to avoid tiny swirl marks in any finish so you want to use the softest material possible on dark finishes to keep them to a minimum. Excessive cleaning and rubbing on dark finishes and gold plated hardware should be avoided to lessen the effects. While cloths alone don't remove heavy dirt and grime they are excellent choices for players who like to wipe their instrument off after playing. Spray Cleaners PROS Non-abrasive, safe for satin finish CONS Can make a mess of heavily soiled finishes Spray cleaners are liquid cleaners that contain a fair amount of water. They are good for a quick cleaning where removal of smudges and fingerprints is the basic requirement. A Word About Satin & Flat Finishes Spray cleaners are also preferred over paste cleaners for non-glossy finishes. Satin finishes take on a somewhat shiny appearance particularly in areas under constant friction like the back of the neck or where your arm rest on the top with time. In order to slow the process, overzealous polishing should be avoided as friction creates shine. Spray Cleaner used on very dirty finish Avoid Spray Cleaners On Very Dirty Finishes Using liquid spray cleaners on heavily soiled instruments can create a bit of a mess. I see this most often on instruments that are heavily soiled, think "dirt so thick you could scrape it with a fingernail". Dirt will absorb the water in the spray and turn white or yellowish. While the sight gives pause it is a sure sign you are not going to get very far cleaning with spray. At this stage I resort to using paste polishes or compounds for removal of dirt, usually with allot of elbow grease. Paste Polishes PROS Shines lightly dulled finishes, removes fine scratches and dirt CONS Not recommended for satin finishes, can build up in cracks Paste polish can accumulate in chips in the finish When cleaning more heavily soiled finishes or trying to restore the natural gloss that has dulled, a non-abrasive paste polish is a good start. These cream polishes will usually remove dirt and very fine scratches. When cleaning delicate finishes or one's with chips and scratches I recommend applying the polish directly to the cloth. Working the polish into the cloth helps reduce the amount of build up that can form if one gets polish on bare wood or in cracks and finish chips. Dried polish turns white when dry. Avoid using paste polishes on raw wood (fingerboards and bridges) and use caution when polishing near cracks or finish chips to avoid impacting them. Buffing Compounds PROS Works on deeper scratches CONS Requires some expertise to avoid trouble Obviously not all scratches can be removed with non-abrasive paste cleaners ...and that's a good thing because we don't want to accidentally be buffing thru our guitar's finish. Polishing compounds are similar to sandpaper in that they come in many different grades and abrasions. Most of us use them in conjunction with a machine buffer due to the time and strength required to do it by hand. I have restored and improved many finishes by light wet sanding and buffing, however, this is something best left to someone who has the experience required to avoid a catastrophe. Machine buffing and coarse compounds are literally removing the top layer of finish. If too much is removed you can burn thru the finish completely leaving raw wood exposed. Vintage Guitar Finishes On older instruments with thin or damaged finish it is best to get some advice on cleaning it. De-laminating finish, heavily chipped or thin finishes can pose problems when cleaning. Cleaning Fingerboards Painted Fingerboards Some fingerboards have been clear coated, maple boards andRickenbacker come to mind. On painted fingerboards I use paste polish, not steel wool, to clean the board and frets. Polishing frets with paste polish will turn your cleaning cloth black. If cleaning a maple fingerboard with worn, exposed wood, avoid contaminating those areas with the blackened cloth. Fingerboards sprayed with a flat or satin finish can become glossy with repeated polishing and friction. Unfinished Fingerboards While 0000 steel wool is still a staple around my shop for light cleaning, I hate the mess it makes. I frequently use Dunlop's Fingerboard Cleaner in my shop and really like it. It does a good job of cleaning heavy dirt without having steel wool hair everywhere. Make sure to use a rag you intend on tossing afterwards as a filthy board will make a mess of your nicer Micro fiber polishing cloths. Oiling The Fingerboard Oiling an unpainted fingerboard makes the board look good and may help to prevent dryness which can lead to cracks. While there are many oils safe for fingerboards, some may leave a sticky residue which attracts dirt. Mineral oil, Danish oil and lemon oil are all popular choices. Weekly oiling is not necessary or recommended. In general, oiling the fingerboard a few times a year should be sufficient for average playing use. Severe cracking of the fingerboard can be a sign of dryness and the instrument should be properly humidified to avoid more damage. Cleaning Frets Clean and polished frets are not just pretty, a highly polished fret crown makes for some slick string bending. While steel wool certainly cleans fingerboards and brightens up dull nickel it does little to create the super fine polishing that's associated with a first class fret polish. Micro-Mesh polishing cloth is one of my favorite products for polishing frets. Micro-mesh is available in several grits, just like sandpaper, but is fine enough to use without fear of changing the fret's height. For the do-it-yourselfer who is frequently cleaning their frets and is not looking to mask the entire board and spend a good deal of time polishing the frets, a product such as Planet Waves Fret Polishing Kit (pictured) or the popular Gorgomyte Fret Cleaning Cloth will do the trick. How To Turn A Lefty Into A Righty (and vice versa) Requirements Nut Replacement In order to "convert" an acoustic guitar a couple of things must be changed. First, the nut must be replaced as the string slots will be too small to accommodate the bass strings and too large for the treble strings. Simply cutting the small slots wider for the bass strings will still leave the treble strings to vibrate freely in the large slots which no only looks bad, it usually results in buzzing. Because of the shape of most nuts, it is not possible to simply flip them around. Saddle Slot Angle The angle of the saddle slot on an acoustic guitar/bass determines string length and has a direct and profound effect on the instrument's intonation (it's ability to play in tune in all areas of the neck). In order to correct the intonation and reverse the angle of the saddle the slot must be filled and pre-cut, or the bridge completely replaced. Pickguards and Trim Pickguards, while they can be removed, often leave a very noticeable 'tan line', so many players opt to leave them and simply add another or go without. Saddle slot is filled prior to rerouting the correct position. Make a 12 String into A 6 String Some will read that heading and think..."duh, like leave 6 strings off genius" and while you'd be correct there are other issues to consider. Considerations Neck Width The first issue that dissuades most would be the width of a 12 string neck. If you like neck width akin to a classical guitar then I suppose that may not be a big deal. Bracing Another thing to remember is that a 12 string guitar is braced for 12 strings. Most of the time the reduction in tension due to the missing strings simply does not excite the top in a way to produce a good tone, albeit there is likely to be exceptions. Neck Stiffness A few 12 string guitar may have such stiff necks that they do not bow or relieve properly without the tension from all 12 strings. In those cases, after releasing all tension on the truss rod the neck still fails to pull itself straight or provide a suitable amount of relief. Cost Professional conversions would require the top and the neck to be replaced, which will exceed the cost of many moderately priced guitars as this is being done by a luthier, not in a factory where equipment does 90% of the work. Keep in mind that the original top is braced heavier, has a much larger bridge, has a bridge plate with 12 holes in it. A neck built for a 6 string guitar will have a fingerboard that is not as wide as the original, which would leave obvious tell tale signs where the original glued to the top and where the heel meets the body. So, now one can understand why my reply is normally...go shopping for a 6 string guitar or ...leave 6 strings off. Crack Repair What Caused My Acoustic Guitar To Crack? A washboard texture which looks somewhat like corduroy is one of the first signs of dryness. It is very important that you know how to recognize this and what to do about it should your guitar start to show these signs of dryness. In the picture below the soft spruce top has lost a great deal of moisture and the dark grain lines now stand prominent, the ridges are noticeable to the touch. Cracking is likely if the problem isn't addressed and its dry season continues. A dried out spruce top often resembles corduroy. Tops are build with radius or arch. As the instrument dries out this arch will flatten and the washboard texture may already be noticeable. If humidity is low and the instrument continues to dry out the arch will flatten and can become concave when terribly dry. If your instruments top begins to dip and become concave without cracking you're pretty lucky, now is the time to begin humidifying. The majority of instruments that are truly dry will crack the top first , very dry instruments can also split along their sides or seam lines. On one of those, a good rap or bump to the side can result in the side splitting wide open, not a pretty sight. Common Signs of Dryness • Washboard texture on top • Lower action due to a flatter (dropping) top • Sharp fret ends • Loss of top or back arching Straightedge reveals concave guitar top. Repairing Cracks While some cracks are relatively easy to repair it's important to realize that are often a one shot deal. When repairing cracks it is essential that the separated halves are well aligned and the work is done cleanly. Reversing a bad repair is far more difficult and expensive than having it done correctly to begin with. When repairing most cracks I like to have a caul on the inside and outside of the instrument that keeps both sides of the crack aligned while gluing. Cracks Near The Pickguard Several manufacturers employed the process of attaching the pickguard directly to the bare wood of the top before spraying the instrument. Unfortunately these shrinking celluloid pickguards can cause a problem. If they maintain a good grip on the top while shrinking it places formidable stress on the top. If the pickguard shrinks considerably a crack can develop on either side of it. To repair these cracks the stress must be eliminated by removing the pickguard and reattaching or replacing it. In an effort to avoid a repeat, and keep the new adhesive from pulling up wood fibers if removed again, this bare area of wood beneath the guitar is usually sealed with finish. View a Martin Pickguard crack repair. Finish Repair The real challenge to repairing most tight cracks is primarily with the finish. Stripping and refinishing the entire panel to render an invisible repair on a small crack would be overkill to say the least. Depending on the crack, finish repair may not be advisable or necessary. Glued cracks still leave a small valley in the finish. When repairing cracks it is usually a two part process; repairing the crack in the wood, and then repairing the finish. When repairing lacquer finishes a new lacquer "fill" is placed in the finish crack. This lacquer fill will begin to shrink almost immediately and a small depression is likely to appear, even after weeks of patient waiting. Lacquer is very high in solvents and it shrinks quite a bit. For this reason small chips, sink marks and cracks can reappear after a flawless repair days or even weeks after it has been done. I try and educate my customers to the nature of wood and lacquer so they understand what is possible. Taylor guitar damaged by impact. Photo of completed repair Cracks That Will Not Close More often than not, cracks that have spread open and will not close with humidity are spliced, filled with a inlay of wood. This dilemma is usually only found on older, very dry instruments, perhaps something that was left in a very poor environment. But there are other causes that can create the need for a splice, like something that has been damaged and wood is now missing or an area that is under so much stress that closure is not possible. A splice is an insert of wood, like a filler strip, that is inserted into the area that is open. If the crack that is being repaired does not follow a straight line but runs across the grain the splice is much wider as a symmetrical splice must be used. What about just filling the crack with putty, wouldn't that be easier?Oh my, would it! However, I don't do it. Putty and wood filler is not an acceptable repair method in most cases. While there are obviously some repairs that may require it, wood should be replaced with wood. Putty will shrink and usually just doesn't look right. Obviously on something very inexpensive, splicing or wood replacement can easily exceed its value. My Guitar Cracked, Now What? If there is any chance that the crack is related to dryness you shouldbegin humidifying the instrument. The best time to repair a crack on your instrument is before it has time to accumulate dirt and grime or worse, run like a bad pair of panty hose! (Sorry guys ...a Pinto on Nitrous?) If string tension puts stress on the crack you should remove it immediately. Cracks that go un-repaired can sometimes cause more serious issues, especially if it causes the wood to warp and twist out of alignment. If string tension stresses the area of the guitar that is damaged or cracked it should be removed until a repair can be made. Cleats Cleats are normally made from the same material as the panel which they are reinforcing. While there are some repairs that require reinforcement, I avoid cleats unless absolutely necessary, especially on clean cracks. As I point out to my clients, every guitar has a top and back crack...tops and backs are made from book matched wood, two pieces of wood glued together down the center. This is a glued seam and is not cleated. (The center strip used over many back center seams is there to reinforce the area when the back is routed for a center strip.) Cost Whether caused by impact or dryness, cracks can effect the braces as well. The alignment, finish damage and ease of closure all contribute to the overall cost. I offer free estimates to those desiring to have them repaired, I can not offer estimates based on pictures alone. Fingerboard Care & Repair Fingerboard Care Unfinished Fingerboards Most fingerboards are not painted. (Rickenbacker and Fender Maple boards are among the exceptions.) On unpainted fingerboards, using 0000 steel wool is a popular choice. It does however come with downside, lots of tiny hairs shedding and making a mess. Naphtha has also been used, put I personally find it's cleaning properties pretty limited. I prefer to use Dunlop's fingerboard cleaner. It is sprayed on and does an excellent job of cleaning even filthy fingerboards. I was pleasantly surprised the first time I tried it out on a 50+ year guitar with decades of caked on dirt. I would recommend using it with a disposable rag (I like the blue Scott shop towels). After cleaning the fingerboard micro fiber cleaning clothes can be used to lightly polish the frets. Steel wool will also do the trick, but again, makes a bit of a mess. When using steel wool on a fingerboard remember to avoid contact with any painted surface and protect pickups from the wool hair. After cleaning an unpainted fingerboard, follow up with some fretboard oil to restore some moisture. Let it soak in for a moment and then remove excess with a cloth. Fingerboards may require oiling periodically (every few months) but I would not recommend a weekly oiling. Fingerboards that are saturated with oil can become greasy which makes them attract dirt. Painted Fingerboards Painted fingerboards are cleaned in a similar manner to the finish on the instrument. Remember that nickel frets will turn your cloth black when polishing. Avoid contaminating areas of bare maple with polish or your blackened cleaning cloth. Fingerboard Repair Chipping Old or brittle fingerboards can turn a simple refret into quite a tedious job. I have re-fretted enough 80+ year old boards to know. Although chipping is unavoidable on some fingerboards, it can and should be repaired. This should never happen and was caused by incorrect removal of the frets. Yikes! Cracks Fine line cracks can develop in the fingerboard and stretch a distance of several frets. These are often spotted when cleaning the fingerboard and can be an indication that the instrument is dry and in need of humidity. If you see cracks develop in the fingerboard make sure the instrument is properly humidified. After properly cleaning the fingerboard to remove dirt and oil, fine cracks can be filled with wood dust and adhesive. The fill is then leveled and the board is lightly sanded and polished. Common Finish Issues Lacquer Checking / Crazing This is an extremely common, somewhat expected condition on older instruments with lacquer finishes. Checking will vary according to the extremes the instrument has been through. As an instruments wood expands and contracts with moisture content stress is placed on the finish. Heavy finish checking /crazing The lacquer itself is put thru allot of stress as this takes place and the finish may develop checking/crazing is a result of this movement. Checking looks like very fine finish cracks running in all directions. Extreme and sudden temperature changes can also cause finish checking, regardless of the instruments age. Can I avoid checking? If you travel with your instrument and it is subject to severe temperature changes, you should allow it to acclimate to room temperature before opening the case. When instruments are shipped to me they are left unopened until I am sure the contents have had the opportunity to warm/cool to room temperature slowly. You should also insure you are properly humidifying your instruments to avoid sever dryness. See my humidity article for more information. Can you repair finish checks? Because checking is a common occurrence on vintage instruments most should avoid refinishing as it is likely to happen again. An additional deterrent would be the negative effect on value. Yellowing Finish Instruments finished in nitrocellulose lacquer not only tend to craze with greater ease than the newest catalyzed finishes but they also yellow with age. An instruments finish can consist of a color coat and clear top coat or simply a clear coat. With age this clear top coat begins to turn yellow. That means a white guitar may eventually turn yellow and, since blue and yellow make green, older blue instruments can eventually turn green. This phenomenon is a simple fact of life and a natural occurrence with aging lacquer. While it's true that UV rays may accelerate the process (just peak under a pickguard), nothing can be done to stop nitrocellulose from yellowing. In fact, like crazing, it is a common and expected occurrence. Can you sand off the clear coat to remove the yellowing? As simple as that may sound the answer is no. Trying to sand off just the top clear coat and not damage the color is a lesson in futility. That being said, when I was young I attempted to sand off a refinish color to reveal the original finish on a vintage Fender Strat. What I found after days spent removing small amounts of finish was that the original coat had been sanded thru in areas as it was prepped for the refinish. Futility only a do it yourself er would attempt! Soft, Gooey Finish Lacquer is the most common finish used on vintage instruments and while it has great properties for touch up it can be damaged with certain solvents. Lacquer is a solvent based finish and can be damaged by contact with acetone and lacquer thinner. It can also be damaged with prolonged contact with water and denatured alcohol. One reaction that many are unaware of is lacquers nasty reaction to prolonged contact with vinyl. Vinyl will soften lacquer to a point that it will roll up under your fingers. Refinishing of the effected area is necessary. Peeling Paint (Delaminating) Different manufacturers have had issues with de-laminating finish at different times. De-lamination occurs when the top coat can not adhere to the underlying sizing or sealer. Much like the white Dodge's we see driving around with large patches of exposed gray primer, the top coat let's loose and chips off with little effort. Because this is an adhesion issue, overspraying without stripping to bare wood often results in a repeat. The surface must be re-prepared for refinishing. Cloudy White Finish Finish clouding on peghead of Alvarez guitar. Clouding refers to a milky white coloring that makes the clear coat far less transparent and foggy. I have only witnessed this phenomenon on inexpensive poly finished instruments. Due to the time and cost involved to strip and refinish one of these instruments it is a condition most are forced to live with. Because the clouding is in the finish, buffing and polishing have no effect. This is not usually seen when the instrument is new but develops over time. While I have ideas as to the cause I do not know for certain. How Do I Remove Scratches From My Guitar's Finish? Obviously scratches are a part of life, but on occasion we want to spruce up our instrument and erase some of the wear and tear associated with playing. Buffing scratches is an option if they don't go too deep. When buffing scratches out, quite literally, finish is being removed until you are at the bottom of the scratch, making the finish a smooth flat surface again. For heavy scratches, wet sanding often precedes buffing. While this is completely reasonable for very fine scratches, you can quickly guess why attempting to buff out a very deep scratch can end in disaster. On instruments with color, a clear coat sits atop the color coat. If too much clear is removed you may buff into the color coat. Doing so leaves a hazy dull ring around the area of transition. If the instrument is merely clear coated, the same applies, sanding or buffing thru the finish will leave bare wood exposed. Drop filling a scratch, leveling the fill with the surface and then buffing the instrument is another technique. However, when drop filling lacquer and other finishes, the fill normally shrinks with time and a dip is still seen even after a spotless repair. Glazes and waxes attempt to "fill" scratches and claim to make them less noticeable. However, coming from an ex-body shop manager and car detailing buff, it isn't as easy as all that. A good rule of thumb here is, if you can hear your fingernail click when running it across the scratch, it is probably too deep to wet sand or buff out. Refinishing Vintage Instruments When dealing with vintage and collectible instruments it is usually in the best interest of the owner to preserve its originality as much as possible, monetarily speaking. As is common with other antiques, refinishing is detrimental to the value often associated with rare or vintage instruments. Generally speaking, the only time I would recommend refinishing a vintage instrument is when damage is severe enough that it is simply required or when it has already been refinished very poorly as seen in this photo. This Martin D-28 appeared to have been painted with a brush. View same instrument after refinish. Types of Finish Repair Touch-Up When I use the term touch up I am usually referring to a relatively small area that can be repaired by brush work (drop filling finish into a chip or valley) or air brushing a small area. Lacquer which is drop filled by brush must be wet sanded and polished in order to render the smooth, glass like surface one expects to see. Of course the most difficult part of touching up chips or scratches is not necessarily the application of the lacquer but the blending of new with old. It is truly an art form in many respects and one must aptly judge the thickness of the finish they are dealing with in order to avoid sanding or buffing thru the finish. Lacquer Melting Flaking, brittle lacquer finish that is easily removed by simple contact can sometimes be stopped by amalgamating (re-melting) the finish. Finish that has separated from the wood can sometimes be reattached by this method. Top coats are normally diluted with a retarder and thinners that soften the original coat and allow the new coat of finish to melt into the existing finish. Overspray Overspraying refers to a technique whereby a new lacquer top coat is sprayed over the existing lacquer finish without completely removing the original finish. Aging It is not uncommon to run across instruments who's binding has begun to crumble and literally fall off. With this type of deterioration it is necessary to replace the binding and of course when we do so the new binding stands out like a brand new penny. Solution...we age it. We can age binding by applying a top coat of tinted lacquer to render the yellow hue we normally see on vintage instruments. On most instruments the yellow tint you see on the binding and other areas is simply the result of yellowing lacquer. Once the lacquer is removed you are likely to find white binding (assuming it was white when new). That's why worn areas often differ in color. Other repairs may also necessitate this synthetic aging technique. Non-lacquer Finishes When applying overspray one of the most crucial elements to success is adhesion. It is absolutely essential that our new top coat bite into the existing finish. That bite is one obstacle we often run into when trying to overspray finishes other than lacquer. Many of today's newer finishes are so hard and impervious to chemicals that overspraying them may not be an option. The factory can advise you of your finishes repair techniques. Cost Refinishing is usually cost prohibitive on anything by high quality, valuable instruments. A professional refinish requires neck, bridge and pickguard removal. These parts are not masked around as finish would pool at the edges and look unprofessional. As of August 2010 the Martin Guitar factory charged more than $900 for a complete refinish of the body of a D-28. (Neck not included) Likewise, the Taylor factory charged $800 for a complete refinish of a gloss finished body.*For exact prices contact the factory. You can easily see how much more one pays for man hours than for production line work. In some instances the cost to refinish an instrument exceeds it's replacement cost. This comes as quite a shock to most, but can be more understandable once the process is viewed. Lacquer Repair Challenges Lacquer is very high in solvents and as a result it shrinks quite a bit. For this reason, the lacquer used to fill a chip or crack can continue shrinking weeks after a nearly invisible repair. Realize that I am being quite picky to say that I can see the repaired area but I try and educate my customers to the nature of lacquer so they know what to expect. Refretting Guitars Step 1: Fret Removal I generally use heat when removing frets. It's a good way to determine if glue was used during installation and facilitates easier removal. In order to apply the heat only the to frets crown I use a wide tipped soldering iron. I like to file a small notch in the tip so it can seat on the crown without sliding around. In order to pull frets out cleanly, I use a small pair of end nippers that I have filed to flatten the head which rest against the fingerboard. Instead of pulling frets out, I am "pinching" the out. The thin blades of the end nippers slide beneath the crown of the fret and gently wedge them upward as I walk the nippers from one end of the fret to the other, never lifting the pliers but using the wedge effect. Older, brittle boards require patient care as the tang of the frets tends to pull small chips free as the fret is lifted from the slot. When you've re-fretted as many 80 year old fingerboards as I have, it isn't a question as to whether they will chip, it's how badly. Removing the frets correctly means less repair is necessary after removal. Heat can damage and destroy celluloid binding and inlays. It is critical that the irons tip touch nothing but the fret crown. Chip Repair Some of you have witnessed less than professional fret jobs that left the fingerboard littered with chips. While chip out can not always be avoided it can and should be repaired. Amongst my favorite techniques is using some sawdust sanded from the fingerboard mixed with Duco cement. Fills are then block leveled and further fingerboard prepping can begin. Step 2: Prepping The Fingerboard For Frets Sanding The Radius With the frets out and the neck adjusted flat it can now be checked for trueness and planed if necessary. To properly plane a neck straight I feel the best sanders to use are close or equal to the length of the fingerboard. Longer planes and sanding blocks cover a greater surface area and make equal removal of material far easier. A radius gauge is an easy way to measure the fingerboard's radius and choose the correct caul for sanding. After planeing, if necessary, I switch to lighter grit sandpaper and a sanding caul that is radiused to match the intended fingerboard radius. A long straightedge is used to ensure the neck is straight and no high/low spots remain. Cleaning The Fret Slots When working on a newer instrument I may use the air hose to blow the sanding dust from the slots. On delicate vintage boards air pressure is enough to blow chips out of the board and is best avoided. A feeler gauge can be used to measure the width of the fingerboard slot and determine the fret tang size needed. While nearly everyone knows that fret wire comes in many different crown sizes (short, tall, wide, skinny) some are unaware that it also comes with different size fret tangs. Using the correct tang size is essential and should not be overlooked. Fret Tang Choices Using a fret tang that is too small for the fret slot can cause frets to quickly loosen and lift. It can also weaken the stiffness of the the neck as the lack of fret slot compression allows the neck to bend more easily. A fret tang that is too large can add too much compression to the neck. When large enough, this can actually back bow the neck as it adds mass to each fret slot... a technique I use to strengthen and straighten older necks with no adjustable truss rod. The fret slots on unbound fingerboards can be cleaned with a traditional fret slotting saw of the appropriate size. Bound necks require very short bladed saws that will fit between the binding or, my favorite, a small hook tool that nicely scrapes the slot clean. Changing The Fingerboards Radius To some extent the original radius can be changed if desired. We are however limited by the fingerboards inlays and overall thickness. A drastic change to the radius could require so much wood removal that we endanger the inlays or thin the board. Compound Radius vs Single Radius A "compound radius" means the board starts out with a tighter radius at the nut and gently tapers into a flatter radius. A fingerboard with a single radius is shaped the same from the nut to the heel. While we all have our preferences as far as fingerboard radius is concerned I will through out a few tips, but mind you YMMV. Because a tighter radius produces a rounder fingerboard, chord players and those with hand problems may enjoy the tighter radius of 7.25" or 9". The biggest problem with a tight radius occurs when attempting a substantial string bend with average to low action. The string will contact the fret and fret out or buzz. If your a heavy string bender avoid the vintage 7.25" radius or prepare to meet high action. A radius of 16" or flatter may be preferred by those playing lead. These are generalizations of course. How do I know which radius is best for me? Take the instruments that feel most comfortable to you and measure their fingerboard radius. (Or check their specs. online.) If there's a consensus, you've dialed it in. If not, it may not matter much to you. Step 3: Fret Wire Preparation Bending Fret Wire Some fret wire is sold in straight lengths while others come in a coil. Before pressing the fret wire into the prepared fret slots it should be cleaned with Naphtha or similar solvent to remove oil. It is then sent thru a Fret Bender to bend the radius to match the fingerboard. Nickel fret wire wants to "spring" when being pressed into the fret slots and it is usually necessary to slightly over radius it. Stainless steel fret wire is another story. Because it is rigid and retains it's original arch it should be bent to match the fingerboard exactly. Fret Wire Size For more information on fret wire size and materials, check out my Fret Wire page. Step 4: Installing New Frets Cutting Fret Wire When the fingerboard has no binding each fret is cut slightly longer that the fretboard's slot and clipped flush with the fingerboard's edgeafter installation. Cutting Frets For Bound Fingerboards Bound fingerboards require far more work. Each fret must have it's tang cut to fit between the binding, leaving the crown to overlay the binding. Once the tang has been cut with fret wire nippers, the remaining bur is filed so the crown can sit flush against the binding. The fret wire's tang is clipped and the remaing bur filed away. Gluing Frets In Glue is used when necessary. A new fingerboard rarely "needs" to have it's frets glued in as using the appropriate fret tang will enable the fret to grip the board nicely. Older, brittle boards or one's that have been re-fretted numerous times, some, less than professionally, may require gluing. Some boards simply don't grip the fret wire as intended and feel a bit soft when installing frets...all reasons to be safe rather than sorry. (Maple, I'm talking to you.) An instrument that is subject to low humidity and less than ideal care may also be a candidate for glued in frets. Subjecting an instrument to dry climates can cause shrinking and swelling of the fingerboard which can cause frets to spring free. While this problem is best addressed by taking proper care of the instrument, if it's a known problem glue adds a little insurance. Because I use the compression method I will either be tapping the frets in with a fretting hammer or pressing them in with a arbor press. To avoid dinging the new fret when installing them I use a fretting hammer with a plastic tip. The arbor press is equipped with "feet" which are machined from brass and are shaped to match the fingerboard's radius. With the fret sitting atop the slot the arbor press pushes the fret into the slot. Beveling The Fret Ends Frets are slightly beveled on the edge.. Manufacturers vary a bit on how they bevel and round the fret ends, but the object is the same....no sharp edges! Can someone over bevel the fret ends? Yes! In severe cases the outer E strings may lie over or terribly close to this bevel and cause the string to roll off the frets edge when playing. With the new frets installed, filed flush with the fingerboards edge and properly beveled we can move onto leveling, re-crowning and polishing them. Continue to Fret Leveling Special Considerations Necks Without Adjustable Truss Rods When tension is placed on the neck it is normal to see some amount of relief or upward bow. When the relief becomes excessive we tighten the truss rod to counteract it and draw the neck straight again. What if the guitar has no adjustable truss rod? While most instruments built after the turn of the century do indeed have a truss rod, not all of them are adjustable. Some of these necks merely use a rod or hardwood inlay to stiffen the neck. Comparison of Truss Rod Types The T-Bar and Square Bar strengthen the neck but are not adjustable. When an instrument without an adjustable truss rod suffers from too much relief or a permanently bowed neck, planeing and refretting can often improve it's playability. Even after planeing a neck flat it may still bow a considerable amount under tension if the neck is weak. In an effort to stiffen it, fret wire with oversized fret tangs can be used for additional compression. Because this is just as much experience as it is technique, the correct size tang must be chosen to insure the neck does not end up back bowed. Rubber Necks There are necks that I can flex with my hands, some can actually see them flexing while playing. While planeing and refretting on of these may improve them somewhat it can be a risky adventure. A neck that shows itself to be weak in this manner is not likely to undergo a radical transformation simple because it has been re-fretted with oversized tangs. Careful examination is in order here, as well as an up front, honest conversation with the owner. Putting money into a refret when the neck is in serious trouble can be hopeful thinking. Gibson And Those Binding Nubs If you look closely at the frets on a bound Les Paul you can see a small "cap" of binding at the end of each fret. We've referred to these as nubs, nibs, fret caps... When these instruments were manufactured the board was fretted, the frets where filed even with the edge of the board and then the binding was attached. The binding, which sits proud of the fingerboard is then scraped level with the fingerboard leaving the small nub of binding at the end of each fret. Many like the feature as it prevents strings from catching under the ends of the frets when they are rolled off the edge of the fingerboards (which can certainly be prevented without them BTW). When refretting an instrument fretted in this manner, those nubs disappear while sanding the fingerboard. It is unavoidable when the entire fingerboard is being re-fretted as the fingerboard must be resurfaced to prepare for the new frets. When performing only a partial refret on this type of neck, the nubs are usually preserved but more time and expense is incurred to precisely match the shape and fit of the old frets. I think it's fun and enjoy the satisfaction of preserving the look of the original, I would not however, enjoy doing that on all 22 frets of a Les Paul. lol Bar Frets Bar frets differ from traditional fret wire in that the crown and tang are exactly the same size, unlike the mushroom shape of today's wire. Traditional fret wire can not be used to refret an instrument that has bar frets due to their size. Today's fret wire tang is not large enough to fill the fret slot of a fingerboard who originally had bar frets. Sources for bar fret wire pop up from time to time but I no longer have it in stock and do not offer it. You can see picture's of a bar fret refret here. Guitar Fret Wire - Types and Sizes The position of the fret on the fingerboard indicate the location of the next note, as a result, their positioning and the shape of their crown are crucial for good intonation. Guitars may require refretting for many reasons, the most obvious being to replace worn frets or change their size. However, refretting is also necessary when correcting neck issues that require planeing of the fingerboard. Fret Wire Specs Fret Size • Crown Width (Popular size range .078 - .110) • Crown Height (Popular size range .035-.055) • Tang Fret Material • Nickel (18% Nickel-silver) • Soft Nickel • Brass • Stainless Steel • EVO Copper Alloy (nickel free) Vintage instruments sometimes used a fret wire which is uniform in size (flat instead of mushroom shaped.) These are known as bar frets. Choosing The Right Fret For Your Guitar There are many choices available when it comes to fret size. Most players however will develop a preference for size depending on their style. Fret wire can be measured when the size is unknown. Tall Frets Taller frets (higher than say .045) are often favored by string benders. Their height make it easy to push the string when bending. They also produce a clear note without allot of pressure. The downside is, hard fretters tend to bend the string sharp. Short Frets You either love these or hate them I think. They have a barely there feel to them. Think fretless wonder. The string really drags against the board when bending. Skinny Frets Fret crown widths below .080 is what I would call a skinny fret. These are often seen on vintage guitars, banjos and mandolins. These are good on intonation, but can wear more easily. Wide Frets Wide fret wire of .100-.110 is most often used on electric guitars and basses. These generally wear slower than skinny frets. Excessive wear on wide frets can throw intonation off. Common Fret Problems Wear Strings wear grooves in the fret's crown. Most players can easily spot the grooves worn in frets by string contact. As grooves grow deeper, buzzing may occur because the string now sits lower and contacts the next, higher (less worn) fret. But wear is not always seen as small grooves. Heavy string benders will also notice that the once round fret crown has flattened which can alter the string's contact point and effect intonation. Worn frets can be leveled and dressed only if sufficient fret height remains to permit filing. Sharp fret ends When the edges of frets suddenly become sharp (no recent fret work) it is usually an indication that the fingerboard has lost moisture and shrunk. When humidity levels drop the fingerboard can shrink enough to leave the edge of the frets now slightly extended. A fret dressing can smooth the sharp edges but the instrument should also be properly humidified to prevent other damage. Frets are too high Some new instruments come with fret wire measuring .055-.060 high. Higher frets are not for everyone, especially those with a firm fretting technique which is likely to cause notes to go sharp. Frets can be filed to reduce their overall height and re-crowned. View my article on fret leveling for details. Frets are too low Speaking of fretless wonders...wow! Not all wear appears as grooves in the fret. Many times the wear is evident by the lack of roundness to the crown. String bending acts like a file continually filing away at the crown of the fret. In an attempt to correct fret height inconsistence, frets can also be filed too low when a less experienced craftsmen is attempting to level the frets. Loose / Lifted Fret The fret's tang can loose it's grip on the fingerboard and spring loose which causes it to stand proud of the surrounding frets. When this happens, the note prior to the lifted fret will normally buzz against this high fret. Loose fret ends often catch the treble E string when bending. Loose frets can be secured and leveled when height permits. If many are spotted refretting is usually necessary to address the cause of the problem. Gaps Under Frets On guitars with bound fingerboards, shrinking of the binding can produce a gap large enough to catch the treble E string when pulling it over the edge. If only a few our present I will fill the gap to eliminate the problem. If the binding shrinkage has introduced gaps at every fret, the board should be re-radiused to eliminate all gaps and re-fretted. Glues Used In Guitar Repair Aliphatic resin is amongst the most popular woodworkers glue used in instrument building and repair. Titebond Type 1 original formula and various other brands such as LMI and Garrett Wade which are available in both white and yellow. This is the glue most factories use to assemble and repair instruments and it is easy to work with. Unlike Hide glue, it is ready to use straight from the bottle. Woodworkers glue is water soluble, has longer working times than Hide glue. It softens with heat and is very strong. Titebond Glue I use Hide or Aliphatic glue for nearly all wood to wood repairs including gluing bridges, bridge plates, braces, necks, most cracks and fingerboards. For the novice or do-it-yourself er this is going to be the glue of choice. On instruments most glue joint failures are hardly ever related to the glues strength. The most common culprit is insufficient glue, heat exposure or poor surface to surface contact. Glue is not a filler and should not be considered a fix for a poorly fitting joint. When repairing loose braces or bridges there is no need to seek a stronger adhesive as carpenters glue is more than ample. Most glue joint failures are hardly ever related to the glues strength. Titebond or other aliphatic glues are more than strong enough to do the job. Hide Glue Hide glue is one the oldest glues used in instrument making and repair. This glue is sometimes frowned upon because it is a little high maintenance. Hide glue is purchased in a dry form, mixed with water and then heated before use. It must be kept hot to prevent it from gelling and this requires a glue pot or other means to produce the heat necessary. There is no denying that hide glue stinks! Hide glue will stick to itself, it is water soluble, and does not creep like aliphatic glue. There is/was an instant Hide Glue available but you want to steer clear of that. Super Glue (Cyanoacrylate) Super glue happens to be an indispensable tool in this trade and it is also a very dangerous one in the hands of some. Unfortunately someone used superglue on loose braces I use super glue primarily when repairing things other than glue joints. In other words, super glue is never used on loose braces, bridges (when they're wood gluing to wood), end pins, open seams, pickguards etc. Its most popular use is fingerboard cracks, bridge cracks, inlay repair and the like. It can be colored and used in many applications but because it is permanent it is not suitable for wood to wood glue joints. Another dangerous but wonderful use for super glue is finish chip repair on some of the newer finishes. It is clear, dries hard, shrinks very little and is sandable, a perfect candidate for finish repair and used by most factories. Permanent adhesives like super glue and epoxy should not be used to glue bridges, braces, necks and other instrument glue joints/seams. Epoxy Most of the warnings that come with super glue apply to epoxy. It is a permanent adhesive that you must sand to remove once hardened. Like super glue it should not be used on joints and seams. Epoxy can also be tinted and used to fill chips in bridges, fingerboards and the like. Guitar Intonation Why A Guitar Won't Play In Tune My guitar does not play in tune, even after I know I've tuned it correctly. Some chords sound in tune while others don't. This article details the reasons a guitar will not play in tune. To view information about "staying" in tune, please refer to my article ontuning issues. Checking Intonation To check intonation you will need an electronic tuner. Tune your instrument to pitch and fret each string naturally at the 12th fret. If notes played at the 12th fret are dramatically sharp or flat, the intonation may require correction. Things That Can Cause Poor Intonation • Physical placement of saddle (this determines the string's length) • Wear on the string's contact points (frets, nut, saddle) • Very tall frets • String gauge • High Action (too much distance between the fret and string) • Playing technique High Action Very high action (string height) causes a string to be stretched as it is fretted. In the same way that bending a string causes the note to become sharp, pressing a string down when the action is quite high will also cause string stretch. When string height at the nut is too high, chords and notes in the first position are often out of tune. Correction: The instrument should be properly set up. Excessive Neck Relief A neck with far too much relief (bowing in the neck) not only shortens the distance between the nut and saddle, it raises the string's distance from the frets. Correction: Adjust the truss rod to obtain proper neck relief and set up if necessary. Leaning Saddle The saddle should sit firmly in the bridge. A loose saddle can lean forward, shortening the string's length and sharpening the intonation. Correction: Replace the saddle for proper fit. Worn Saddle Crown Deep notches in the saddle may change the string's length. Correction: Replace or re-surface the saddle. Fret Wear Frets that are badly grooved or have flat crowns will also throw off intonation as the string's length is changed. Correction: Worn frets can be leveled and re-crowned to remove the grooves. Severely worn frets may require replacement. Fret Height Instruments with very tall fret wire can play incredibly sharp if the string is fretted hard. Using an electronic tuner fret a note and watch the tuner as you apply more or less pressure to the string to view the effects. Correction: If the fret crown is very tall, fret leveling and re-crowning can reduce it's height. String Quality & Gauge String quality has really only been an issue for my clients when purchasing no name strings from auction sites. While seemingly cost effective some are notorious for bad intonation. When re-stringing an instrument that has been properly set up it is important to use the same string gauge. Saddle compensation, neck relief and action have all been set for a particular string gauge. Increasing the tension of the strings can cause sharper intonation. Correction: If the instrument played in tune before and no changes have been made to the instrument you may wish to change strings first. Saddle Placement The string is always resting in the nut's slot and on the saddle's crown. Changing the position of the saddle or nut will therefore change the length of the string. A string that is too long will cause the intonation to be flat at the 12th fret. A string that is too short will cause the intonation to be sharp at the 12th fret. Correction: The saddle's crown may need compensation or, in more severe cases, the bridge saddle slot may need to be moved. Fret Spacing I hate to mention this as I fear far too many people will jump to this conclusion in error, but I still encounter this on occasion. This is generally seen on inexpensive imported instruments and some vintage pieces with hand slotted fretboard's. Correction: Fingerboard replacement. Playing Technique Some players have a rather powerful fretting technique in which they place excessive pressure on the strings when fretting. If the instrument happens to have fairly tall frets the combination often results in sharp intonation. To illustrate, use an electronic tuner and play a note using varying fretting pressure. The tuner will show you how your pressure effects the note. A Word About Scale Length Common Scale Lengths* Martin Dreadnought 25.4" Martin 000-28 24.9" Taylor Grand Auditorium 25.5" Gibson J-45 24.75" *some editions may vary When trying to determine the Scale Length on an instrument measure the fingerboard from it's start (where it touches the nut) to the center of the 12th fret. Double this number to arrive at the Scale Length. Scale Length can be determined by measuring from the end of the fingerboard, to the center of the 12th fret and doubling it. In order to compensate for the sharpening that occurs when fretting notes up the neck, additional string length is added to the scale length in order to provide better intonation. If you look at the saddle on a steel string guitar you will quickly realize that they are not in a straight line (with the exception of some classical guitars). Saddles are slanted because string length is actually added to the instruments scale length in order to off set the sharpening of the note which occurs when the string is stretched while being fretted. The larger the string, the more compensation is usually necessary, thus the bass side of the saddle will be further from the fingerboard than the treble side. Adjusting Guitar Intonation The first step to correcting your instrument's intonation is to address any issues that can cause intonation problems. If you haven't done so already take a look at my list, most new intonation problems will be caused by one of these issues. Knowing the cause is the first step to fixing the problem. Check Your Intonation To check your guitar's intonation you will need a tuner preferably, a chromatic tuner. Tune your instrument to pitch and fret each string naturally at the 12th fret. This note is one octave higher than the open string note and should be in tune (neither flat nor sharp.) If notes played at the 12th fret are dramatically sharp or flat, changes to the strings length and position of the saddle (or shape of it's crown) may be necessary. When correcting poor intonation on an acoustic guitar I use an electronic tuner to evaluate the strings tuning at the 12th fret. I record this information for reference while making adjustments. Only after any issues that can contribute to poor intonation are corrected do I may further adjustments to the nut and/or saddle. Installing A Compensated Saddle Installing a pre-made drop in compensated saddle is usually a simple upgrade. If your instrument has already been set up properly you can use your original saddle as a reference when sanding the height of the new one. If the instrument has any playability issues a set up should be performed along with the saddle upgrade. Most saddles are either 3/32" or 1/8" wide. When purchasing a replacement, height can be filed by sanding. Graph-Tech®, makers of Tusq® brand saddles, provide a large selection of pre-made compensated saddles. See assortment in right sidebar. When pre-made saddles are not available thru retailers or from the original manufacturer the saddle must be made from scratch. In these instances a saddle blank is used and shaped to fit. Dark lines show the peak of the saddle and the strings contact point. Compensated saddles allow us to alter the individual string length and adjust intonation. For instruments in need of extra fine tuning the shape of the compensated crown may need to be filed by hand, adjusting the length for each string individually. This is a more costly, time consuming method which may be required when good intonation can not be achieved using a premade saddle. Installing Compensated Nuts Compensated nut Fretting a string stretches it and stretching a string will sharpen it slightly. To offset this sharpening,length is added to the instrument's scale length to compensate. However, lengthening the string to compensate for fretted notes also lengthens the open string. Compensation of the nut can be achieved in different ways. Most have settled on a "shelf system" whereby the nut overhangs the end of the fingerboard which renders it slightly shorter. This eliminates the need to permanently modify the fingerboard's length by cutting it. Earvana® is one example of a prefabricated compensated nut. The Buzz Feiten Tuning system® is another method. Modifications are made to the position of the nut or fingerboard length. Intonation is then adjusted according to slightly offset tunings which are determined by string gauge, scale length and action. My advice is to try the self-nut first, before modifying the fingerboard's length. I find it difficult to justify shortening the fingerboard of a vintage or valuable instrument. Using Tuning Techniques Just as there are several theories about ideal saddle and nut compensation, there are also different ways which we can tune our instrument. One of the most popular methods is to use a chromatic instrument tuner to tune the open (unfretted) strings. Other methods include using harmonics to tune or tuning 2 particular chords until they are in tune with one another. You can use whatever method you feel pleases your ear. Correcting Saddle Location Some instruments suffer from poor intonation because the bridge and/or it's saddle slot is not located properly. It is either too close to the fingerboard causing sharp intonation, or too far, causing flat intonation. This instrument played terribly sharp due to a misplaced bridge. The yellow arrow reveals the correct location for saddle placement. When possible (and appropriate), the original slot is filled and re-routed to correct the problem. Ebony was used to fill the original saddle slot prior to reslotting. When the correct placement is not possible a new bridge is made to avoid placing the saddle too close to the bridge pins. A bridge slotting jig serves as a guide for my laminate trimmer. Bridge Replacement On the bridge below, moving the saddle's position would have placed it too close to the bridge pin holes. Instead a new bridge was made. It is quite common to see this scenario on Martin guitars built in the 70's (though they are not the only example). Note the positions of the bridge pin holes and saddle slot. The top bridge is an original, the bottom is the replacement. Also of note is the proximity of pickguard to bridge. Physically moving an acoustic guitar bridge to correct the intonation would leave behind a nasty unfinished area on the top which would be easily noticeable even with touch up. The alterations I make allow the bridge to sit on the same "footprint" and are only noticeable to those well acquainted with the original design. In Search Of Perfect Intonation Having every single note in perfect tune is beyond the abilities of many equal tempered instruments. There are in fact compromises and for a select few ...they may always be disappointed with the intonation of a fretted instrument. Guitar Neck Problems Bowed Necks (Excessive Relief) The upward bow caused by string tension only becomes a real problem when it is excessive and unadjustable. The truss rod's main job is to keep the strings from pulling the neck into a exaggerated bow shape. A problem occurs when the bowing can not be controlled or adjusted by the truss rod. This happens when either the neck has no adjustable truss rod, the rod is broken or it has merely lost the battle with tension and is helpless to straighten the neck. When appropriate, some necks can be planed and re-fretted with a fret wire which has wider fret tangs to encourage straightening and stiffening of the neck. Twisted / Warped Twisted Neck Fingerboard has been planed to correct. Unlike excessive relief (an upward bow of the neck) a twist occurs in such a way as to render the neck lower on one side than it is the other. Very minor twisting may not create noticeable playing issues but more substantial deformities can cause fret out and buzzing. Although twisted necks need to be evaluated to determine the best remedy, planeing is sometimes a remedy. Because wood is removed, the severity of the twist, fingerboard and neck thickness must be taken into consideration. It should also be mentioned that a new instrument exhibiting neck twist may continue to do so in the future, making the repair temporary. Planeing an older neck, which has likely taken a set and stopped twisting is more favorable. Breaks frequently occur where the peghead meets the neck. Broken Pegheads Without a doubt, the most vulnerable area of the neck is the point at which the peghead and neck merge. The angle of the peghead creates what is called "grain run out". This makes the area behind the nut more vulnerable than other areas. Neck Volute Adds mass to strengthen a vulnerable spot. In an attempt to reinforce this area you will find that some manufacturers have used different methods. As seen on many Martin guitars, additional wood is left in place to thicken the area. This is known as avolute. Others have chosen to make the neck out of more than one piece of wood. The peghead grain can then be closer to quarter and joined to the neck via scarf joint or other method. Regardless of the methods used to build guitar neck's breaks occur. Broken Peghead Loose Necks A set neck (glued on guitar neck) can come loose where it attaches to the body by impact, heat or failed glue joint. A loose neck can create high action and often leaves a visible gap between the heel of the neck and the sides. You should remove string tension if you discover the neck is loose from the body to prevent severe damage. Because necks are attached to the body using several methods, the repair will depend on the cause. This neck heel fractured after coming loose and being left under tension. This Ovation's neck was epoxied in place. The glue held but the actual wood failed (after impact), leaving bits of the heel still glued to the dovetail joint. Cost Because most acoustic guitars are glued in place, the cost to replace an un-repairable neck is usually prohibitive on less expensive instruments. A neck fitting on an instrument with a glued in dovetail and the cost of the replacement neck can easily run up a bill of $500 to $800 or more depending on the manufacturers pricing of the neck itself. Bolt on necks which do not require as much labor are often less expensive to replace. When a factory made neck is unavailable and a used, donor neck can not be found, custom replacement necks can be made by those offering this as a service, I do not. Acoustic Guitar Neck Angle Acoustic guitars may require a neck angle reset once the action (string height) has risen and methods to lower it have been exhausted. Does My Guitar Need A Neck Reset? Increased String Height Above Frets Rising action can make an instrument difficult, even painful to fret. It also plays havoc with intonation. Normally string height is lowered by performing a set up which makes adjustments to the truss rod, nut and saddle height. Eventually, however, some instruments arrive at a point to which no further adjustments are available. Low Saddle Guitars that are in need of a neck reset often have a very low saddle. As the arch (belly) of the top rises thru years of string tension, the saddle is lowered to counteract it. Eventually the saddle is shaved as low as possible and the neck's angle must be reset to accommodate the new arch of the top. Very low saddles can diminish the volume and tone of the instrument. Insufficient Angle Plane of fingerboard passes below the top of the bridge indicating the need for neck resetting. To assess the neck angle a long straight edge can be used. It is placed down the center of the fingerboard to the bridge. As seen in the picture above, the arch of the top has risen and the bottom of the straight edge now falls below the top of the bridge, literally running into it. Ideally the a straightedge, sitting atop the frets, should pass over the top of the bridge slightly when no string tension is on the instrument. It's also important to note that, when possible, the neck relief (bow) is removed to provide a more accurate measurement of neck angle. Causes Many are under the impression that neck resets are necessary because the neck moves, in actuality that is rarely the case. While necks do bow under tension, a properly working truss rod can adjust the amount of bow (relief) in the neck. Neck resets are performed because the top's arch has increased, raising the string height. We often call this "top belly". Neck resets are most often necessary because tension has caused the top to belly, which raises the bridge and string height. Neck angle and neck relief are two entirely different things though both affect string height. Neck Angle is the pitch (angle) at which the neck is set in the body and requires neck removal to change. Neck Relief is the amount of curvature (bow/relief) in the neck itself and is controlled by the truss rod. A neck with excessive relief can also create high action. When checking neck angle with a straightedge the neck should be adjusted straight if possible. Other Considerations Loose Necks Guitar necks are normally bolted or glued to the neck block. If the neck should come loose from the block, string tension could pull it's heel out of the neck block, effectively changing it's angle. This condition would be readily apparent as a gap beneath the heel would be visible with tension is placed on the neck. Loose Neck Block A more difficult (and far more rare) issue to spot is a loose neck block. Because the neck is glued to the neck block it too must be securely glued to the top, back and sides. (Note some mortise style neck blocks may not touch the back.) A neck block that has shifted can cause the neck angle to change when tension is applied and it moves within the body. This can occur when an instrument is left in a hot environment and the glue has softened. A thin feeler gauge can be used to check for gaps between the body and neck block. Loose neck block Under tension the neck angle would shift as a result. I have also seen this on inexpensive instruments with neck blocks that have limited contact with the top and back. Epiphone's® FT seriesguitars with bolt on necks are notorious for loose neck blocks (as well as other issues). Loose or Broken X-Brace & Worn Bridge Plates Though rare, I have also seen a significantly loose X-brace's cause high action due to excessive bellying of the top. The X-brace supports and stiffens the top as does the bridge plate. When a large section is loose it can permit excessive bellying, which raises the action. Cost Neck resets are generally only performed on relatively valuable instruments due to the cost. Along with resetting the neck angle, most instruments will require a complete refret so the fingerboard can be planed. A neck reset with refret starts at $650. Acoustic Guitar Neck Reset Step 1: Loosening The Fingerboard Extension Before removal of the neck begins the portion of the fingerboard which glues to the top must be loosened. Heat is applied to soften glue beneath the small area of fingerboard that overhangs the top. I personally use a specially designed heating "blanket" which is similar in size to the fingerboard's extension. This allows me to heat only this part of the fingerboard without heating the surrounding finish. Before the days of handy sized heating blankets I used a traditional clothes iron. This required shielding the instrument's top from the heat to avoid blistering lacquer and other vulnerable finishes. With the glue soft from heating I use a smooth spatula to slide between the fingerboard and top. Using a smooth, even polished spatula insures the finish around the fingerboard is not scratched. When the finish is fragile I use low tack, paper tape to protect it. (Think Post-It® sticky) On vintage instruments with flakey finishes it can really come in handy. Step 2: Steaming The Neck Loose With the fingerboard still hot I remove the fret which lies directly above the dovetail pocket. On nearly all instruments this is one fret up from where the neck meets the body, this is usually the 15th fret. With this fret removed I can now drill a hole straight thru the fret slot which will lead directly into the pocket. This serves to avoid any visible signs or changes to the fingerboard that would indicate a repair had been done. Drilling a hole thru the fret slot helps to avoid any obvious change to the instrument. Steam is injected into the neck block to soften the glue. Instruments with loose necks may permit steam to escape around the heel of the neck. When this is an issue I use an air hose to blow steam away from the area, keeping it dry and cool. Some truss rod nuts are accessible beneath the fingerboard extension, as a result steam will also find it's way out thru the truss rod hole and care must be taken to plug the hole and protect the interior of the instrument. Steaming usually takes only a few moments. In all but a few instruments water soluble glue is used. Because a well fit dovetail is relatively tight, very little glue is between the dovetail and sides of the neck block. Step 3: Removing The Neck Pushing the neck free from the body. As the glue is softened the neck begins to move with effort.As separation becomes apparent I apply pressure to the heel cap to press the neck out of the block. When the fit is very tight I use what I call my "sissy jig". It's a real life saver when my bionic thumb can't do the job. Step 4:Changing The Necks Angle Once the neck and joint have dried and old glue is removed the neck's angle is changed by shaving material from the heel. I use chisels to remove the majority of wood, followed by sanding sticks when necessary. A new taper of the heel's sides will increase the neck angle. When string height has risen due to an increase in the top's arch (belly) material is removed from the bottom portion of the heel, tapering gently to the top of the heel (below the fingerboard). With the instrument lying on it's back this adjustment would pitch the neck back, placing the peghead closer to the bench. Wood is removed in very small increments, the neck placed back in the pocket to recheck it's angle, rinse and repeat... As detailed in my article on neck angle we are adjusting the necks angle to insure it's plane passes over the bridge. While shaving wood from each side of the heel, the side to side pitch of the neck is also closely watched. Removing more wood from one side than the other would place the outer E strings unequally from the edge of the fingerboard. Ideally the center of the fingerboard should run right between the D and G bridge pin holes. When dealing with vintage instruments it is not uncommon to find that the bridge is not dead center on the top, so to avoid an issue the neck is centered using the bridge, not the top's center glue seam. Step 5: Shimming The Neck Block After adjusting the neck's side to side angle and it's pitch, shims are used to lock the dovetail in place. I glue mahogany shims to the sides of the neck block and start the process of fitting the actual dovetail, that which "locks" the neck in place. The shims are sanded to insure an even fit from top to bottom of the heel. A well fit dovetail will hold a neck in place before glue is even applied. At this point all angles are re-checked to insure nothing has been overlooked. Step 6: Re-gluing The Neck The easiest part of the job ...gluing the neck back in place. Titebond Regular is applied to the sides of the dovetail joint and beneath the fingerboard extension. Clamps are used above the dovetail and over the fingerboard to insure complete seating of the joint. Gluing the neck back on a Martin guitar. The Grand Finale Titebond (and other aliphatic glues) are water soluble. This permitted the neck to be removed with steam. It also makes clean up relatively easy as well. Warm water will clean up dried glue that has squeezed out during clamping. Now that the angle of the neck has changed the fingerboard is now bending slightly downward to make contact with the top. For a truly professional job the fingerboard is planed straight and refretted. The tiny holes drilled beneath the 15th fret filled and now a distant memory. Due to the changes in the neck's angle, the instrument's saddle andnut may need to be replaced during the set up. Cost Neck resets are not often performed on inexpensive instruments for the simple reason that they can actually be replaced cheaper than they cost to repair. Neck resetting a dovetail joint like the one detailed above start at$650. Nut Replacement Guitar nut The nut is placed at the end of the fingerboard and controls the strings spacing, distance from the edge of the fingerboard and their height above the first frets. Nuts can be made from a variety of materials and require adjustment or replacement when wear and tear creates problems. Common Problems: • Open string buzz • Slots too big for the strings diameter • Outer E strings sit too close to edge • String binding, pinging • High action at first fret • Poor intonation Tapping nut loose Removing The Nut Some guitar nuts are very easy to remove. Using a block of wood to distribute the impact, a small tap of the hammer will pop them loose if they sit with only one side against wood (the fingerboard). However, it is a different story when the nut sits in a channel. These have support from the peghead and fingerboard. Trying to tap these forward could damage the peghead veneer and nut. Avoiding Finish Chips Many manufacturers install the nut on the neck prior to paint work. When that finish is thick it is easily chipped when removing the nut. The best chance to avoid chipping is to score the paint around the sides of the nut and across the peghead with a fresh x-acto blade. Inlaid (Boxed In) Nuts Nuts that sit in a channel (inlaid nuts) can be removed in a number of ways, all depending on what technique best suits the situation. Tapping the nut sideways often loosens to the point that it can be removed by hand. Pushing nut out sideways Griping the nut with blunt end nippers is another option but the risk remains that the nut may crack or be damaged by the attempt. Some nuts have been glued in a very tight channel using un-necessarily strong adhesives, this makes them very difficult if not impossible to remove in one piece. When this is the case it is sometimes necessary to cut a relief kerf in front of the nut (.008 slot) so that it may be tapped forward and loosened. The minor relief slot is difficult to detect and filled by the new nut. Under some of the most difficult circumstances, the nut must be sawn in half and literally collapsed in order to remove. This is done to avoid damaging the nut slot or peghead. Installing A New Nut Pre-slotted and shaped Ready made nuts are available for installation on many instruments, however, adjustments to the slots must still be made. Slots must be filed to insure their width and depth create correct string height. Using nut files to cut string slot width and depth This is done using gauged Nut Files which are made specifically for cutting nut slots. The use of inappropriate tools can quickly ruin the nut and cause buzzing. Made From Scratch Nuts are often made from scratch when a different material is desired or a ready made nut of appropriate size is not available. Most material is available in blanks and are shaped accordingly. I like to tackle it in this order: • Sand blank to correct width for slot • Sand base to sit properly in slot (some are angled) • Sand basic height • Mark E to E string spacing • Shape sides of nut to proper width • Cut preliminary string slots • Sand final shape • Polish material • Install and cut final string depth Ivory nut being shaped The most difficult stage in making guitar nuts from scratch is probably spacing the strings properly. The initial cuts are extremely important. I would recommend starting with a razor saw (small kerf) to make the initial slot and then increase the width in steps to keep slot perfectly centered. Adjusting String Height It is important to have the instruments saddle height and truss rod set properly prior to cutting the string depth in the nut. Cutting a slot too deeply will place the string against the first fret and result in buzzing. A good indication that the nut slots are cut/worn too low is strings that buzz only when played open (un-fretted). Slot Depth The depth of the slots in the nut determine how closely the string comes to the frets, particularly the first fret. It is critical that the string have ample room to vibrate without contacting the first fret or you'll have an annoying open string buzz. Adversely, nut slots that have not been cut properly can leave the strings higher than necessary above the first fret. This creates discomfort and higher action. A minor adjustment (say .020) can make a very noticeable difference. High action at the nut also sharpens intonation. Slot Width Each string slot should just slightly exceed the diameter of it's string. If the slot is smaller than the string it may bind and create tuning problems. (And that annoying pinging sound when tuning up.) If you've ever had to lift a string from a nut slot when changing strings it's a sure sign the slot is too small. When changing string gauges, an increase in string diameter sometimes require an adjustment to the slots width. Slot Angle The slots must also be angled correctly. If the angle is too steep the string may actually rest on just a small portion of the slot causing premature wear as it is sitting on a small peak. On instruments with minimal peghead angle the angle is especially critical for a clear, clean sound. A poorly angled nut slot can create a buzz like sound that can often be silenced if downward pressure is applied to the string behind the nut (over the peghead). This is often a sign that the string is not contacting the nut slot properly. The sound very closely mimics the sound of the string hitting the first fret when the slot is too deep. Nut Height/Final Shape Once the slots have been deepened I may remove material from the top of the nut, if need be, to avoid having the strings deeply buried in the nut. I want the slots deep enough to keep the strings from popping out when plucked but not so deep that they're buried. Raising Action at the Nut There are good reason's to salvage an original nut if possible. First of all vintage instruments often have lovely ivory and ebony nuts that are just too nice to scrap. And of course, it is cheaper, especially if you have an instrument for which no pre-made plastic nut is available. Making a bone nut for a $100 guitar would not make much sense. My method of raising the nut is to laminate matching material to the bottom of the nut. I use the term laminate and not shim because it is glued to the nut and can only be removed by sanding. How about filling low slots and re-cutting?Superglue and baking powder have been used to fill nut slots that have been cut too low. I do not like the tone I hear from this method and prefer to raise the nut as a whole and re-cut. Shims are placed beneath the nut and are often destroyed if the nut is ever removed again. I have seen the made from wood veneer, paper even pieces of credit cards. In my opinion, they look awful. When laminating material to the base of the nut it becomes permanent and more difficult to see. The nut can then be removed just as any other without having to make a new shim. Securing a Loose Guitar Nut If a nut pops loose I recommend using a couple of drops Elmer's or wood glue to reattach it. The use of permanent adhesives can create problems should the nut need to be removed for future repairs. A small dab between the end of the fingerboard and the nut will do the trick and permit easy removal that does not damage the bottom of the slot when removing. Lubricating Nut Slots On occasion it is helpful to lubricate the nut slot to reduce friction, binding and pinging. Because acoustic guitar usually have light colored nuts, using white graphite is often preferred to pencil lead graphite. Replacing Pickguards (Scratch Plates) Depending on the instrument, some pickguards may be a cinch to remove while others stick quite well and require care to avoid damage. The first thing you want to know is what finish is on the instrument and whether the pickguard adheres to finish or directly to bare wood. Most pickguards require heating to soften the adhesive prior to removal, a task that warrants caution as overheating lacquer and delicate finishes can cause them to blister and create an enormous problem. I prefer a hairdryer to soften the adhesive. Removing the adhesive left by a self stick pickguard. Finishes, like Taylor's U. V. cured finish and other polyester finishes withstand heat far better than lacquer and shellac. I've used a number of items to help aid the removal from a plastic putty blade to dental floss and thin fishing line. Sticky residue left behind can usually be removed with Naphtha, which would be safe on a variety of finishes though a bit slow for the more durable surfaces. Martin's Shrinking Pickguards Pickguards glued directly to the bare wood can cause top damage when they shrink.View a Martin pickguard replacement. Once the pickguard is removed you will usually find a tan line, a change in color caused by the woods U. V. exposure. While this tan line is a helpful guide Tan Line Top did not darken beneath pickguard to correctly position the replacement, it also means that you are forced to replace the original guard with one similar or larger unless you want to see the shading. Pickguard Types Clear Pickguards For those who don't prefer pickguards but are afraid of damaging the finish you may opt to install a clear pickguard. Clear pickguard material is much thinner than regular celluloid pickguard material and applies much like a sticker. While this can sound ridiculously easy, more experience is needed to apply these correctly than a traditional guard. The clear pickguard acts like a sticker and bubbles are sure to find their way between the material and the top if not applied correctly. I install these by floating them on a bed of water and using a squeegee to force out any bubbles before adhesion. Starting from the tip and working slowly towards the bottom, being careful to never touch the adhesive. Though these are easy to cut with scissors, the crisp factory edge that's required for a professional looking pickguard requires cutting with a template or purchasing one directly from the factory or supplier. Clear, removable pickguards are similar to the vinyl stickers that cling to glass. Pre-made Pickguards Vintage pattern pickguard Most of what you'll find in the $5-$10 range today are basic, stamp cut pickguards. Luckily there are several tort and multi-colored pickguards available that give those of us who dislike the plain pepperoni that seems to be so common. Greven® pickguards by Turtleworks® happen to be my favorite replacement on vintage Martin's and those looking for unique patterns. The color on these go throughout the material as opposed to some pickguards being made today with a faux tort pattern covered by a clear top laminate. Hand-Made Pickguards When the appropriate shape and size are not available or when creativity strikes pickguards can also be made from scratch. Plastic is scored heavily and snapped free Using the original as a template, I scribe around the edges with an awl until a deep channel is made. The material can then be snapped free and the edges dressed, beveled and buffed. Online retailers who specialize in pre-made pickguards have a catalog of templates and can make replacement guards even when the original is not available. Thick Pickguards Thick Celluloid Pickguard Thicker pickguards can also pose a problem, a common issue is celluloid decay which causes them to crumble. It begins with a crazed, shattered like appearance which advances to the point of disintegration. These too must be replaced but unfortunately an exact material match is not usually available and we must use what's available. ArchTop and Floating Pickguards These are also made from thicker material, usually around .100-.125 thick as opposed to the thinner material used on many flat top guitars. They attach to the top by brackets and screws. These are obviously quite easy to remove and replace yourself. Finding replacements for these pickguards has gotten much easier as shops have manufactured templates by which they can remake the guard using your material choice. When they do not stock a template for your instrument many will offer to make one using a tracing of the original. Inlaid Pickguards Want something truly personal? Most inlay artist can give your instrument a truly personal touch by inlaying a pattern of your choice into a pickguard. Acoustic Guitar Pickup Choices Types Undersaddle Pickups Piezo pickups that are installed under the saddle have a small wire passing thru the bridge and top thru a tiny hole drilled beneath the saddle. The input jack is mounted in the end bock, taking the place of the original end pin. Fishman Matrix LR Baggs Element PROS Feedback resistant CONS Loss of direct coupling between saddle and bridge Contact Pickups Contact pickups are usually mounted on the bridge plate though there are some that mount to the bridge or top. They sense the vibration of the soundboard and as such are adept at picking up any tapping on the body. Because contact pickups do not rely on the saddles height or the strings pressure they often excel in providing a well balanced, even string balance and are ideal for instruments with non-standard saddle slots. LR Baggs iBeam PROS Balanced string to string output CONS Will pick up taps on top and finger noise Soundhole Pickups These are easy to install pickups that mount in the soundhole. They can be used on instruments which one would prefer not to alter or to uninstall easily. Quite honestly, these use to sound simply awful, nothing more than a single coil electric guitar pickup on an acoustic guitar. Today however advances in technology have changed their bad reputation. Dean Markley Pro Mag Fishman Rare Earth PROS Avoid any modifications to guitar CONS Very visible, different tone Dual Source Pickups Dual source pickups are exactly what the name implies. Instruments with dual source systems achieve their sound by blending 2 different pickups. These types of pickups often give the player more options when shaping their sound and perhaps more importantly to some...the ability to use the microphone only when feedback is not an issue. Fishman Rare Earth Blend LR Baggs Dual Source LR Baggs Anthem PROS Blending of input source yields greater tonal range CONS Expensive, bulky Internal Microphones Microphones are often hailed for their accurate reproduction of sound. Due to a microphones natural tendency to feedback when used in a loud setting many opt to use them in a dual source set up, giving the user the ability to blend 2 pickup sources and handle a larger variety of demands. LR Baggs Anthem Microphone PROS Tone reproduction CONS Feedbacks easier than other pickups Acoustic Guitar Saddles The saddle sits directly in front of the bridge pins on an acoustic guitar. The position of the saddle affects: • Intonation (the guitar's ability to play in tune) • Action (string height above frets) • Tone (different materials change tonal properties) Most acoustic guitar saddles are either 3/32" or 1/8" wide. Types of Saddles Drop In Saddles A drop in saddle sits in a routed slot in the bridge. These are fairly easy to remove and should not be glued in place. Lowering drop in saddles is done by removing material from the bottom, unless the saddle's crown or radius also needs work. Long (Set) Saddles Set saddles extend into the wings of the bridge and are usually glued in place to prevent movement. The ends of these saddles are further shaped after being glued in place to give the bridge and saddle a uniform shape. To remove a long saddle that has been glued in place the saddle itself must be heated to soften the glue. The top and finish must be protected from heat to avoid damaging the finish, particularly lacquer, as it is easily damaged by heat. I use a protective shield that leaves nothing but the saddle exposed before heating it with a hair dryer. Compensated Saddle Compensated saddles change the strings length by varying the position of the saddle's crown (point of contact). Compensated Saddle Compensated saddles are used to improveintonation which effects the instruments ability to play in tune up and down the neck. Adjustable Saddles Adjustable saddles are raised and lowered via screws making height adjustments very easy. The downside, they provide very poor coupling between the strings and bridge and don't always result in the best tone. As these saddles are raised a greater gap between bridge and saddle is created. Adjustable saddles use screws to change string height It is not uncommon to have this style of saddle replaced by upgrading the instrument's bridge which removes this hardware and uses a traditional drop in saddle. Conversion bridges are made to match the original's outline but equipped with a traditional drop in saddle. Adjusting Saddle Height When we use the word "action" we are referring to the distance between the strings and the top of the frets. As any player knows, having an instrument set up properly makes them sound and play better. The saddle's height directly effects the instrument's overall action and string height. Prior to lowering a saddle, neck relief should be correct. Lowering A Drop In Saddle When lowering drop in saddles, the saddle is removed from the bridge, marked for reference and material is usually removed from the bottom to avoid having to reshape the crown. This is particularly helpful if the saddle's crown is compensated. Lowering A Set Saddle A bit more patience is required to reduce the action height on guitars with set saddles. These saddles are normally glued in place and material is removed from the top (crown) to reduce their height. If material was removed from the bottom the saddles length would be shortened and an obvious gap would appear between it and the bridges saddle slot. After the appropriate amount of material is removed the saddle must be re-shaped to produce the rounded crown. Why do saddles require lowering? As age and string tension pulls on the top of a guitar, it's arch (belly) increases and raises the action. The saddle is lowered to counteract those changes. Changing The Radius The radius is the arched ( E to E) shape of the saddles crown. In general, most manufacturers match the saddle's radius to that used on the fingerboard. Having a saddle that is over radiused may place the D and G strings un-necessarily high. Raising The Saddle When saddles are too low it is best to replace them. Adding shims beneath a drop in saddle can have a negative impact on tone. Saddles With Integrated Pickups Ovation and other manufacturers use specially formed saddles that fit into their pickups. These saddles should not be sanded or altered. Instead, shims are added or removed from the bridge saddle slot beneath the pickup to adjust string height. Why Are Saddles Different Heights? Because the top of a flat top guitar takes on a greater arch (belly) with time, the saddle gives us the ability to lower the action when this arching raises string height further above the frets. The angle at which the neck is set will also influence the height of the saddle. Instruments that need a neck reset often have very little saddle protruding above the bridge. Very Low Saddles The saddle on many flat top guitars will eventually meet their limits. Having been lowered repeatedly thru the years, they are now too low for further adjustment. On a valuable or high quality instrument a neck reset is the corrective action. Resetting the neck angle will permit the saddle height to return to normal and lower the action. Having a very low saddle reduces the downward pressure on the saddle and can negatively effect the output of under saddle pickups. When the instrument does not warrant the expensive of a neck reset, bridge thinning may also be an option. Again, this is not recommended on valuable instruments as it simply adds to the repairs needed.... neck reset + new bridge = even more money! Thinning a bridge is an option only if the bridge itself is thick enough to allow for a reduction in height. We must take into consideration the depth of the saddle slot as well. A shallow saddle slot does not provide the support necessary to keep a saddle in position. Tweaks Bridge pin hole ramping If a saddle is too low, the strings will pass across the saddle and into the bridge pin holes without enough angle to produce good tone. The result is a sound that very much resembles a sitar to me. In order to increase the string's angle into the bridge pin hole a ramp can be filed at the front of the bridge pin hole. I refer to this as "ramping". The additional string angle which it creates can help to clean up the "sitar" sound and place more pressure on the saddle. I nstalling Strap Buttons Installing a strap button on a guitar or other instrument is by no means rocket science but it pays to be cautious and mindful of what you're doing. This article will detail the way I do it, the tools I use and tips for proper installation. If I showed you some pictures of do-it-yourselfers gone wrong you would quickly understand how such a little job can create such big problems. What's Needed: • A strap button with mounting screw and felt washer • An awl for marking the correct position • A tapered drill bit that matches the mounting screw • Wax for lubricating the screw • A countersink to prevent finish chip I take a few steps that some may consider needless but do so to insure a perfect outcome every time. While my technique may be overkill for some, others will appreciate my attention to detail and assumption that caution is never a waste of time. There's something about drilling a tiny hole in a $10K guitar that can make even an avid woodworker squirm. Choose The Position If you don't get this right it's all downhill from here. When choosing the spot to mount a button it must pass a few simple test.... • Will the hole I'm about to drill contact a neck bolt? There are more and more manufactures using bolts in their construction and you need to know where they're located before drilling a hole. Most of the time a cover plate or label will be used on the end of the neck block to conceal the bolts. You need to find out first where the bolts are located. • Will the button interfere with my fretting hand? You definitely don't want the button mounted so close to the fingerboard that you and it will make constant contact when playing up the neck. • Does the position of the button hold my strap securely?Buttons should be pointed towards the floor, not the ceiling. Placing a button on the wrong side of the neck is a common problem for do-it-yourselfers. Mark The Spot Once you are sure about its position you can mark the spot with an awl. This indentation keeps the drill bit from walking when it's time to drill the hole .Typically (that does not mean always) the button will be at a distance half way between the heel and bottom of the fingerboard. Many manufacturers use mounting bolts that pass thru the neck block and into the heel. It is critical that you are aware of the position of that bolt if present. Bevel The Finish This will not apply to all finishes but is quite important when dealing with instruments who's finish tends to chip easily. When a drill bit or wood screw first enters the hole it lifts the wood slightly and this can cause some finishes to chip. This is done with a very light touch and is meant to merely bevel the finish, not create a countersink in the wood. I may repeat this more than once if the finish warrants it. With truly problematic finishes I may even run lacquer thinner around the hole to melt down any finish that wants to lift. Drill The Hole Tapered drill bit with tape to mark depth As I mentioned previously, I use a tapered drill bitthat matches the strap button screw. This ensures that the screw has gripping power thru its entire length. This is a pretty important screw and we want to make sure it's going to hold for years...oops, forever! A Touch Of Wax When installing screws for the first time I often choose to place a bit of hard beeswax on the screw to cut back on friction. Once a screw is lubricated very lightly with wax it should go in firmly but not so forcefully you risk cracking the neck. That is an even greater concern when drilling into the heel cap! Common Problems • Drilling into a neck bolt which makes it necessary to plug the hole and drill another. That could ruin your whole day! • Placing the button on the wrong side of the neck. The button should be pointing to the floor not the ceiling. • Drilling too small of a hole and splitting the heel when installing the screw. Feel the pain! • Drilling too large of a hole. Or... watching your peghead break off when the neck plummets to the floor after the strap button popped out. • Taking a large chip of finish off with the drill bit. I have a flare for the dramatic huh? When you have seen all of these scenarios, as I have, then you realize that people have and can make all of these mistakes. Wide Flat Heels Wide heel with strap button Here's a button that's been installed in the heel cap. While this is a popular spot on instruments with wide heels and cut-a-way sides, it isn't the best scenario. Some "athletic" players have a tendency to push the guitar away from their body, which pulls at the strap button. If you are impersonating Elvis I would stick with a traditional placement. Loose Strap Buttons If a strap button is very loose, so much so that the screw spins freely and the button can be pulled out by hand, it is best to repair the hole by plugging it and re-drilling. I use a small dowel, or a toothpick, if it is large enough. Should I glue the button in the hole? That would be a rather emphatic no! Glued in screws are often broken when someone attempts to re-tighten them. Titebond is best for gluing dowels as Superglue would ooze out of the hole, causing damage to the finish. Once the glue dries I level the dowel with the finish and drill it for a new strap button screw. Keeping the dowel to the smallest size necessary means it will be invisible when the strap button is installed. Only A Little Loose When a screw still has gripping power but still will not snug up, we can sometimes reinforce the hole instead of plugging it. I have to say this again...do not glue the screw in the hole! I take medium viscosity superglue and coat the walls of the screw hole in order to build them up slightly, thereby decreasing the actual size of the hole and hardening the walls. More than one coat may be necessary, however, before installing the screw the glue must be dry! Changing Guitar Strings Restringing Your Guitar One reason we find ourselves constantly re-tuning a guitar is string slippage. Strings need to be anchored securely at the bridge and at the tuning machines to insure they do not slip. When strings slip they loose tension and the guitar goes out of tune. This is one method of winding the strings around the tuning machines to eliminate string slippage. Winding Strings Around the Tuning Machines Step by step guide to restringing your acoustic guitar. Step 1: Bring the string down the center of the peghead and thread it out towards the tuner's knob. Step 2: Leaving a bit of string length to wind around the tuner, bend the string gently towards the top of the peghead. Step 3: Pass the string up and under itself. Step 4: Keeping tension on both ends of the string, fold the string over itself. Step 5: Continue to hold tension on the string and begin to wind. The string should be wound down the shaft to increase the strings angle over the nut. The End Result The strings own winding "clamps" down on it to prevent string slippage. More Restringing Videos Stringing Slotted Pegheads Instruments with slotted pegheads benefit from a different method to reduce binding of the string in the nut slot. What Guitar Strings Should I Use? Basic Choices Choosing the right strings for your guitar is more than picking your favorite brand. The size and material the string is made from can effect your guitar's action (string height) and tone. String Gauge (Size) Strings come in different sizes. When speaking of acoustic guitar strings we often denote the size by stating; light gauge, extra light gauge, medium gauge, etc. Larger gauge strings can help boost volume and sustain but can be more painful on tender fingertips unaccustomed to the tension or those bending strings. Lighter gauges are often easier to fret and bend, but very light strings can cause some players to over-bend the string causing the note to play sharp. Material A strings material also affects tone. Common materials are Nickel, Bronze, Phosphor Bronze, Stainless and Silk and Steel. Brand Though most of us have our favorite brands, another way to experience different tone is to try various materials. How String Tension Effects Your Guitar Here's how using smaller or heavier gauge strings effects your guitar... Action (String Height) First and most importantly is our set up. Instruments that have been set up properly to insure appropriate string height, nut slot width/depth, intonation and neck relief have been done using the string gauge the player is using. If one changes string gauges, more or less tension is being placed on the instrument depending on whether they go up or down in string gauge. This can affect everything about your set up and require several adjustments. If you are experimenting with tone, try various materials and brands but remember to choose the same gauge to avoid changing the action. Sound / Volume Besides affecting the action, a change in tension may also affect the sound (sustain and tone). Some players may choose to increase the string gauge on their instrument in hopes of increasing volume and sustain. A common complaint when using very light or extra light gauge strings is a loss of volume, sustain and a thin or twangy sound. Comfort Alright, not that you could have missed it but ...bigger gauge=more tension, and more tension=more pressure on your fingertips while fretting. This tension is painful at first but callus and frequent playing reduce or eliminate it with time. Let's not forget string benders. Not all of us can take an .011 gauge E string and bend it 2 notes sharp. Any players choose their string gauge according to their playing demands. Extra light gauge strings which offer little resistance to the players touch can easily be over bent when fretting or string bending. Special Considerations Not all instruments can handle medium gauge strings just as not all instruments fair well with extra light strings on them. Here are some things to consider... Age / Construction While most new instruments are solid enough to give the player the option to choose from several string gauges, vintage pieces or those with structural problems may limit your options. Older instruments that were originally designed to be strung with gut strings or were braced lightly, require very light gauges and should be structurally sound before submitting them to tension. If you are thinking about stringing up a vintage instrument for the first time I highly recommend having it inspected. All braces should be securely glued to the top and back. The bridge and bridge plate should be inspected and all other areas of stress should be checked for cracks or looseness. Neck Relief Another common problem that robs us of our string choice is the necks condition. Let me give you an example: A 1967 Fender Strat comes in with a neck that is slightly back bowed (fingerboard is higher in the middle than the ends). After inspecting the truss rod I learn that it is completely loose, leaving us without the ability to introduce proper neck relief by loosening the truss rod. We opt for a heavier gauge string that puts more tension on the neck, pulling it straight. Likewise a neck with entirely too much relief may require a lighter gauge string in reduce the tension with hopes of decreasing relief. More information on common neck issues and truss rod problems. Adjusting Guitar Truss Rods Truss rod adjustments are made to alter the straightness (flatness) of the neck. Truss rods often require adjusting after changing string gauges or when temperature and humidity change the amount of bow in the neck. Read how to check neck relief, find the truss rod nut,determine the correct measurement and avoid common problems. Checking Neck Relief Relief is calculated with the instrument tuned to pitch so we can measure the bow created by string tension. Checking Relief With a Straightedge With a straightedge placed between the D and G strings, bow will become apparent. The largest gap is usually towards the center of the neck. The distance between the top of lets say the 7th fret and the bottom of our straightedge can be measured with a feeler gauge to give us an exact measurement. Checking Relief Using The Strings Fret the string on the 1st and last fret of the neck. Measure the gap between the string and top of 7th fret. (14 fret neck) More commonly we use the string itself as a straightedge. Fret the string at the 1st and last fret. Measure the gap between the bottom of the string and the top of the 7th fret. A capo can be used on the first fret to free up one hand. A large gap will indicate the neck has too much relief and the rod may require tightening to straighten the neck. No gap may indicate the neck is dead flat of backbowed which may require loosening the truss rod to add relief. What does it mean if there is no gap? If no gap is seen between the bottom of the string and the top of the fret then either the neck is dead flat or it is back bowed. When To Adjust The Truss Rod Common problems associated with, but not exclusive to, neck relief are: • Buzzing • High action • Poor intonation Ideally we are adjusting the truss rod to render the neck as flat as possible without creating too much string buzz. It is important to understand that there is no single measurementthat will be correct for all acoustic guitars. String gauge, playing style, neck and top stiffness can vary from one guitar to the next and as a result, so can ideal neck relief. Measurements .004"- .006" is probably best for light pickers, jazz musicians and instruments strung with medium gauge strings. .008"- .012" is probably best for hard strummers, guitar's strung with extra light gauge strings and fingerboards with a tighter fingerboard radius. How I Adjust Truss Rods The measurements above serve as simple guidelines and starting points to those still learning about neck relief. How else would we understand what "just a little" or "way too much" actually equals? When making truss rod adjustments I first assess the instrument's action and playability along with the players aggressiveness and playing style. That is why truss rod adjustments are normally done in conjunction with a set up. Starting with a dead flat neck I increase neck relief slightly until the instrument plays without buzzing. That being said ...you must have an understanding of what other issues can cause an instrument to buzzwhen using this as your gauge. Locating The Adjustment Nut Adjusting a russ rod nut located at the peghead At The Peghead Truss rod nuts are located at either the peghead or the end of the neck. Nuts located at the peghead are often concealed behind a small truss rod cover and are easily accessible. These will require either an allen head wrench or a socket style truss rod wrench. At The Heel Truss rod nuts located at the heel end of the neck are often accessible thru a hole just beneath fingerboard extension and thru the top brace. A heel end truss rod nut accessible thru a hole in the top brace. In general these will require an allen head wrench which will pass thru the hole and straight into the nut. The depth at which this nut is located can vary which means some instruments will require a longer wrench than others. Using an L shaped allen wrench on these truss rod nuts provides greater leverage. The Hidden Nut A few instruments have truss rod nuts at the heel that are not readily visible. A mirror must be placed inside to see the access point. These often require specially shaped wrenches which will snake around the top brace and back up to the heel of the neck. Notice the curved wrench to the left below ...this passes under the top brace and back up to the truss rod nut. An assortment of truss rod wrenches Which Way Do I Turn? Tightening A Truss Rod (Righty Tighty) If a neck has too much relief (upward bow) tightening the truss rod will straighten the neck. How? The truss rod is actually compressing the neck exerting pressure against the backside of the neck which causes it to bend backwards. Loosening A Truss Rod If a neck is too flat or backbowing, loosening the truss will add relief. How? Relief is actually created by string tension, once a truss rod has been completely loosened the strings not pull relief into the neck with less resistance. Changing string gauges may require a truss rod adjustment as this changes the tension on the neck.. Finding a balance between the tension exerted by the strings and by the truss rod is how we control the amount of relief. This is why the instrument should be tuned to pitch before adjusting the truss rod in most cases. How Far Do I Turn The Truss Rod Nut? Start by making small adjustments, say 1/8th of a turn. On some instruments this may result in a noticeable change in relief, in others it may not. The amount the rod must be turned will vary according to the type/quality of truss rod and amount of adjustment necessary. Adjusting the truss rod with the instrument tuned to pitch will allow us to gauge our progress and continue re-checking relief before making further adjustments. Precautions The number one reason people won't touch the truss rod is that they are afraid of making a mistake and damaging it. It's a healthy fear actually but once you understand how it functions and get some practice you should be able to make these adjustments yourself. Some important things to remember: • Use the appropriate sized wrench/socket (if in doubt check the manufacturer's website) • Start by loosening the rod a little first* • Stop if you encounter resistance** • Stop if the adjustments you've made do not change anything Numerous instruments have come to me with striped truss rod nuts, this is avoidable in most situations. Using the wrong sized wrench/socket may permit it to round out the threads and ruin the nut. Not all truss rod nuts are replaceable, some are welded to the rod. Be sure to use the correct wrench! Common Truss Rod Nut Sizes Martin & similar acoustics 5mm allen head Gibson & similar acorn style nuts 5/16" socket Taylor & similar small nuts 1/4" socket *If a truss rod is already as tight as it can go, starting an adjustment by tightening the nut first could end in a horrifying pop. If one starts by loosening the nut slightly they can quickly get a feel for how much tension is already on the rod. **Starch resistance and creaking sounds can be a sign that the truss rod should not be adjusted further and is more than enough reason to stop and seek help. Installing Tuning Machines Shrunken celluloid tuning machine button Tuning machine replacement s necessary when desiring a better quality tuner or to replace a damaged one. With the exception of some bass tuners they are normally sold as sets, not individual tuners, Worn out tuners often have excessive play between the round and worm gear resulting in skipping or play in the tuning machine arm (movement with response from the tuning machine post). Generally speaking, if you can find retrofitting replacements for your instrument this is normally a simple procedure. When the machine head bushing has a nut and washer then it must be removed before the tuners will come out, other simply have press fit bushings when do not need to be replaced if the same design is being used. Selecting New Tuners When choosing a replacement tuner that is not identical to that which you are replacing it is important to note measurements of: • Post height • Post hole size • Mounting screw pattern • And sometimes, tuning arm length Tuning post height can vary. It is important to insure the string hole will still be accessible once the tuner and it's bushing are installed on the peghead. Be sure to check the specifications before drilling any new holes. Fitting New Tuners If you are replacing your old tuners with identical tuners then you need little more than a screwdriver and nut driver, however, if the original style is not available or not desired some upgrades may require modifications. Such modifications may include: • Enlargement of peghead holes for larger shafts or ferrules • Filling old mounting screw holes • And though rare, filling and re-cutting of peghead holes to accommodate for different spacing for tuners mounted on a plate Care should be taken to avoid chipping the finish or peghead veneer when removing pressed in machine head ferrules. When dealing with vintage instruments it is highly advisable to seek a retrofitting replacement so that no changes are made if possible. Gear Ratios ........15:1 18:1 20:1 The gear ratio indicates how many times the tuner button is rotated 360° to one turn of the tuners post. A higher ratio permits finer adjustments, reducing the aggravation of tuning up and down repeatedly before perfect tuning is achieved. Removing Tuning Machine Bushings Tuning machine bushings, also called ferrules, are inserted into the front side of the peghead and act as a collar for the post. Some bushings screw to the tuner, others are pressed into the peghead and held in place by friction. When removing a press fit bushing care must be taken to avoid chipping the peghead or finish. Some of these bushings are extremely tight. Others have been glued in place in an attempt to keep them from falling out...not recommended procedure. The safest method I have found to remove them is to press them out. Using a simple wood block which I have drilled to match the diameter of the bushing, it is placed over the ferrule and a dowel is used to press it up and out. Sometimes you can do it by hand, on very tight bushings, I must use a clamp. My instrument won't stay in tune, are the tuners at fault? In general, worn out tuners make an instrument hard to tune. Loss of tuning has many causes. Read more here. Loose Bushings The ferrules (bushings) that press into the fingerboard don't always fit snuggly. If one isn't careful it is quite easy to loose these when the strings are removed. To tighten bushings that are only slightly loose without permanently gluing them into the peghead hole I shrink the diameter of the hole. If the gap is minor and does not warrant filling and re-drilling then I use superglue to build up the walls of the hole until it becomes smaller in diameter. Again, we do not want to glue the ferrule to the peghead as damage can result when it must be removed. The superglue is applied and completely dry befo Guitar Tuning Problems Guitar Will Not Stay In Tune One common tuning complaint is having to repeatedly tune an instrument. It can be tuned and it will play in tune up and down the neck but it requires frequent re-tuning. If any instrument will not stay in tune it all boils down to couple of possible factors: String Stretch • New strings require stretching and take time to settle in • Note bending stretches strings String Slippage When string tension is lost thru string slippage, re-tuning is required. Slippage can occur for reasons such as: • Ball end needs to seat against bridge plate • String binding in the nut or saddle slot • Strings poorly wound around tuning post • Poorly tied to tie block (classical guitars) • Badly worn tuning machines When re-tuning is frequently necessary, most of the time, the string is slipping at the tuning machine. How can I keep my strings from slipping around the tuning post? This winding technique is one way to tie strings to the tuning machine to eliminate slippage. What If My Guitar Will Not Play In Tune? After tuning your instrument you find that certain fretted notes sound out of tune or chords do not sound in tune with themselves. Intonation correction is often necessary to remedy this issue. Using Electronic Tuners When one is first learning to play, tuning an instrument properly can be quite the task. For that reason most of us start out using instrument tuners until we develop an ear for tuning. Common Instrument Tunings (Largest String First) Guitar E A D G B E 4 String Bass E A D G 5 String Bass B E A D G 6 String Bass B E A D G C Mandolin GG DD AA EE Ukulele G C E A Electric Guitar Bridges Tune O Matic (TOM) Bridges The saddles on a tune-o-matic style bridge are raised and lowered as a unit. The outer thumb wheels beneath the bridge control it's overall height. Each saddle has a screw which permits forward and backward movement that enables us to adjust string length, which setsintonation. ABR or Nashville? The Gibson® Tune-O-Matic style bridge comes in different styles which can lead to confusion. While there are several differences an easy comparison is the mounting post. The ABR's bridge post are an all threaded rod and use a thumbwheel for height adjustment. Gibson ABR style saddle The Nashville TOM bridge uses inserts which are installed into the body, the bridge post then screws into the inserts for height adjustment. They are threaded at the base and normally solid (un-threaded) at the top. Other noticeable differences: Nashville bridges are wider from front to back, which increases the travel of the saddle. This gives us a greater range for adjusting intonation. Chrome Or Nickel? Nickel parts tarnish over time and will begin to look dull. This is often preferred on vintage instruments. Chrome plating remains shiny and does not tarnish. When comparing two new parts (chrome vs. nickel) you may notice chrome looks more "blue", while nickel appears more "yellow". Tremolo Style Bridges Bridges, such as those commonly seen on Fender Stratocaster's have two large screws in the front which the assembly pivots (rocks) on. These also control how far above the body the bridge sits. Individual string height and intonation is also available. Each saddle has two small allen head screws which act as feet and control the saddle's height and therefore the string height. A single screw, towards the back controls string length and intonation. Floating Tremolos The Floyd Rose® style floating tremolo has lovers and haters. While it may the right tool for the job, it doesn't come without it's fair share of headaches. For those not using their floating tremolo, it is a simple matter to block the tremolo and essentially make it a hardtail. Fine Tuners On the top of the bridge are 6 small thumbwheels which serve as fine tuners. Because most instruments equipped with these tremolo's also incorporate locking nuts, tuning must be done at the bridge. String Lock Down To the rear are allen head screws which press against a small block inside the bridge's saddle which acts as a vice for holding the end of the string securely. When replacing a string, the screw is loosened and a new string (minus it's ball end) is inserted into the space in front of the small block. The string lock down screw can then be tightened. Saddle Mounting Screws Loosen one of these and your saddle may go flying forward, wreaking havoc on the intonation. These screws clamp down on the saddle and keep it in place. They are loosened when intonating the instrument requires the saddle's position be moved forward or backward. Most bridges have two holes in the plate beneath the saddle to permit greater flexibility of positioning. If intonating the saddle requires it be moved considerably, changing holes may be required to allow the saddle mounting screw to contact the saddle firmly. Guitar Electronics Repair Skip to: Pots | Switches | Jacks | Wiring | Shielding | Soldering Volume & Tone Pots (Potentiometers) Cleaning A scratchy sounding pot could be a sign that dirt or corrosion is effecting the contacts inside of the pots casing. Pots can be cleaned by spraying into the open area of the pot below the soldering lugs. In order to clean the pot you will need to spray contact cleaner into the opening of the case. I prefer DeoxIT as it comes in both a spray, which adds pressure to "blow" junk out of the case, and a bottle, which provides precise application when trying to avoid a mess. Now turn the knob repeatedly to allow the cleaner to thoroughly "scrub" at the contacts. Badly worn or defective pots will remain scratchy or intermittent regardless of vigorous cleaning and should be replaced. Replacing Pots "Pot" stands for potentiometer. Volume and Tone pots are the same component but a capacitor is soldered to the ground lug of the tone pot. This cap prevents a certain amount of treble from grounding out. Using The Right Potentiometer • Linear and Audio • Resistance OHM's (250K, 500K, 1meg etc.) • Split shaft or solid shaft • Long thread or short thread • Size (Mini or Standard) When replacing a volume or tone pot you need to know the specs of the pot you are replacing. You can measure a functioning pots resistance using an OHM meter. Attach a lead to each of the outer lugs, rotate the pot fully in both directions and take an OHM reading of resistance. Tone vs. Volume Pot Many manufacturer's use the same pot for both volume and tone. Others may use Audio Taper for volume and Linear Taper for tone. Linear vs Audio Linear taper pots are marked with an A (ex. A500k, 500KA). Audio taper pots are marked with a B or Lin. Using an OHM meter attach one lead to the outer soldering lug and one to the center lug. With the pot rotated to center the resistance will equal to 1/2 of the pots total resistance if it is a linear pot. OHMS (Value/Resistance) 250K, 500K, 1MEG Pots are given values according to their resistance which is measured in OHMS. Check the wiring diagram or original pot casing for value. Checking A Pots Resistance - Using an OHM meter, attach the leads to outer soldering lugs. Rotate the pot fully to measure resistance. Long Shaft vs. Short Shaft Long shaft pots are often necessary when the pot is passed thru the actual top of the instrument. (ex. Les Paul). Short shaft pots are used when mounting directly to a thin pickguard. (ex. Strat) Split Shaft vs. Solid Shaft The type of shaft used on a pot dictates the types of knobs that can be used. Solid shaft pots are ideal for knobs which are secured by a set screw thru the side. Split shaft pots use knobs which press on. Solid & Split Shaft Pots A small brass sleeve can be used on a split shaft pot to accomodate screw on knobs. Mini Pots While you could use a mini pot in place of a standard size pot, these are most often seen on instruments with active electronics and cramped control cavities. . Push/Pull Pots Serve as a traditional rotating pot as well as a switch which is actuated when pulled up and pushed down. Multi-Function Pots Multi-function pots such as push/pull and stacked or concentric pots add an additional function to the pot. They can be used when limited space is available or no additional holes are desired. Removing press on knobs with rag Removing press on knobs with guitar picks for leverage Switch Replacement There are a number of different switches being using on electric guitars today: • 3, 4 and 5 way selector switches • Toggle switches • Push/pull switches • Sliding switches • Multi-function pots 5 Way Selector Switch Worn switches can suffer from a variety of symptoms including popping and scratchy sound, sloppy movement and intermittent or total loss of connection. Because some of these can also be symptoms of a loose wire or corrosion the switch should be cleaned with contact cleaner and all wiring connections checked. Replacing a bad switch can be as easy as removing the wire from the faulty component and soldering it to the same lug of the replacement part. 5 Way Switch Found On Some Imports If the connections of your replacement part do not match the original switch make sure you are using the correct part. The black 5 way switch on the right is often found in import guitars. While I recommend upgrading when possible, some switches will not mount up properly due to differences in screw layout. Output Jack Repair We have two common problems with output jacks, one is a broken wiring connection. (See below for connections). This happens easily once the jack becomes loose as it can twist just enough to pull the wires loose. The prong often looses it's "spring" A second common problem we encounter is a poor mechanical connection. When inserting a cord into a jack, the click you feel is the tip of the cord seating against the metal prong on the end of the jack. With use this prong may spread outward and loose a bit of it's tension. A gentle bend of the prong may be just enough to create a solid connection, however, metal fatigue can dictate the need to replace. Soldering Connections On a mono output jack you will find two soldering lugs, one for the ground (frequently black), the other for the hot wire. The hot wire is often coming from the center lug of the volume pot. When viewing an output jack you can follow the lug's path ...the hot wire lug will lead to the prong, the ground lug will lead to the center of the jack. Wiring Repair Most often this is a problem on vintage instruments who have seen better days or those that have been improperly repaired. Loose wiring, cold solder joints, broken connections and burnt insulation can all cause problems. By far the most common wiring problem is broken wiring at the jack. The jack must be kept secure or it may begin to rotate when the cord is installed and removed. Eventually a loose jack may twist the wiring until the connection is broken. Cold solder joints can be a bit of a mystery as hazy dull solder is not always apparent. Check each wire for bare spots and missing insulation to insure it can not ground against another component. Soldering The web is a great resource that can give you the basics on soldering but if you doubt your ability I would of course recommend letting a shop handle it for you. When soldering parts on your instrument make sure to cover the body and protect the paint as solder loves to spit and pop. A hot blob of solder on the paint makes a nifty crater you may not want. Small alligator clips serve as heat sinks. Heat Sinks Heat sinks should be used to prevent heat from damaging vulnerable capacitors and other components. I will place a small alligator clip on the capacitors wires which will dissipate some of the heat that would normally pass straight to the capacitor. A bare area in the wire can ground to other metal components and create shorts, be careful to avoid contacting other wires when soldering in cramped cavities. Cold Solder Joints When making solder joints to switches and pots, the lug and wire should be heated by the tip of the iron and the solder pressed (or flowed) onto the joint. In this manner you can avoid cold solder joints as both components are properly heated prior to the application of solder. Melting solder on the tip of the iron does not insure the actual components are being heated properly. Shielding Electric guitar pickups can pickup frequencies from many sources. Most common interference is caused by florescent lighting, computer screens, power pack adapters and other sources. Shielding lines the routed cavity as well as the back of the pickguard. A "tab" is used to complete the connection from cavity to pickguard. Shielding an instruments electronics cavity is one way to reduce interference and 60 cycle hum. Single coil pickups are notorious for humming and shielding may help to improve the situation. There are some pickups however that are just plain noisy and show little improvement regardless of effort (short of replacing them.) Shielding is done by lining the instruments control cavity with special adhesive backed copper foil, though heavy duty aluminium foil sprayed with adhesive can also be used. When overlapping multiple pieces of shielding a drop of solder is used to ensure continuity. A "tab" of shielding is brought over the edge of the cavity which serves as a bridge to connect the shielded cavity with the shielded pickguard. I place this tab over a screw hole so the screw pulls the two pieces of cooper together. Wiring Diagrams Many web surfers contact me looking for a wiring diagram for an unusual / no name / import guitar after having no luck online. And sometimes you aren't going to find it, however, if you have an electric guitar that is similar to lets say a Strat ... it has 3 single coil pickups (and they are 2 wire pickups), one 5 way switch, 2 tone pots and 1 volume pot then you can simply use a Strat wiring diagram. It's often easiest to think of the instrument in terms of components not brand. Sinclair Community College | ETD 110 Guitar Service Manual 1 Sinclair Community College Engineering Design Electric Guitar Service Manual Written by: Sam Schulze, Brian Stebbins, Henry Merrill Sinclair Community College | ETD 110 Guitar Service Manual 2 Contents: pg. 3 � Overall Assembly pg. 4 � Wiring Diagram pg. 5-6 � Parts List � Re-string pg. 7 � Tuner Repair pg. 9 � Pickup Adjustment/Repair pg. 11 � Pickup Selector pg. 13 � Fret Repair pg. 15 � Action Adjustment pg. 23 � Bridge and Intonation adjustment pg. 26 � Nut Repair pg. 28 � Strap Button Repair/Replacement pg. 30 � String Buzzing pg. 32 � Pot Repair and Replacement pg. 34 � Common Electronic Problems pg. 36 � Truss Rod pg. 37 � Finish Repair pg. 39 � Soldering pg. 40 Sinclair Community College | ETD 110 Guitar Service Manual 3 Recommended Tools: For routine maintenance only a set of basic hand tools is required. However for jobs such as nut and tuner repair, specialty tools may be required for correct results. If the special tool is required, it will be noted on the page describing the repair process. If you do not feel comfortable attempting any of these repairs, we recommend taking your guitar to a professional luthier in your area to have the work done. � Small hammer � Variety of screwdrivers (Regular and mini sizes) � English and Metric open-end wrenches � Calipers (dial or digital) � Long nose pliers � Wire strippers � Variety of drill bits � T-Pins (available at crafts stores) � Electronic multi-meter � Wood chisels � Quick release clamps (12” and 18”) � Sewing machine oil � Rubber sanding blocks � Extra guitar strings � Guitar tuner � Fret dots � Gun stock finish oil � Bona finish and sealer (available through flooring stores) � Concentrated wood stain Sinclair Community College | ETD 110 Guitar Service Manual 4 Overall Assembly: Sinclair Community College | ETD 110 Guitar Service Manual 5 Wiring Diagram: Sinclair Community College | ETD 110 Guitar Service Manual 6 Wiring Diagram - Mighty Mite Pickup: Sinclair Community College | ETD 110 Guitar Service Manual 7 Restring: Restringing a guitar is one of the most common repairs you will have to do to keep your guitar in top playing condition. It is very simple to do and should take no more than a half hour to complete. � Guitar strings � Wire cutters � Powdered graphite (optional) � Tuner 1.) Loosen the strings by slowly turning each of the tuners on the headstock clock-wise. Only loosen each string, do not remove yet. 2.) Take hold of the middle of each string and cut each with the wire cutters, the strings should be loose enough that they don’t snap when cut. Now remove each string half, unwind the top half from each tuner and pull the bottom half out from the underside of the guitar below the saddle. 3.) Take the new strings out of their package, but keep the packaging as it shows what strings go where. Thread the strings up through the saddle as the package shows. Make sure to thread all 6 strings before moving to the next step. 4.) Once all 6 strings have been installed and checked to make sure location is correct, begin threading the strings through the tuners, starting with the 6th string (thickest), and thread it through the tuner from the inside out. Once you have pulled the string through, give about 2 inches of slack before you begin tightening. Turn the wing nut while plucking the string until it sounds, then move to the next string. Make sure each string has at least 3 wraps on the tuning post before continuing. Sinclair Community College | ETD 110 Guitar Service Manual 8 5.) Continue threading each string from the 5th to the 1st. Make sure not to over tighten any strings as they will snap. 6.) Trim the long ends of the strings above the tuning posts. Tune your guitar and play away! Sinclair Community College | ETD 110 Guitar Service Manual 9 Tuner Repair and Replacement: � Philips screwdriver � Sewing machine oil � Calipers There are two ways to easily maintain your tuners to ensure that they will operate properly for the life of your guitar: Keep them tight and keep them oiled. Before you perform any maintenance, be sure to first remove the strings from the tuners. There are two screws on the tuners that will need to be tightened. The first is a nut that tightens the tuner on to the headstock, simply use a small wrench and tighten it down firmly. The second screw tightens the tuning button, and is located right on the end of the button, simply tighten it with a small screwdriver. Always make sure that this screw is tight, a loose tuning button can strip or even crack. Regularly oiling your tuners gears will ensure that the tuners turn easy, lock correctly and will prevent them from freezing into place. Inadequately oiled tuner gears can cause premature wear that could result in stripped gears. If you notice that the tuners are becoming hard to turn, most likely they need to be oiled. Depending on the frequency and style of your playing, it’s recommended to oil your tuners every 6-8 months. To do this, all you need is a bottle light sewing machine oil, put a couple drops around the outside of each string pole and let the oil run down into the gears as you slowly turn Sinclair Community College | ETD 110 Guitar Service Manual 10 the tuning button. Your gears should turn smoothly now, and last for the life of your guitar. Generally there are only 2 parts you’ll have to replace tuner-wise, those being the tuner button, or the entire tuner assembly. Replacing the tuner button is simple, all you have to do is take out the screw that holds the tuner button in place and the button will slide off its post. Simply slide the new one on and put the screw back in place and you’re done. Before you can replace your tuners you’ll have to get a new set, this can be a somewhat overwhelming process as there and many different types and sizes of tuners on the market. The simplest way to make sure everything will work correctly is just to buy the exact same tuners that were on the guitar already. If you are looking to upgrade however, you will have to take a few measurements to ensure proper fit of the new tuners. Measurements needed are: thickness of the headstock, height of the string post, and size of the hole that the string post sits in. You will also need to decide on a gear ratio. Most tuners have a 14:1 gear ratio, but there are units available from the regular 14:1 to 25:1 for extreme fine tuning, but overboard unless you’re a serious guitarist. Once you have decided on a tuner set, replacing the tuner is simple, just unscrew the nut on top of the headstock and slide the tuner out through the back. Reverse the process for the new one and you’re done. Be sure to double check that the new tuners are set tight on the headstock. Sinclair Community College | ETD 110 Guitar Service Manual 11 Pickup Adjustment: � Regular or Philips screwdriver There are literally hundreds of styles and configurations for guitar pickups, the majority of which are called “floating pickups”, named because they do not mount directly to the guitar body but are attached to a pickup ring with springs between the ring and pickup frame holding the pickup in place. The springs allow the pickup to “float” in place. The height can be adjusted by tightening or loosening the mounting screws, and thus also allows the tone quality to be adjusted. Almost all electric guitar pickup problems are caused by damage or incorrect pickup height and/or placement. This means that proper setup of the pickup is imperative to the life and performance of the pickups on your guitar. Setting a floating pickup is fairly simple, and you can adjust for any type of playing style. Pickups are basically small microphones picking up sound waves reverberating from the strings, so the closer the pickup is to the string, the more sound it will pick up, and vice versa. The purpose of adjusting is to get all the pickups to have the same volume. Start by plugging in your guitar and playing the low E string right above the bridge pickup and pay attention to the volume level. Next, do the same thing with the high E string. Raise or lower each side of the pickup until the volume is the same on both sides. Do the same for the neck pickup, then check the volume level between the two, if Sinclair Community College | ETD 110 Guitar Service Manual 12 there is any difference; adjust until the bridge and neck pickups are the same volume. Another way to easily check if the pickups are adjusted correctly is to measure the height of the strings on each side of the pickup and adjust till they are the same height on each side. Fine tuning can now be done my testing the volume just like we did before. Sinclair Community College | ETD 110 Guitar Service Manual 13 Pickup Selector Repair: � Screwdriver � Wire clippers/strippers � Soldering iron and solder The pickup selector is simply a toggle switch that is used to control which pickups are being used when playing the guitar. Since most guitars have at least 2 separate pickups, the pickup selector switch is crucial to finding the perfect sound to suit your playing style. While there are various types of pickup selectors available, the ones used in our guitar are known as a 3-way selector. A pickup selector is a simple electronic switch that is hardwired to both the guitar pickups and eventually the guitar jack. When the switch is flipped in a direction, the switch connects the lugs wired to the pickups and the jack completing the circuit. This is how the pickups are selected. While one or a combination of pickups is selected, the other pickups are deselected by the same means. Sinclair Community College | ETD 110 Guitar Service Manual 14 Pickup Selector Repair: Pickup selectors can wear out over time. The lugs and the rotating switch can lose their tight connection with years of use. Replacing the switch is pretty simple and only requires a few steps. Most pickup selectors are either mounted to the top of the guitar through a cavity routed in the back of the body or mounted to a pick guard. For pickup selectors that are mounted to the top of the body, simply take a screwdriver and unscrew the pickup selector. You will have to remove the knob on the end of the level before you can slide the selector through the channel and out of the cavity. For pick guard mounted selector, like Fender Stratocasters, you will need to remove the entire pick guard to remove the selector. Simply unscrew the pick guard from the body, flip it over, and rest it on the top of the body. The pick guard will still be wired to the body, so you can't go very far with it. Then, unscrew the selector. It is important that you take note of what wires are soldered to what lugs before you remove the selector. Refer to the in this manual for assistance. Once you know where everything has been wired, cut the wires close to the lugs and remove the old selector. Once the old selector is removed, screw the new selector in place. Follow your wiring notes from the old pickup selector, strip the wires with a pair of wire strippers, and solder the wires to the correct lugs. After everything is soldered in place and checked for correct layout, reattached the cavity cover or pick guard, plug in the guitar and check operation. For more information about how to solder wiring, see the section. Sinclair Community College | ETD 110 Guitar Service Manual 15 Fret Repair and Replacement: � X-Acto knife � Calipers � Feeler gauge � Radius gauge � Fret wire bender (optional) � Fret press � Fret hammer � Screwdrivers (various sizes and types) � Fret bevel � End nippers � Chisel � Guitar Wax The is the part of the fret that comes into contact with the strings at the top of the fret. The is the bottom of the fret wire that is set into the fret board. The are the protrusions that stick out of the fret tang to hold the fret wire in the fret slot. Not all guitars have the same size fret wire. Different sized in the fret wire will result in different sounds. This leaves it up to the player to decide what kind of sound they would like to get out of their guitar. Sinclair Community College | ETD 110 Guitar Service Manual 16 Fret Repair and Replacement cont: Fret wires are commonly made out of nickel and stainless steel, although they can be made out of several kinds of materials. Stainless steel is much denser than nickel which helps prevent wear. On the other hand stainless steel is much harder to install than nickel due to its density. Nickel is often recommended for the average player. After your frets have been removed from the guitar you need to measure the size of the crown. Using a pair of calipers, you can measure the height and width of the crown. If the fret was glued into the slot then will need to clean out the glue that is left in the slot. This will help you get accurate measurements when measuring the fret slot. After the fret slot is completely clean, you can take a feeler gauge and insert it into the slot. Frets will range from .023” to .050” in width. After you have the measurements of the fret slots, you will then be able to choose the correct fret wire. When selecting a wire, the only thing that needs to be a certain size is the tang. The tang must be .002” smaller then the width of the fret slot. This will let it lay snug in the slot. The bead of crown can either be the same size as the previous wire or different. Sinclair Community College | ETD 110 Guitar Service Manual 17 Fret Repair and Replacement cont: Fret boards have a slight curve to them known as the radius and this will have to be measured if you want to install new fret wire. To measure the radius, you will have to take the strings off and place a radius gauge against the board. Turn the gauge until you don’t see any light coming through when you have the gauge placed on the board. Radius Gauge Fret wire will usually come in 1 or 2 foot sections, although they can be bought pre-cut. This fret wire will initially be straight but to fit it on to your guitar, your will have to bend it to the radius of your fret board. You can use a fret wire bender to correctly bend it to fit your fret board Fret Wire Bender - Over time frets will begin to wear from continued use. Worn frets will have divots where the strings lay. Worn out frets can be leveled out but if the fret is worn down too much than there isn’t enough material left to play and they will need to be replaced. Frets can become damaged from several different things like dropping your guitar on a hard surface. A damaged fret will most likely need to be replaced. Sinclair Community College | ETD 110 Guitar Service Manual 18 Fret Repair and Replacement cont: A fret that is improperly seated in the fret board will most likely cause string buzzing. To tell if a fret is seated properly you can look at the base of the crown and the fret board. The crown should lay flat against the fret board so there is no space in between. If the fret is improperly seated then it needs to be removed and reseated properly. Guitar frets are usually glued into the fret slot although there are some manufactures that make the fret slot so tight that friction is what holds the fret in place. It is important to know how the frets on your guitar are kept in the fret slots. There also may be a certain way that the frets need to be taken out. Frets in early Fenders were slid in from the side making it very hard, if not impossible to remove them from the top. So they easiest way to remove the frets are by pulling them out from the sides. Here are the steps you should take when removing the frets from an early style fender. 1. Remove the strings from the guitar 2. Unscrew the neck and remove it from its pocket on the body. 3. Clamp the neck down and start to remove the frets. Take a hammer and a nail set to remove each fret. Lightly hammer the nail set into the side of the fret to slowly remove it. Make sure not to chip any of the fret board, but if you do you can glue it back on after the fret has been removed. 4. Clean the slot and replace the fret. Sinclair Community College | ETD 110 Guitar Service Manual 19 Fret Repair and Replacement cont: Unlike early Fender’s, today the frets are directly place into the slots in Fender guitars. They also held into place by glue so that will have to be heated up to be able to remove the fret. Here are the steps for moving this kind of guitar. 1. Remove the strings from the guitar 2. Unscrew the neck and remove it from its pocket on the body. 3. Take a soldering gun and file a notch in the so that it can fit the fret wire in. 4. Run the tip of the gun across the top of the fret. Make sure that you do not heat the fret too much. You just want it hot enough so that the glue is loose enough to allow the fret to come out. 5. Take a pair of end nippers and place them on the fret board. When you clamp on the fret, it should come and without you having to actually pull it out. 6. Clamp the fret in 1/8” increments until it is completely out of the slot. 7. Clean the slot and replace the fret. Sinclair Community College | ETD 110 Guitar Service Manual 20 Fret Repair and Replacement cont: With these types of guitars, the frets are usually installed before the lacquer in put on. This means that if you try to directly remove the frets than you could create cracks in the lacquer. To prevent this, score the edges around the base of the fret with an Xacto-knife. Now when you remove the fret, it won’t be attached to the lacquer and cause it to crack or chip. The rest of the steps for removing the fret are the same as above. Before you start installing the frets you are going to want to wax the fret board. The wax will prevent the glue from hardening on the board. Try to keep the wax from getting into the slots. If was does manage to get into the slots then you can clean it out with a knife. Note that you do not need to wax finished fret boards. Guitar Wax (On unfinished boards) run a bead of super-glue into the fret slot. Not much glue is needed, just a small bead across the top of the slot. Once you put the glue into the slot, immediately place the fret into the slot. You do not want to let the glue sit for very long, and to prevent this only put glue in one slot at a time. (On finished boards) Unlike on an unfinished board, you do not want to use super glue to apply the frets. Super glue will cause problems with the finish on you board. Instead, use common wood glue. Like before, don’t let the glue sit for a while and only put glue into one slot at a time. Sinclair Community College | ETD 110 Guitar Service Manual 21 Fret Repair and Replacement cont: A fret can be put into a slot with either a fret press or a fret hammer. If you are using a fret press then lightly hammer both ends of the fret when setting it in the slot. You can then press the fret in with the fret press. If you only have a fret hammer then lightly hammer both ends of the fret as before. Then lightly tap all the way across the fret. Make sure the fret is all the way in the slot and there is no space below the crown. Be sure not hammer too hard or you could damage the fret and it will need to be replaced. Repeat this until all of the frets are in their slots. You can then slightly hammer down the edges that are hanging off the sides of the board. This will allow the frets to be able to stay on the board easier. Fret Press Fretting hammer Sinclair Community College | ETD 110 Guitar Service Manual 22 Fret Repair and Replacement cont: Make sure you remove the excess glue on the fret board before it dries. To do this take a dull chisel and scrape it off, this can be done on both finished, and unfinished fret boards Chisel After the glue has dried, you can take a pair of end nippers and cut off the edged of the frets that are hanging off the sides. After they are nipped off, you should take a file and smooth down the edges. Make sure to file downwards on the side of the board. If you file upward then you risk loosening your frets. End Nippers To make your fret rounded on the edges you can use a fret bevel. Use a 35 degree bevel to get a 35 degree angle around the edge of the fret. Beveling will usually leave burrs, so use a three-cornered file to remove the burr. After the burr has been removed, sand the edge with a 320-grit, 600-frit, 800-grit, and 1,000- grit sandpaper. Fret Bevel Sinclair Community College | ETD 110 Guitar Service Manual 23 Action Adjustment: � Feeler gauge � Allen wrench to adjust truss rod � Radius gauge The action is the height of the strings from the fret board and is usually measured at the 1st or 12th fret. Strings that are set high above the fret board are known as “High-action” the opposite goes for strings that are set low. The Action of a guitar is important when determining its playability. If the action is too low, then it can cause string buzzing. If the action is too high then it will start to become uncomfortable and difficult to play. So it’s good to find a median where it is high enough to not cause string buzzing but also low enough to be comfortable. Picking an action adjustment will also depend on the preference of the player Drastic changes in the temperature will either cause the wood in your guitar to shrink or expand. As a result the neck will start to slightly bow which caused the action of the strings to change. If you change the tension of your strings from high to low and vice-versa then it could result in neck bowing and have a similar effect as temperature changes. Extended use can cause the nut of your guitar to wear down. When this happens, it could affect the action of your guitar. Sinclair Community College | ETD 110 Guitar Service Manual 24 Action Adjustment cont: Most of the time adjusting the action can be as simple as adjusting the truss rod. For more serious action problems you may have to adjust the nut or bridge of your guitar. Just know that the three main areas to go for adjusting the action is the truss rod, nut and bridge. Adjusting the truss rod will straighten and flatten out the neck which will bring your action back to its normal level. Remember that straightening the neck too far may cause string buzzing so leave a slight amount of action on your strings (for details see truss rod adjustment). If this does not fix the problem then you are going to want to look at the nut and bridge. To check if the nut is causing the issue, use a feeler gauge to measure the distance between the bottom of the strings and the first fret. The standard distance is .06”, if the string is higher than this then you are going to want to file down the nut until it reaches this length. Over the years there have been many different styles of Fender guitars. Through all these different styles, the basic design of the bridge has mostly stayed the same. Each string is mounted on top of a saddle piece and is strung through the body or bridge. Each saddle piece can be individually adjusted at the body or fret board. To adjust the action you will have to adjust the height of the saddles at the bridge. Here are the steps for doing that. 1. Tune your guitar to pitch 2. Check the back-bow and relief of the neck 3. Adjust the truss rod to straighten the neck 4. Retune your guitar and check the back-bow and relief again 5. Check and adjust the action at the nut 6. Measure the high and low E string at the 12th fret by placing a precision ruler on the 12th fret Sinclair Community College | ETD 110 Guitar Service Manual 25 Action Adjustment cont: 7. The distance between the bottom of the high E string and the top 12th fret should be set to 2/32”. If the string is higher or lower than 2/32” then you will have to adjust the saddle piece with an Allen wrench. 8. Set the low E string to 3/32” at the 12th fret by raising or lowering the saddle. 9. Place a radius gauge that corresponds to the radius of the fret board radius on the strings. The gauge should sit on the low and high E strings while touching the middle strings. If the middle strings are higher or lower than the gauge, you will need to adjust the strings’ height relative to the outside strings. When the gauge is placed on the outer strings, the rest of the strings should be touching the gauge but not holding it off the outer strings. Retune the guitar and check the action of the outer strings at the 12th fret. Sinclair Community College | ETD 110 Guitar Service Manual 26 Bridge and Intonation Repair � Small Philips screwdriver or 1.5mm Allen wrench There are many different styles of bridges. All bridges are made of hard metal; therefore, they are extremely durable and rarely have to be repaired. Most often you can maintain the function of your bridge with just proper set up. In this manual we will discuss the Fender style guitar bridge. The bridge consists of a base plate and six saddles. These saddles can adjust the string height and intonation of your strings. With the Fender style bridge, and with many others, the strings are strung through the body and mounted on top of each saddle. This type of bridge is often referred to as the Tremolo style bridge. This type of bridge is most common not only because of its stylish look, but also because of its adjustability and durability. The saddle pieces on the bridge can be adjusted closer or farther away from the body, which in turn adjusts the string height or action. Each saddle has a small screw on it that adjusts its height (as seen right). With most Fender style bridges all you will need is a 1.5mm Allen wrench. Tightening the screw will move it closer to the body, while loosening the screw will add to its height. Sinclair Community College | ETD 110 Guitar Service Manual 27 Bridge and Intonation cont: Poor intonation is when your strings sound out of tune as you play up or down fret board. The best way to adjust the intonation of your guitar is to adjust the scale length of each string. Before we talk about adjusting intonation with the bridge, we must first define scale length. Scale length on a guitar refers to the distance between the edge of the nut and the top of each saddle piece. The most common scale length on most Fender is 25.5 inches. Gibson and others are 24.75”. You can check the intonation by playing a fretted note on the 12th fret and then a harmonic on the 12th fret. These notes should sound exactly the same. If the note sounds sharp or flat, the intonation will need to be adjusted. At the bottom of each saddle is a screw that adjusts the saddle closer or farther away from the fret board. No matter what type of bridge you have, the saddles can most often be adjusted the same way. The screw will need to be tightened or turned clockwise if the fretted note sounds sharp. The saddle pieces will move away from the fret board the tighter the screw is turned. If the fretted note sounds flat, you will need to loosen or turn the screw counterclockwise to move the saddle toward the fret board. You may then check the intonation again, but remember to always adjust in small increments. Another way of checking intonation is through computer software. Here is a link for a free download of a frequency analyzer. You simply plug your guitar into the computer and the software allows you to check the frequency of your strings to determine if your intonation is set up correctly. Sinclair Community College | ETD 110 Guitar Service Manual 28 Nut Adjustment and Replacement: � X-Acto knife � Vice grips or End nippers (optional depending on guitar) � Super glue Nuts can become damaged over time and affect the playability of your guitar. When this happens you are going to want to replace the nut. If the neck of your guitar is finished then you are going to want to score the edges of the nut with an X-acto knife. The reason for doing this is to prevent chipping when removing the nut. X-acto Knife This is probably the easiest method for removing a guitar nut. After you have scored the edges of the nut, you can slightly tap the nut from the side to cause it to slide out. Sinclair Community College | ETD 110 Guitar Service Manual 29 Nut Adjustment and Replacement: The pull method is a little more risky as it can cause chipping in the fret board. To pull the nut out use a pair of fret nippers or vice grips and pull it out slowly and carefully. To prevent chipping of the fret board, put protective tape of both sides of the nut. If you can’t manage to get the fret out with the previous two methods then you are going to have to cut it out. Using the cut method will destroy the nut so try to use the other methods if possible. To cut the nut out take a thin saw and cut down the middle of the nut. While you are cutting be sure not to cut down into the fret board. After the middle has been cut out you can break out each side separately. You are going to want to clean the slot out of any glue that was left behind before you install the new one. You will need a thin file that can fit into the slot. Make sure that you don’t file down the sides of the slot as it has to stay straight. After the slot is cleaned out you can lay the nut into the slot. If the nut hangs off the edges at all, you are going to want to file them down until they are smooth. Before you actually glue the nut into place, you are going to want to test putting the not into the slot and seeing how it fits and how you are going to clamp it down while gluing. You can use either wood glue or super glue to hold the nut into place. You will only need a small amount of glue. You don’t want the glue to seep out the sides and if you have to remove the nut again, a lot of glue will make it difficult. When setting the nut into place, make sure the nut is flat on the fret board and that it doesn’t hang off the edges. You will need to clean the slot out just like before. Put the nut into the slot and mark where the screws are going to be. Then remove the nut and drill holes at the marks that are Sinclair Community College | ETD 110 Guitar Service Manual 30 slightly smaller and shorter than the screw. After you have drilled the holes you can put the nut back in the slot and screw it into place. Strap Button Repair � Screwdriver � Wood glue � Dowel rods or toothpicks (depending on situation) � Sandpaper (400 grit+) One thing that doesn’t come up much when talking about guitar maintenance, but is extremely important, is strap button repair. The last think you want is your guitar to fly off while you are playing. Strap buttons loosen up gradually just from everyday wear and tear. If a strap button loosens or pops out while playing, your guitar will fall to the floor which may severely damage it. Strap buttons can be repaired easily but you must pay attention to detail. First of all if your strap button can easily be pulled out, the only way to fix it is to plug and re-drill. The hole has likely been stripped out which means you must find a dowel or a plug that will snugly fit in the hole. You must first measure the hole left by the screw. You will likely be able to find the correct size dowel at any local hardware store. Use a small amount of wood glue such as Tight-Bond to glue the dowel in the hole and then cut off the excess. Once it has dried you may sand it down flush to the body. ! Once you are done sanding re-drill the hole and now you may screw in your strap button and enjoy the new, snug fit. Remember, always be careful not to scratch or chip your guitar. Sinclair Community College | ETD 110 Guitar Service Manual 31 Strap Button Repair If your strap button is just slightly loose, there are a couple of ways you can go about fixing it. The golden rule when repairing your strap button is NEVER GLUE THE SCREW IN THE HOLE, as this can cause major damage down the road. One way of fixing it is simply by using a toothpick. Unscrew the strap button and place a thin toothpick in the hole. When you screw the button back in the toothpick will give the threads something to hold on to and this may fix the problem. Another method that works really well is building up the hole or making it smaller. Unscrew the strap button and carefully brush a small amount of superglue around the walls of the hole. Remember to allow this to dry completely before screwing in the strap button. A few coats may be needed to build the hole up enough, but it is very effective. This simple fix should keep your strap button from wiggling around or coming loose. Sinclair Community College | ETD 110 Guitar Service Manual 32 String Buzzing: One of the most annoying problems to have when playing your guitar is string buzzing. It is not a very difficult problem to solve, but locating the cause may be easier said than done. Before you start doing any major work on your guitar, inspect it thoroughly to determine the exact location where the buzzing is coming from. String buzzing may occur when the neck is warped, the frets are uneven, the slots in the nut are too low, the action is too low, or it is just set up poorly. Either way this problem can likely be fixed in no time at all, or you’ll be back to hearing that clean sound that you love. First try to play each open string to see if it buzzes. Make sure not to fret any of the strings. If string buzzing does occur the problem is likely coming from your nut. The slots may be too low or just worn down. The string action will be too low at this point which will cause the buzzing. If you hear the buzzing you will need to repair the nut or just replace it all together (see Nut Replacement for details). If no buzzing occurs on the open strings, try to fret them at various points along the neck. If buzzing occurs at only a few frets and not others, your frets may be uneven. You will need to replace the frets on your guitar to fix the buzzing. If the buzzing occurs at all frets, your action is likely too low. This can be solved with a simple action adjustment (see Action Adjustment). Sinclair Community College | ETD 110 Guitar Service Manual 33 String Buzzing: Most other problems are not as serious and do not require any repair work. These problems can likely be solved with proper setup. The following is a chart that may help with any other buzzing problems that might occur. Symptom Possible Cause(s) Remedy Open String Buzz Buzzes when played open, stops when string is fretted. Nut Worn or poorly cut nut slot is placing the strings too close to the frets near the nut. Replace nut or shim to add height. Set up instrument properly. One Spot Buzz Buzzes on one note, or one area but stops when moving away from that spot. Frets Frets are not level, one or more is too high/low. Loose or sprung fret is rising out of the fingerboard. Hump in fingerboard. Wear or deep grooves in frets. Secure all loose frets, level and dress. Fret leveling and/or replacement of worn frets. Buzzes When I Strum Hard Buzzing occurs when strumming or picking aggressively but can be silenced when playing lightly. Set Up Insufficient relief in the neck. Poor set up. String gauge too light. Adjust truss rod. Set up instrument properly. Use heavier strings. Buzzes Everywhere Buzzes nearly everywhere even though it is set up properly, will often disappear if string is fretted hard or closer to the fret and plucked softly. Frets Frets may be worn out or too low. Very small fret wire used. Replace frets. Frets Out Buzzes nearly everywhere all the time, strings are literally touching the frets in the center or other area of the fingerboard. Neck Truss rod may be way too tight back bowing the neck. Neck could be a warped, or have excess back bow even after truss rod is loosened. Set up instrument properly. Adjust truss rod for more relief. Use heavier strings if relief cannot be created thru truss rod adjustment *courtesy of fretnotguitarrepair.com Sinclair Community College | ETD 110 Guitar Service Manual 34 Pot Repair and Replacement: � Screwdriver � Wire cutters � Guitar pick (optional) � Soldering iron and solder One of the parts commonly mentioned on electric guitars are the pots, but what exactly is a pot? Pot is actually short for potentiometer, a small device that controls the flow of electric current making it basically a glorified resistor. A guitar will usually have 2 pots; one is for volume and the other for tone. On the bottom of each pot there are three lugs; the 2 outer lugs carry electric current to and from the pickups, while the middle lug resists the voltage. When the knob on the pot gets turned, the middle lug will resist more or less voltage which causes the volume to either decrease or increase. The only difference between the 2 pots is that the tone pot has a capacitor installed that prevents high frequencies from reaching the output jack and the amplifier. Just like any other electronic component on a guitar, pots will eventually wear out or break, and will need to be replaced. Replacing a pot is simple, and very similar to replacing a pickup selector. 1. Remove the knob Sinclair Community College | ETD 110 Guitar Service Manual 35 Pot Repair and Replacement: First, you need to remove the knob for the pot/s that you want to replace. Some knobs are held on by set screws so look for one before you attempt to remove it. If there is no set screw, the knob is on a split shaft, meaning that it is held on by friction and pressure and can usually be remove by pulling up on the knob. If it’s stuck, try prying it up with a thick guitar pick. Once removed be careful not to drop it on your guitar. 2. Unscrew retaining nut Once the knob is removed, you will see a nut on the pot’s shaft, simply unscrew that to allow the pot to drop out the bottom of the guitar. 3. Replace the pot To access the pot you will need to remove the electronics cover on the back of the guitar. Once inside, you’ll be able to remove the old pot. Before you cut any wires take note of which wires are soldered to which lugs (refer to the wiring diagram). Once you have the wiring checked, cut the wires close to the lugs and remove the pot. Bolt the new pot in place, solder the wires to the correct lugs, place the electronics cover on the back of the guitar body and put the knob back on. If you are unsure about the soldering process, refer the page. Sinclair Community College | ETD 110 Guitar Service Manual 36 ………….Common Electronics Problems and Repairs: If your guitar is constantly cutting out, it’s a very common symptom of a simple wiring issue, usually caused by a faulty solder joint in the electronics. The most common reason for this is the output jack becoming loose in its socket and rotating, causing the connections inside to break off. This is why it’s very important to make sure your output jack is always tight. Fortunately, loose wiring connections are simple to fix, the trouble is finding them. 1. Plug your guitar in and toggle all the switches and knobs. If your guitar still plays fine, the connection problem is internal. 2. For non-Stratocaster style guitars, remove the cavity covers on the back of the guitar. Strum the strings and move the wires that are soldered to the switches, pots, and output jack. You will probably find your loose connection when the guitar cuts out again. For Stratocaster style guitars, you will need to remove the pickguard and manually check each connection point to make sure the solders are solid. 3. Re-solder the loose wire and screw the cavity covers or pickguard back on. Guitar crackling is a very common issue but rarely has to do with wiring. Typically, if your guitar crackles when adjusting the volume and/or tone knobs, it’s because the pots are dirty. To clean the pots, simply remove the knob and spray some electronic contact cleaner into the pot around the shaft and wipe off excess before replacing the knob. If crackling persists, you may have to replace your pots. Sinclair Community College | ETD 110 Guitar Service Manual 37 Truss Rod Adjustment: One thing every guitar owner should know how to do is adjust the truss rod. The truss rod is a metal rod that is inserted into a channel in the neck of the guitar. Its main purpose is to counteract the pull of the strings on the neck. Over time the tension from the stings tend to warp the neck of the guitar. The neck can warp due to temperature and humidity changes as well. The truss rod, which is also adjusted on the neck of the guitar, can easily be adjusted with an Allen wrench or screw driver. Many guitar owners are afraid of adjusting the truss rod but it is actually very simple and can make a world of difference with your guitar. There are two types of truss rods used today. Single action truss rods will bend the neck backwards when tightened. When loosened, this truss rod will not actually bend the neck forward; it just relieves its pressure and allows the strings to bend the neck. A dual action truss rod will actually bend the neck backwards when tightened and forward when loosed. The first step is to decide which way you actually need to adjust the truss rod. It is extremely important to understand that the truss rod will only adjust the straightness of the guitar and nothing else. Checking the concaveness of the neck is quite simple. You start by holding the Bass E string down at the first fret. At the same time hold the string down at the 12th fret as well. While holding the string down, look at the 6th fret and use the string as a straight edge to read the curve on the neck. The ideal gap between the string Sinclair Community College | ETD 110 Guitar Service Manual 38 and the fret will be about a tenth of an inch or the thickness of a business card. If the gap is less than this, the strings may buzz when played due to the neck being back bowed or too straight. A straight neck will be easier to play but a slight bow is ideal to get the perfect tone out of your guitar. Remember you can always adjust to your specific playing style. As mentioned, the truss rod can easily be adjusted with an Allen wrench or a screw driver. First you must locate the nut for the truss rod. The location varies on different guitars but is usually located at the end of the neck or behind a plate on the head. If your neck is bowed forward, you will want to tighten the nut to bend the neck backwards. If your neck is back-bowed, you will want to loosen the nut which will allow the neck to straighten or bow forward. As a rule of thumb, never adjust the truss rod more than 1/8th turn at a time. Over tightening may break the truss rod which can be very expensive to replace. Also remember that it may take a few minutes for you to see the results of your adjustments, so just adjust a small amount at a certain time. There are some precautions you must take when adjusting the truss rod. Remember to always use the correct tool to avoid stripping or damaging the nut. Check with the manufacturer to verify that you are using the right side wrench. Some nuts are welded to the truss rod, so as you can imagine, repair work can be costly. Also, if your truss rod makes strange noises or extreme resistance occurs while adjusting, take your guitar to your local shop to avoid any damage. Sinclair Community College | ETD 110 Guitar Service Manual 39 Finish Repair: Over the years, your guitars finish can experience many different problems. This is mainly due to the use and abuse on your guitar. You can re-finish your guitar but it tends to be a hard thing to, so you want to be careful. Drastic changes in temperature will usually be the cause of cracks in the lacquer. When the temperature is changing, the wood will want to expand and contract. The lacquer will want to stay stiff, so when the wood is changing shape, the lacquer will crack. Lacquer cracks from the inside, so they will feel smooth if you run your finger across them if they haven’t cracked all the way through. Guitar scratches are very common and hard to avoid. These scratches can be both shallow and deep and there are different ways to deal with both. The best way to get rid of shallow scratches is to wet sand, buff, and then polish. Wet a piece of 1000-grit sand paper with soap and water. Lightly sand down the area of scratches and make sure you only remove a slight portion of the lacquer. Then take a buffer or rag and rub in some buffing compound. After you have buffed the area, polish it down to make it shine. Deep scratches are much harder to remove and are usually best just left alone. If you try to sand out the scratch then you will have to go deep and may even sand off the paint. At this point it would have to be refinished. This is caused by an improper finish where the top coat does not stick to the sealer coat. When this occurs, you will need to strip the finish off and refinish the guitar. Simply spraying more lacquer on the guitar will just make this problem come up again later. Sinclair Community College | ETD 110 Guitar Service Manual 40 How to Solder: Being able to solder your own electronics is something every guitarist should know how to do. You never know when you may have to repair a broken wire, replace your pickups, pots, or whatever else may break or wear out over the life of your guitar. Soldering is very easy and only requires a little practice to become good at. Soldering is the joining of two metals by using a third metal, such as attaching a wire to a pot using the third metal which is the solder. The solder itself is a metal alloy with a very low melting point, when melted it will flow quickly over the piece you are working on and solidify quickly once the soldering iron is removed, and will fuse the two pieces together. 1. Soldering Iron Soldering irons are fairly simple devices and relatively inexpensive. Basically it’s just a device that uses electric current to heat a metal tip. They come in a wide variety of wattage levels, some being adjustable. For a basic soldering iron, I recommend getting one between 30 and 60 watts so that it will have enough to melt the solder quickly, but not too hot to damage the components you’re working with. Some will come with interchangeable tips, which is nice for different types of soldering. Sinclair Community College | ETD 110 Guitar Service Manual 41 2. Solder Choosing solder is very important since it is what will hold your wiring together. For this type of work, you will want to get a 60-40 rosin core tin/lead solder. It’s the industry standard for electronics soldering and will melt quickly and produce a solid joint. This type does give off toxic lead fumes when used, so many companies produce a rosin core solder that is lead free. Either of the two types will work fine for your guitar. 3. Damp sponge or paper towel You will need something to clean the tip of the soldering iron and wipe up any excess solder afterwards. You can use either a wet sponge, rag, or a folded paper towel wetted down to do this. It’s also handy for keeping the iron from overheating. 4. Wire strippers Wire strippers are used to remove the rubber insulation from wiring before we solder it. Because of the small size of the wires we are dealing with, you should get a pair of small gauge wire strippers. Most will cover a range of wire from around 10 gauge all the way down to 22 or 24 gauge wire. Sinclair Community College | ETD 110 Guitar Service Manual 42 How to Solder Electronics: Soldering is very simple and easy to learn, however it will take some practice to fully grasp. I recommend that you gain some practice before you dig into your guitar if this is your first time soldering. You may realize it will be nice to have an extra set of hands in some cases, if that’s not available just take your time and go steady. This is a step by step, how-to on making a clean solder joint. 1. Strip the wire As mentioned before, stripping the wire refers to removing the protective rubber insulation from the actual wire underneath. Start by taking your wire strippers and inserting the wire into the slot marked for the size wire you’re using. Squeeze the handles to cut through the insulation, and then slide strippers away from you to remove the insulation. Usually it works best to remove about ¼ inch of the insulation, just enough to solder the wire to the lug without leaving any extra exposed. 2. Tin the tip of the soldering iron Tinning the tip of the soldering iron means to coat it with a thin layer of solder. Having the tip tinned helps to transfer heat to the workpiece more efficiently. Start by plugging in your soldering iron and letting it heat up for about 10 minutes. Once hot, wipe the tip with a wet paper towel or sponge to clean off any old, oxidized solder. Now take your solder spool, and melt a thin coat of solder on the tip, not too much, just enough to cover the tip. Immediately wipe the tip again with the wet towel before the solder and flux can become solid. You’re now ready to start soldering the wire. 3. Tin the end of the wire Tinning the wire helps to hold all the small wire strands together and will make it easier to make the final solder joint. Simply heat the exposed wire end with the iron, melt some solder on to the wire and wipe off the excess. Sinclair Community College | ETD 110 Guitar Service Manual 43 4. Soldering the joint Now take the piece that you will be soldering to, such as the back of a pot. Take the soldering iron and move it slowly around on the pot until it is heated just enough to melt the solder. Now take your tinned wire and hold it on the pot until the solder melts. This is where another hand comes in handy. While holding the wire on the pot, don’t remove the iron, take your spool of solder and melt a little on top of the wire until it flows evenly across the wire. When you have enough solder applied, remove the spool of solder, and then the iron. The solder joint will solidify quickly, once it has become solid give the wire a small tug to ensure it has bonded well. If it checks good, you’re done. When soldering the back of a pot, or any other electronic device, make sure not to get them too hot as it will cause damage to the components inside. This is a link to a soldering tutorial video that clearly shows the process involved and some good tips for making a clean joint: Sinclair Community College | ETD 110 Guitar Service Manual 44
Sinclair Community College | ETD 110 Guitar Service Manual 1 Sinclair Community College Engineering Design Electric Guitar Service Manual Written by: Sam Schulze, Brian Stebbins, Henry Merrill Sinclair Community College | ETD 110 Guitar Service Manual 2 Contents: pg. 3 � Overall Assembly pg. 4 � Wiring Diagram pg. 5-6 � Parts List � Re-string pg. 7 � Tuner Repair pg. 9 � Pickup Adjustment/Repair pg. 11 � Pickup Selector pg. 13 � Fret Repair pg. 15 � Action Adjustment pg. 23 � Bridge and Intonation adjustment pg. 26 � Nut Repair pg. 28 � Strap Button Repair/Replacement pg. 30 � String Buzzing pg. 32 � Pot Repair and Replacement pg. 34 � Common Electronic Problems pg. 36 � Truss Rod pg. 37 � Finish Repair pg. 39 � Soldering pg. 40 Sinclair Community College | ETD 110 Guitar Service Manual 3 Recommended Tools: For routine maintenance only a set of basic hand tools is required. However for jobs such as nut and tuner repair, specialty tools may be required for correct results. If the special tool is required, it will be noted on the page describing the repair process. If you do not feel comfortable attempting any of these repairs, we recommend taking your guitar to a professional luthier in your area to have the work done. � Small hammer � Variety of screwdrivers (Regular and mini sizes) � English and Metric open-end wrenches � Calipers (dial or digital) � Long nose pliers � Wire strippers � Variety of drill bits � T-Pins (available at crafts stores) � Electronic multi-meter � Wood chisels � Quick release clamps (12” and 18”) � Sewing machine oil � Rubber sanding blocks � Extra guitar strings � Guitar tuner � Fret dots � Gun stock finish oil � Bona finish and sealer (available through flooring stores) � Concentrated wood stain Sinclair Community College | ETD 110 Guitar Service Manual 4 Overall Assembly: Sinclair Community College | ETD 110 Guitar Service Manual 5 Wiring Diagram: Sinclair Community College | ETD 110 Guitar Service Manual 6 Wiring Diagram - Mighty Mite Pickup: Sinclair Community College | ETD 110 Guitar Service Manual 7 Restring: Restringing a guitar is one of the most common repairs you will have to do to keep your guitar in top playing condition. It is very simple to do and should take no more than a half hour to complete. � Guitar strings � Wire cutters � Powdered graphite (optional) � Tuner 1.) Loosen the strings by slowly turning each of the tuners on the headstock clock-wise. Only loosen each string, do not remove yet. 2.) Take hold of the middle of each string and cut each with the wire cutters, the strings should be loose enough that they don’t snap when cut. Now remove each string half, unwind the top half from each tuner and pull the bottom half out from the underside of the guitar below the saddle. 3.) Take the new strings out of their package, but keep the packaging as it shows what strings go where. Thread the strings up through the saddle as the package shows. Make sure to thread all 6 strings before moving to the next step. 4.) Once all 6 strings have been installed and checked to make sure location is correct, begin threading the strings through the tuners, starting with the 6th string (thickest), and thread it through the tuner from the inside out. Once you have pulled the string through, give about 2 inches of slack before you begin tightening. Turn the wing nut while plucking the string until it sounds, then move to the next string. Make sure each string has at least 3 wraps on the tuning post before continuing. Sinclair Community College | ETD 110 Guitar Service Manual 8 5.) Continue threading each string from the 5th to the 1st. Make sure not to over tighten any strings as they will snap. 6.) Trim the long ends of the strings above the tuning posts. Tune your guitar and play away! Sinclair Community College | ETD 110 Guitar Service Manual 9 Tuner Repair and Replacement: � Philips screwdriver � Sewing machine oil � Calipers There are two ways to easily maintain your tuners to ensure that they will operate properly for the life of your guitar: Keep them tight and keep them oiled. Before you perform any maintenance, be sure to first remove the strings from the tuners. There are two screws on the tuners that will need to be tightened. The first is a nut that tightens the tuner on to the headstock, simply use a small wrench and tighten it down firmly. The second screw tightens the tuning button, and is located right on the end of the button, simply tighten it with a small screwdriver. Always make sure that this screw is tight, a loose tuning button can strip or even crack. Regularly oiling your tuners gears will ensure that the tuners turn easy, lock correctly and will prevent them from freezing into place. Inadequately oiled tuner gears can cause premature wear that could result in stripped gears. If you notice that the tuners are becoming hard to turn, most likely they need to be oiled. Depending on the frequency and style of your playing, it’s recommended to oil your tuners every 6-8 months. To do this, all you need is a bottle light sewing machine oil, put a couple drops around the outside of each string pole and let the oil run down into the gears as you slowly turn Sinclair Community College | ETD 110 Guitar Service Manual 10 the tuning button. Your gears should turn smoothly now, and last for the life of your guitar. Generally there are only 2 parts you’ll have to replace tuner-wise, those being the tuner button, or the entire tuner assembly. Replacing the tuner button is simple, all you have to do is take out the screw that holds the tuner button in place and the button will slide off its post. Simply slide the new one on and put the screw back in place and you’re done. Before you can replace your tuners you’ll have to get a new set, this can be a somewhat overwhelming process as there and many different types and sizes of tuners on the market. The simplest way to make sure everything will work correctly is just to buy the exact same tuners that were on the guitar already. If you are looking to upgrade however, you will have to take a few measurements to ensure proper fit of the new tuners. Measurements needed are: thickness of the headstock, height of the string post, and size of the hole that the string post sits in. You will also need to decide on a gear ratio. Most tuners have a 14:1 gear ratio, but there are units available from the regular 14:1 to 25:1 for extreme fine tuning, but overboard unless you’re a serious guitarist. Once you have decided on a tuner set, replacing the tuner is simple, just unscrew the nut on top of the headstock and slide the tuner out through the back. Reverse the process for the new one and you’re done. Be sure to double check that the new tuners are set tight on the headstock. Sinclair Community College | ETD 110 Guitar Service Manual 11 Pickup Adjustment: � Regular or Philips screwdriver There are literally hundreds of styles and configurations for guitar pickups, the majority of which are called “floating pickups”, named because they do not mount directly to the guitar body but are attached to a pickup ring with springs between the ring and pickup frame holding the pickup in place. The springs allow the pickup to “float” in place. The height can be adjusted by tightening or loosening the mounting screws, and thus also allows the tone quality to be adjusted. Almost all electric guitar pickup problems are caused by damage or incorrect pickup height and/or placement. This means that proper setup of the pickup is imperative to the life and performance of the pickups on your guitar. Setting a floating pickup is fairly simple, and you can adjust for any type of playing style. Pickups are basically small microphones picking up sound waves reverberating from the strings, so the closer the pickup is to the string, the more sound it will pick up, and vice versa. The purpose of adjusting is to get all the pickups to have the same volume. Start by plugging in your guitar and playing the low E string right above the bridge pickup and pay attention to the volume level. Next, do the same thing with the high E string. Raise or lower each side of the pickup until the volume is the same on both sides. Do the same for the neck pickup, then check the volume level between the two, if Sinclair Community College | ETD 110 Guitar Service Manual 12 there is any difference; adjust until the bridge and neck pickups are the same volume. Another way to easily check if the pickups are adjusted correctly is to measure the height of the strings on each side of the pickup and adjust till they are the same height on each side. Fine tuning can now be done my testing the volume just like we did before. Sinclair Community College | ETD 110 Guitar Service Manual 13 Pickup Selector Repair: � Screwdriver � Wire clippers/strippers � Soldering iron and solder The pickup selector is simply a toggle switch that is used to control which pickups are being used when playing the guitar. Since most guitars have at least 2 separate pickups, the pickup selector switch is crucial to finding the perfect sound to suit your playing style. While there are various types of pickup selectors available, the ones used in our guitar are known as a 3-way selector. A pickup selector is a simple electronic switch that is hardwired to both the guitar pickups and eventually the guitar jack. When the switch is flipped in a direction, the switch connects the lugs wired to the pickups and the jack completing the circuit. This is how the pickups are selected. While one or a combination of pickups is selected, the other pickups are deselected by the same means. Sinclair Community College | ETD 110 Guitar Service Manual 14 Pickup Selector Repair: Pickup selectors can wear out over time. The lugs and the rotating switch can lose their tight connection with years of use. Replacing the switch is pretty simple and only requires a few steps. Most pickup selectors are either mounted to the top of the guitar through a cavity routed in the back of the body or mounted to a pick guard. For pickup selectors that are mounted to the top of the body, simply take a screwdriver and unscrew the pickup selector. You will have to remove the knob on the end of the level before you can slide the selector through the channel and out of the cavity. For pick guard mounted selector, like Fender Stratocasters, you will need to remove the entire pick guard to remove the selector. Simply unscrew the pick guard from the body, flip it over, and rest it on the top of the body. The pick guard will still be wired to the body, so you can't go very far with it. Then, unscrew the selector. It is important that you take note of what wires are soldered to what lugs before you remove the selector. Refer to the in this manual for assistance. Once you know where everything has been wired, cut the wires close to the lugs and remove the old selector. Once the old selector is removed, screw the new selector in place. Follow your wiring notes from the old pickup selector, strip the wires with a pair of wire strippers, and solder the wires to the correct lugs. After everything is soldered in place and checked for correct layout, reattached the cavity cover or pick guard, plug in the guitar and check operation. For more information about how to solder wiring, see the section. Sinclair Community College | ETD 110 Guitar Service Manual 15 Fret Repair and Replacement: � X-Acto knife � Calipers � Feeler gauge � Radius gauge � Fret wire bender (optional) � Fret press � Fret hammer � Screwdrivers (various sizes and types) � Fret bevel � End nippers � Chisel � Guitar Wax The is the part of the fret that comes into contact with the strings at the top of the fret. The is the bottom of the fret wire that is set into the fret board. The are the protrusions that stick out of the fret tang to hold the fret wire in the fret slot. Not all guitars have the same size fret wire. Different sized in the fret wire will result in different sounds. This leaves it up to the player to decide what kind of sound they would like to get out of their guitar. Sinclair Community College | ETD 110 Guitar Service Manual 16 Fret Repair and Replacement cont: Fret wires are commonly made out of nickel and stainless steel, although they can be made out of several kinds of materials. Stainless steel is much denser than nickel which helps prevent wear. On the other hand stainless steel is much harder to install than nickel due to its density. Nickel is often recommended for the average player. After your frets have been removed from the guitar you need to measure the size of the crown. Using a pair of calipers, you can measure the height and width of the crown. If the fret was glued into the slot then will need to clean out the glue that is left in the slot. This will help you get accurate measurements when measuring the fret slot. After the fret slot is completely clean, you can take a feeler gauge and insert it into the slot. Frets will range from .023” to .050” in width. After you have the measurements of the fret slots, you will then be able to choose the correct fret wire. When selecting a wire, the only thing that needs to be a certain size is the tang. The tang must be .002” smaller then the width of the fret slot. This will let it lay snug in the slot. The bead of crown can either be the same size as the previous wire or different. Sinclair Community College | ETD 110 Guitar Service Manual 17 Fret Repair and Replacement cont: Fret boards have a slight curve to them known as the radius and this will have to be measured if you want to install new fret wire. To measure the radius, you will have to take the strings off and place a radius gauge against the board. Turn the gauge until you don’t see any light coming through when you have the gauge placed on the board. Radius Gauge Fret wire will usually come in 1 or 2 foot sections, although they can be bought pre-cut. This fret wire will initially be straight but to fit it on to your guitar, your will have to bend it to the radius of your fret board. You can use a fret wire bender to correctly bend it to fit your fret board Fret Wire Bender - Over time frets will begin to wear from continued use. Worn frets will have divots where the strings lay. Worn out frets can be leveled out but if the fret is worn down too much than there isn’t enough material left to play and they will need to be replaced. Frets can become damaged from several different things like dropping your guitar on a hard surface. A damaged fret will most likely need to be replaced. Sinclair Community College | ETD 110 Guitar Service Manual 18 Fret Repair and Replacement cont: A fret that is improperly seated in the fret board will most likely cause string buzzing. To tell if a fret is seated properly you can look at the base of the crown and the fret board. The crown should lay flat against the fret board so there is no space in between. If the fret is improperly seated then it needs to be removed and reseated properly. Guitar frets are usually glued into the fret slot although there are some manufactures that make the fret slot so tight that friction is what holds the fret in place. It is important to know how the frets on your guitar are kept in the fret slots. There also may be a certain way that the frets need to be taken out. Frets in early Fenders were slid in from the side making it very hard, if not impossible to remove them from the top. So they easiest way to remove the frets are by pulling them out from the sides. Here are the steps you should take when removing the frets from an early style fender. 1. Remove the strings from the guitar 2. Unscrew the neck and remove it from its pocket on the body. 3. Clamp the neck down and start to remove the frets. Take a hammer and a nail set to remove each fret. Lightly hammer the nail set into the side of the fret to slowly remove it. Make sure not to chip any of the fret board, but if you do you can glue it back on after the fret has been removed. 4. Clean the slot and replace the fret. Sinclair Community College | ETD 110 Guitar Service Manual 19 Fret Repair and Replacement cont: Unlike early Fender’s, today the frets are directly place into the slots in Fender guitars. They also held into place by glue so that will have to be heated up to be able to remove the fret. Here are the steps for moving this kind of guitar. 1. Remove the strings from the guitar 2. Unscrew the neck and remove it from its pocket on the body. 3. Take a soldering gun and file a notch in the so that it can fit the fret wire in. 4. Run the tip of the gun across the top of the fret. Make sure that you do not heat the fret too much. You just want it hot enough so that the glue is loose enough to allow the fret to come out. 5. Take a pair of end nippers and place them on the fret board. When you clamp on the fret, it should come and without you having to actually pull it out. 6. Clamp the fret in 1/8” increments until it is completely out of the slot. 7. Clean the slot and replace the fret. Sinclair Community College | ETD 110 Guitar Service Manual 20 Fret Repair and Replacement cont: With these types of guitars, the frets are usually installed before the lacquer in put on. This means that if you try to directly remove the frets than you could create cracks in the lacquer. To prevent this, score the edges around the base of the fret with an Xacto-knife. Now when you remove the fret, it won’t be attached to the lacquer and cause it to crack or chip. The rest of the steps for removing the fret are the same as above. Before you start installing the frets you are going to want to wax the fret board. The wax will prevent the glue from hardening on the board. Try to keep the wax from getting into the slots. If was does manage to get into the slots then you can clean it out with a knife. Note that you do not need to wax finished fret boards. Guitar Wax (On unfinished boards) run a bead of super-glue into the fret slot. Not much glue is needed, just a small bead across the top of the slot. Once you put the glue into the slot, immediately place the fret into the slot. You do not want to let the glue sit for very long, and to prevent this only put glue in one slot at a time. (On finished boards) Unlike on an unfinished board, you do not want to use super glue to apply the frets. Super glue will cause problems with the finish on you board. Instead, use common wood glue. Like before, don’t let the glue sit for a while and only put glue into one slot at a time. Sinclair Community College | ETD 110 Guitar Service Manual 21 Fret Repair and Replacement cont: A fret can be put into a slot with either a fret press or a fret hammer. If you are using a fret press then lightly hammer both ends of the fret when setting it in the slot. You can then press the fret in with the fret press. If you only have a fret hammer then lightly hammer both ends of the fret as before. Then lightly tap all the way across the fret. Make sure the fret is all the way in the slot and there is no space below the crown. Be sure not hammer too hard or you could damage the fret and it will need to be replaced. Repeat this until all of the frets are in their slots. You can then slightly hammer down the edges that are hanging off the sides of the board. This will allow the frets to be able to stay on the board easier. Fret Press Fretting hammer Sinclair Community College | ETD 110 Guitar Service Manual 22 Fret Repair and Replacement cont: Make sure you remove the excess glue on the fret board before it dries. To do this take a dull chisel and scrape it off, this can be done on both finished, and unfinished fret boards Chisel After the glue has dried, you can take a pair of end nippers and cut off the edged of the frets that are hanging off the sides. After they are nipped off, you should take a file and smooth down the edges. Make sure to file downwards on the side of the board. If you file upward then you risk loosening your frets. End Nippers To make your fret rounded on the edges you can use a fret bevel. Use a 35 degree bevel to get a 35 degree angle around the edge of the fret. Beveling will usually leave burrs, so use a three-cornered file to remove the burr. After the burr has been removed, sand the edge with a 320-grit, 600-frit, 800-grit, and 1,000- grit sandpaper. Fret Bevel Sinclair Community College | ETD 110 Guitar Service Manual 23 Action Adjustment: � Feeler gauge � Allen wrench to adjust truss rod � Radius gauge The action is the height of the strings from the fret board and is usually measured at the 1st or 12th fret. Strings that are set high above the fret board are known as “High-action” the opposite goes for strings that are set low. The Action of a guitar is important when determining its playability. If the action is too low, then it can cause string buzzing. If the action is too high then it will start to become uncomfortable and difficult to play. So it’s good to find a median where it is high enough to not cause string buzzing but also low enough to be comfortable. Picking an action adjustment will also depend on the preference of the player Drastic changes in the temperature will either cause the wood in your guitar to shrink or expand. As a result the neck will start to slightly bow which caused the action of the strings to change. If you change the tension of your strings from high to low and vice-versa then it could result in neck bowing and have a similar effect as temperature changes. Extended use can cause the nut of your guitar to wear down. When this happens, it could affect the action of your guitar. Sinclair Community College | ETD 110 Guitar Service Manual 24 Action Adjustment cont: Most of the time adjusting the action can be as simple as adjusting the truss rod. For more serious action problems you may have to adjust the nut or bridge of your guitar. Just know that the three main areas to go for adjusting the action is the truss rod, nut and bridge. Adjusting the truss rod will straighten and flatten out the neck which will bring your action back to its normal level. Remember that straightening the neck too far may cause string buzzing so leave a slight amount of action on your strings (for details see truss rod adjustment). If this does not fix the problem then you are going to want to look at the nut and bridge. To check if the nut is causing the issue, use a feeler gauge to measure the distance between the bottom of the strings and the first fret. The standard distance is .06”, if the string is higher than this then you are going to want to file down the nut until it reaches this length. Over the years there have been many different styles of Fender guitars. Through all these different styles, the basic design of the bridge has mostly stayed the same. Each string is mounted on top of a saddle piece and is strung through the body or bridge. Each saddle piece can be individually adjusted at the body or fret board. To adjust the action you will have to adjust the height of the saddles at the bridge. Here are the steps for doing that. 1. Tune your guitar to pitch 2. Check the back-bow and relief of the neck 3. Adjust the truss rod to straighten the neck 4. Retune your guitar and check the back-bow and relief again 5. Check and adjust the action at the nut 6. Measure the high and low E string at the 12th fret by placing a precision ruler on the 12th fret Sinclair Community College | ETD 110 Guitar Service Manual 25 Action Adjustment cont: 7. The distance between the bottom of the high E string and the top 12th fret should be set to 2/32”. If the string is higher or lower than 2/32” then you will have to adjust the saddle piece with an Allen wrench. 8. Set the low E string to 3/32” at the 12th fret by raising or lowering the saddle. 9. Place a radius gauge that corresponds to the radius of the fret board radius on the strings. The gauge should sit on the low and high E strings while touching the middle strings. If the middle strings are higher or lower than the gauge, you will need to adjust the strings’ height relative to the outside strings. When the gauge is placed on the outer strings, the rest of the strings should be touching the gauge but not holding it off the outer strings. Retune the guitar and check the action of the outer strings at the 12th fret. Sinclair Community College | ETD 110 Guitar Service Manual 26 Bridge and Intonation Repair � Small Philips screwdriver or 1.5mm Allen wrench There are many different styles of bridges. All bridges are made of hard metal; therefore, they are extremely durable and rarely have to be repaired. Most often you can maintain the function of your bridge with just proper set up. In this manual we will discuss the Fender style guitar bridge. The bridge consists of a base plate and six saddles. These saddles can adjust the string height and intonation of your strings. With the Fender style bridge, and with many others, the strings are strung through the body and mounted on top of each saddle. This type of bridge is often referred to as the Tremolo style bridge. This type of bridge is most common not only because of its stylish look, but also because of its adjustability and durability. The saddle pieces on the bridge can be adjusted closer or farther away from the body, which in turn adjusts the string height or action. Each saddle has a small screw on it that adjusts its height (as seen right). With most Fender style bridges all you will need is a 1.5mm Allen wrench. Tightening the screw will move it closer to the body, while loosening the screw will add to its height. Sinclair Community College | ETD 110 Guitar Service Manual 27 Bridge and Intonation cont: Poor intonation is when your strings sound out of tune as you play up or down fret board. The best way to adjust the intonation of your guitar is to adjust the scale length of each string. Before we talk about adjusting intonation with the bridge, we must first define scale length. Scale length on a guitar refers to the distance between the edge of the nut and the top of each saddle piece. The most common scale length on most Fender is 25.5 inches. Gibson and others are 24.75”. You can check the intonation by playing a fretted note on the 12th fret and then a harmonic on the 12th fret. These notes should sound exactly the same. If the note sounds sharp or flat, the intonation will need to be adjusted. At the bottom of each saddle is a screw that adjusts the saddle closer or farther away from the fret board. No matter what type of bridge you have, the saddles can most often be adjusted the same way. The screw will need to be tightened or turned clockwise if the fretted note sounds sharp. The saddle pieces will move away from the fret board the tighter the screw is turned. If the fretted note sounds flat, you will need to loosen or turn the screw counterclockwise to move the saddle toward the fret board. You may then check the intonation again, but remember to always adjust in small increments. Another way of checking intonation is through computer software. Here is a link for a free download of a frequency analyzer. You simply plug your guitar into the computer and the software allows you to check the frequency of your strings to determine if your intonation is set up correctly. Sinclair Community College | ETD 110 Guitar Service Manual 28 Nut Adjustment and Replacement: � X-Acto knife � Vice grips or End nippers (optional depending on guitar) � Super glue Nuts can become damaged over time and affect the playability of your guitar. When this happens you are going to want to replace the nut. If the neck of your guitar is finished then you are going to want to score the edges of the nut with an X-acto knife. The reason for doing this is to prevent chipping when removing the nut. X-acto Knife This is probably the easiest method for removing a guitar nut. After you have scored the edges of the nut, you can slightly tap the nut from the side to cause it to slide out. Sinclair Community College | ETD 110 Guitar Service Manual 29 Nut Adjustment and Replacement: The pull method is a little more risky as it can cause chipping in the fret board. To pull the nut out use a pair of fret nippers or vice grips and pull it out slowly and carefully. To prevent chipping of the fret board, put protective tape of both sides of the nut. If you can’t manage to get the fret out with the previous two methods then you are going to have to cut it out. Using the cut method will destroy the nut so try to use the other methods if possible. To cut the nut out take a thin saw and cut down the middle of the nut. While you are cutting be sure not to cut down into the fret board. After the middle has been cut out you can break out each side separately. You are going to want to clean the slot out of any glue that was left behind before you install the new one. You will need a thin file that can fit into the slot. Make sure that you don’t file down the sides of the slot as it has to stay straight. After the slot is cleaned out you can lay the nut into the slot. If the nut hangs off the edges at all, you are going to want to file them down until they are smooth. Before you actually glue the nut into place, you are going to want to test putting the not into the slot and seeing how it fits and how you are going to clamp it down while gluing. You can use either wood glue or super glue to hold the nut into place. You will only need a small amount of glue. You don’t want the glue to seep out the sides and if you have to remove the nut again, a lot of glue will make it difficult. When setting the nut into place, make sure the nut is flat on the fret board and that it doesn’t hang off the edges. You will need to clean the slot out just like before. Put the nut into the slot and mark where the screws are going to be. Then remove the nut and drill holes at the marks that are Sinclair Community College | ETD 110 Guitar Service Manual 30 slightly smaller and shorter than the screw. After you have drilled the holes you can put the nut back in the slot and screw it into place. Strap Button Repair � Screwdriver � Wood glue � Dowel rods or toothpicks (depending on situation) � Sandpaper (400 grit+) One thing that doesn’t come up much when talking about guitar maintenance, but is extremely important, is strap button repair. The last think you want is your guitar to fly off while you are playing. Strap buttons loosen up gradually just from everyday wear and tear. If a strap button loosens or pops out while playing, your guitar will fall to the floor which may severely damage it. Strap buttons can be repaired easily but you must pay attention to detail. First of all if your strap button can easily be pulled out, the only way to fix it is to plug and re-drill. The hole has likely been stripped out which means you must find a dowel or a plug that will snugly fit in the hole. You must first measure the hole left by the screw. You will likely be able to find the correct size dowel at any local hardware store. Use a small amount of wood glue such as Tight-Bond to glue the dowel in the hole and then cut off the excess. Once it has dried you may sand it down flush to the body. ! Once you are done sanding re-drill the hole and now you may screw in your strap button and enjoy the new, snug fit. Remember, always be careful not to scratch or chip your guitar. Sinclair Community College | ETD 110 Guitar Service Manual 31 Strap Button Repair If your strap button is just slightly loose, there are a couple of ways you can go about fixing it. The golden rule when repairing your strap button is NEVER GLUE THE SCREW IN THE HOLE, as this can cause major damage down the road. One way of fixing it is simply by using a toothpick. Unscrew the strap button and place a thin toothpick in the hole. When you screw the button back in the toothpick will give the threads something to hold on to and this may fix the problem. Another method that works really well is building up the hole or making it smaller. Unscrew the strap button and carefully brush a small amount of superglue around the walls of the hole. Remember to allow this to dry completely before screwing in the strap button. A few coats may be needed to build the hole up enough, but it is very effective. This simple fix should keep your strap button from wiggling around or coming loose. Sinclair Community College | ETD 110 Guitar Service Manual 32 String Buzzing: One of the most annoying problems to have when playing your guitar is string buzzing. It is not a very difficult problem to solve, but locating the cause may be easier said than done. Before you start doing any major work on your guitar, inspect it thoroughly to determine the exact location where the buzzing is coming from. String buzzing may occur when the neck is warped, the frets are uneven, the slots in the nut are too low, the action is too low, or it is just set up poorly. Either way this problem can likely be fixed in no time at all, or you’ll be back to hearing that clean sound that you love. First try to play each open string to see if it buzzes. Make sure not to fret any of the strings. If string buzzing does occur the problem is likely coming from your nut. The slots may be too low or just worn down. The string action will be too low at this point which will cause the buzzing. If you hear the buzzing you will need to repair the nut or just replace it all together (see Nut Replacement for details). If no buzzing occurs on the open strings, try to fret them at various points along the neck. If buzzing occurs at only a few frets and not others, your frets may be uneven. You will need to replace the frets on your guitar to fix the buzzing. If the buzzing occurs at all frets, your action is likely too low. This can be solved with a simple action adjustment (see Action Adjustment). Sinclair Community College | ETD 110 Guitar Service Manual 33 String Buzzing: Most other problems are not as serious and do not require any repair work. These problems can likely be solved with proper setup. The following is a chart that may help with any other buzzing problems that might occur. Symptom Possible Cause(s) Remedy Open String Buzz Buzzes when played open, stops when string is fretted. Nut Worn or poorly cut nut slot is placing the strings too close to the frets near the nut. Replace nut or shim to add height. Set up instrument properly. One Spot Buzz Buzzes on one note, or one area but stops when moving away from that spot. Frets Frets are not level, one or more is too high/low. Loose or sprung fret is rising out of the fingerboard. Hump in fingerboard. Wear or deep grooves in frets. Secure all loose frets, level and dress. Fret leveling and/or replacement of worn frets. Buzzes When I Strum Hard Buzzing occurs when strumming or picking aggressively but can be silenced when playing lightly. Set Up Insufficient relief in the neck. Poor set up. String gauge too light. Adjust truss rod. Set up instrument properly. Use heavier strings. Buzzes Everywhere Buzzes nearly everywhere even though it is set up properly, will often disappear if string is fretted hard or closer to the fret and plucked softly. Frets Frets may be worn out or too low. Very small fret wire used. Replace frets. Frets Out Buzzes nearly everywhere all the time, strings are literally touching the frets in the center or other area of the fingerboard. Neck Truss rod may be way too tight back bowing the neck. Neck could be a warped, or have excess back bow even after truss rod is loosened. Set up instrument properly. Adjust truss rod for more relief. Use heavier strings if relief cannot be created thru truss rod adjustment *courtesy of fretnotguitarrepair.com Sinclair Community College | ETD 110 Guitar Service Manual 34 Pot Repair and Replacement: � Screwdriver � Wire cutters � Guitar pick (optional) � Soldering iron and solder One of the parts commonly mentioned on electric guitars are the pots, but what exactly is a pot? Pot is actually short for potentiometer, a small device that controls the flow of electric current making it basically a glorified resistor. A guitar will usually have 2 pots; one is for volume and the other for tone. On the bottom of each pot there are three lugs; the 2 outer lugs carry electric current to and from the pickups, while the middle lug resists the voltage. When the knob on the pot gets turned, the middle lug will resist more or less voltage which causes the volume to either decrease or increase. The only difference between the 2 pots is that the tone pot has a capacitor installed that prevents high frequencies from reaching the output jack and the amplifier. Just like any other electronic component on a guitar, pots will eventually wear out or break, and will need to be replaced. Replacing a pot is simple, and very similar to replacing a pickup selector. 1. Remove the knob Sinclair Community College | ETD 110 Guitar Service Manual 35 Pot Repair and Replacement: First, you need to remove the knob for the pot/s that you want to replace. Some knobs are held on by set screws so look for one before you attempt to remove it. If there is no set screw, the knob is on a split shaft, meaning that it is held on by friction and pressure and can usually be remove by pulling up on the knob. If it’s stuck, try prying it up with a thick guitar pick. Once removed be careful not to drop it on your guitar. 2. Unscrew retaining nut Once the knob is removed, you will see a nut on the pot’s shaft, simply unscrew that to allow the pot to drop out the bottom of the guitar. 3. Replace the pot To access the pot you will need to remove the electronics cover on the back of the guitar. Once inside, you’ll be able to remove the old pot. Before you cut any wires take note of which wires are soldered to which lugs (refer to the wiring diagram). Once you have the wiring checked, cut the wires close to the lugs and remove the pot. Bolt the new pot in place, solder the wires to the correct lugs, place the electronics cover on the back of the guitar body and put the knob back on. If you are unsure about the soldering process, refer the page. Sinclair Community College | ETD 110 Guitar Service Manual 36 ………….Common Electronics Problems and Repairs: If your guitar is constantly cutting out, it’s a very common symptom of a simple wiring issue, usually caused by a faulty solder joint in the electronics. The most common reason for this is the output jack becoming loose in its socket and rotating, causing the connections inside to break off. This is why it’s very important to make sure your output jack is always tight. Fortunately, loose wiring connections are simple to fix, the trouble is finding them. 1. Plug your guitar in and toggle all the switches and knobs. If your guitar still plays fine, the connection problem is internal. 2. For non-Stratocaster style guitars, remove the cavity covers on the back of the guitar. Strum the strings and move the wires that are soldered to the switches, pots, and output jack. You will probably find your loose connection when the guitar cuts out again. For Stratocaster style guitars, you will need to remove the pickguard and manually check each connection point to make sure the solders are solid. 3. Re-solder the loose wire and screw the cavity covers or pickguard back on. Guitar crackling is a very common issue but rarely has to do with wiring. Typically, if your guitar crackles when adjusting the volume and/or tone knobs, it’s because the pots are dirty. To clean the pots, simply remove the knob and spray some electronic contact cleaner into the pot around the shaft and wipe off excess before replacing the knob. If crackling persists, you may have to replace your pots. Sinclair Community College | ETD 110 Guitar Service Manual 37 Truss Rod Adjustment: One thing every guitar owner should know how to do is adjust the truss rod. The truss rod is a metal rod that is inserted into a channel in the neck of the guitar. Its main purpose is to counteract the pull of the strings on the neck. Over time the tension from the stings tend to warp the neck of the guitar. The neck can warp due to temperature and humidity changes as well. The truss rod, which is also adjusted on the neck of the guitar, can easily be adjusted with an Allen wrench or screw driver. Many guitar owners are afraid of adjusting the truss rod but it is actually very simple and can make a world of difference with your guitar. There are two types of truss rods used today. Single action truss rods will bend the neck backwards when tightened. When loosened, this truss rod will not actually bend the neck forward; it just relieves its pressure and allows the strings to bend the neck. A dual action truss rod will actually bend the neck backwards when tightened and forward when loosed. The first step is to decide which way you actually need to adjust the truss rod. It is extremely important to understand that the truss rod will only adjust the straightness of the guitar and nothing else. Checking the concaveness of the neck is quite simple. You start by holding the Bass E string down at the first fret. At the same time hold the string down at the 12th fret as well. While holding the string down, look at the 6th fret and use the string as a straight edge to read the curve on the neck. The ideal gap between the string Sinclair Community College | ETD 110 Guitar Service Manual 38 and the fret will be about a tenth of an inch or the thickness of a business card. If the gap is less than this, the strings may buzz when played due to the neck being back bowed or too straight. A straight neck will be easier to play but a slight bow is ideal to get the perfect tone out of your guitar. Remember you can always adjust to your specific playing style. As mentioned, the truss rod can easily be adjusted with an Allen wrench or a screw driver. First you must locate the nut for the truss rod. The location varies on different guitars but is usually located at the end of the neck or behind a plate on the head. If your neck is bowed forward, you will want to tighten the nut to bend the neck backwards. If your neck is back-bowed, you will want to loosen the nut which will allow the neck to straighten or bow forward. As a rule of thumb, never adjust the truss rod more than 1/8th turn at a time. Over tightening may break the truss rod which can be very expensive to replace. Also remember that it may take a few minutes for you to see the results of your adjustments, so just adjust a small amount at a certain time. There are some precautions you must take when adjusting the truss rod. Remember to always use the correct tool to avoid stripping or damaging the nut. Check with the manufacturer to verify that you are using the right side wrench. Some nuts are welded to the truss rod, so as you can imagine, repair work can be costly. Also, if your truss rod makes strange noises or extreme resistance occurs while adjusting, take your guitar to your local shop to avoid any damage. Sinclair Community College | ETD 110 Guitar Service Manual 39 Finish Repair: Over the years, your guitars finish can experience many different problems. This is mainly due to the use and abuse on your guitar. You can re-finish your guitar but it tends to be a hard thing to, so you want to be careful. Drastic changes in temperature will usually be the cause of cracks in the lacquer. When the temperature is changing, the wood will want to expand and contract. The lacquer will want to stay stiff, so when the wood is changing shape, the lacquer will crack. Lacquer cracks from the inside, so they will feel smooth if you run your finger across them if they haven’t cracked all the way through. Guitar scratches are very common and hard to avoid. These scratches can be both shallow and deep and there are different ways to deal with both. The best way to get rid of shallow scratches is to wet sand, buff, and then polish. Wet a piece of 1000-grit sand paper with soap and water. Lightly sand down the area of scratches and make sure you only remove a slight portion of the lacquer. Then take a buffer or rag and rub in some buffing compound. After you have buffed the area, polish it down to make it shine. Deep scratches are much harder to remove and are usually best just left alone. If you try to sand out the scratch then you will have to go deep and may even sand off the paint. At this point it would have to be refinished. This is caused by an improper finish where the top coat does not stick to the sealer coat. When this occurs, you will need to strip the finish off and refinish the guitar. Simply spraying more lacquer on the guitar will just make this problem come up again later. Sinclair Community College | ETD 110 Guitar Service Manual 40 How to Solder: Being able to solder your own electronics is something every guitarist should know how to do. You never know when you may have to repair a broken wire, replace your pickups, pots, or whatever else may break or wear out over the life of your guitar. Soldering is very easy and only requires a little practice to become good at. Soldering is the joining of two metals by using a third metal, such as attaching a wire to a pot using the third metal which is the solder. The solder itself is a metal alloy with a very low melting point, when melted it will flow quickly over the piece you are working on and solidify quickly once the soldering iron is removed, and will fuse the two pieces together. 1. Soldering Iron Soldering irons are fairly simple devices and relatively inexpensive. Basically it’s just a device that uses electric current to heat a metal tip. They come in a wide variety of wattage levels, some being adjustable. For a basic soldering iron, I recommend getting one between 30 and 60 watts so that it will have enough to melt the solder quickly, but not too hot to damage the components you’re working with. Some will come with interchangeable tips, which is nice for different types of soldering. Sinclair Community College | ETD 110 Guitar Service Manual 41 2. Solder Choosing solder is very important since it is what will hold your wiring together. For this type of work, you will want to get a 60-40 rosin core tin/lead solder. It’s the industry standard for electronics soldering and will melt quickly and produce a solid joint. This type does give off toxic lead fumes when used, so many companies produce a rosin core solder that is lead free. Either of the two types will work fine for your guitar. 3. Damp sponge or paper towel You will need something to clean the tip of the soldering iron and wipe up any excess solder afterwards. You can use either a wet sponge, rag, or a folded paper towel wetted down to do this. It’s also handy for keeping the iron from overheating. 4. Wire strippers Wire strippers are used to remove the rubber insulation from wiring before we solder it. Because of the small size of the wires we are dealing with, you should get a pair of small gauge wire strippers. Most will cover a range of wire from around 10 gauge all the way down to 22 or 24 gauge wire. Sinclair Community College | ETD 110 Guitar Service Manual 42 How to Solder Electronics: Soldering is very simple and easy to learn, however it will take some practice to fully grasp. I recommend that you gain some practice before you dig into your guitar if this is your first time soldering. You may realize it will be nice to have an extra set of hands in some cases, if that’s not available just take your time and go steady. This is a step by step, how-to on making a clean solder joint. 1. Strip the wire As mentioned before, stripping the wire refers to removing the protective rubber insulation from the actual wire underneath. Start by taking your wire strippers and inserting the wire into the slot marked for the size wire you’re using. Squeeze the handles to cut through the insulation, and then slide strippers away from you to remove the insulation. Usually it works best to remove about ¼ inch of the insulation, just enough to solder the wire to the lug without leaving any extra exposed. 2. Tin the tip of the soldering iron Tinning the tip of the soldering iron means to coat it with a thin layer of solder. Having the tip tinned helps to transfer heat to the workpiece more efficiently. Start by plugging in your soldering iron and letting it heat up for about 10 minutes. Once hot, wipe the tip with a wet paper towel or sponge to clean off any old, oxidized solder. Now take your solder spool, and melt a thin coat of solder on the tip, not too much, just enough to cover the tip. Immediately wipe the tip again with the wet towel before the solder and flux can become solid. You’re now ready to start soldering the wire. 3. Tin the end of the wire Tinning the wire helps to hold all the small wire strands together and will make it easier to make the final solder joint. Simply heat the exposed wire end with the iron, melt some solder on to the wire and wipe off the excess. Sinclair Community College | ETD 110 Guitar Service Manual 43 4. Soldering the joint Now take the piece that you will be soldering to, such as the back of a pot. Take the soldering iron and move it slowly around on the pot until it is heated just enough to melt the solder. Now take your tinned wire and hold it on the pot until the solder melts. This is where another hand comes in handy. While holding the wire on the pot, don’t remove the iron, take your spool of solder and melt a little on top of the wire until it flows evenly across the wire. When you have enough solder applied, remove the spool of solder, and then the iron. The solder joint will solidify quickly, once it has become solid give the wire a small tug to ensure it has bonded well. If it checks good, you’re done. When soldering the back of a pot, or any other electronic device, make sure not to get them too hot as it will cause damage to the components inside. This is a link to a soldering tutorial video that clearly shows the process involved and some good tips for making a clean joint: Sinclair Community College | ETD 110 Guitar Service Manual 44
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