How To Setup A Fender Telecaster Part 4 (Tweaks, Tips and Cutting the Nut)

Transcript:

A Quick Neck Realignment and Action Check

i put a capo on here to keep these strings and everything under control. They like to pop out of the of the old school tuners if it’s not organized like that.

I took the neck off and I gave it a good tweak, it’s a judgment call. I gave it what I considered to be a good a good torque anticipating the amount of pressure it would it need to be in the state that I want it in. And then reinstalled the neck again, just two screws ’cause I might have to take it off again.

Now I’ll get that capo off there. Going to double check my alignment. Okay, that looks not too bad. This thing wants to be tilt towards treble side a little, so not doing any undo force or anything like that. That looks great.

I’m just going to set the screws again, modest pressure on your neck screws you know, you don’t torque the crap out of them. I’ve seen the screw heads just torque right down and it compresses all this wood – it distorts the plate. You don’t have to be gorilla man you know, just good moderate pressure on there and that’s dandy.

Assessing Relief

I’m going to bring this up to pitch – that was my a440 pitch fork by the way. Nice buzz there, wonder where that’s from. Well, we will find out.

Right, I’m going to take two seconds and see if I can locate what that little sizzle is all about – push the string around. Beauty, okay it was just a little softness down here little something was a little out a joint. Moving it around.

And my relief is pretty good, oh yeah, that’s real good, I like that.

At some point I will have, look around for it, I’ll have a very specific video on reading neck relief. I’ve always said I could write a book on neck relief. It’s a very interesting process involving compression, torque all sorts of interesting things and every instrument has its own little kind of thing where ,it likes this doesn’t like that or what not. It’s really quite remarkable.

Here are a couple of video examples on the subject:

Using a business card and a feeler gauge to reference neck relief for better action

How to avoid misreading neck relief

Just as an aside, I had a bass in, a brand spanking new top-of-the-line branded bass, really nice beautiful neck on it,and it was punched from the get-go. Punched. The neck was just like, I couldn’t find a happy spot on that. During the relief setup the neck would either bowed back here because of too much compression here, and it had a scoop up here. It was just… I mean this is a brand new instrument. I thought buddy, I said to the owner, take that back for warranty and he didn’t and that’s okay. That’s his choice to do that, but in my books I is a subpar instrument.

I have special tricks and things that I do to coax necks into better condition. When I see them like that, and I tried with this one, and it wouldn’t settle down – he’s got a compromised instrument that’s brand new, top end too, not cool. But it just shows even brand name stuff is not immune to the natures of force and the natural quirkiness of wood. Internal soft spots, could be whatever. It was unfortunate.

Back to our show here.

Cutting the Nut

This bit of relief looks good. The string height looks not too bad. I might work a little bit on that treble side but at the moment, I’m going to cut this nut. I’ll give you a brief rundown of how I’m going to do this. If you watchs ome of my other videos there’s a little more in-depth explanation of this process.

I have my way of doing it. It’s not the end all be all, it’s my preference. I use light and gaps let’s say, to do this, but I’m just going to make sure that we have these slots properly ramped.

The height on that low E is good. What I’m looking for is a certain amount of light gap between the string and the top of the fret using the ambient light that’s in here. When I first moved in here some time back, quite a few years now, compared to my old shop, this lighting was very different – I had to relearn the process but it only took a short time.

Anyway back cutting this a little bit to finesse the front edge of the slot there. I’m using my select files here. I’ll use certain files for certain strings. Once again, the whole nut cutting job is a story for another day.

Actually, I have some of it in another video that I got pretty in depth with it. Well, this one’s being fussy. I want to give you guys a real deep explanation on at least my process.

Here’s an example of how you can use light to cut the nut exactly the way you want it:

How to cut nut slots to the perfect depth every time.

f you can make use of it that’s awesome. Again that’s about a 50 thou needle file. This is a specific file a D string for acoustic. This is a, let’s see what is this is, this is a 16 thou, yes it’s a 16 but I’m going to look for a 20. There’s my 20. I like to use a 20 here just for starters just so I know that the walls are are good. Okay, that’s good.

It’s binding a little bit, and that’s not a problem. I’ll get in here with the 16 – just like that. Now I leave a little bit more height on the G string because it’s a wrangley string. It’s like, when you pluck it, it’s not doing this sort of thing. it’s doing this. We want to accommodate that.

Now remember this is all dependent on having the relief set up properly to begin with. On to the second string. I will use my 13. This one’s fairly high so I’m going to be a little bit more aggressive here. You can actually compensate for certain, say idiosyncrasies at the nut and your playing style if you take the time to study it properly and understand deflection, intonation and a bunch of other nifty little tidbits.

There’s more than one right way to tune a guitar. Some people will have a vice-like grip, they’re naturally heavy-handed and other people are very, very soft. Their approach is very light and the nut, the whole instrument can be set up to tailored to their particular styles, and that includes the nut. Okay, that’s dandy.

I’m going to finish up with my stubby 10 here. Notice that I don’t have it under the the button or the string tree here. That’s fine because I don’t want to wrestle with it. I’ll get a fair read with it as is. I’m being very careful not to nick the back end of the neck too, this back ridge here.

Sometimes they extend a little bit too far back during the manufacturing process and you can’t avoid but hit them, and that’s just the way it goes sometimes. Of course you don’t want to but so as I’m doing that if you can notice I cut slanted this way, slanted that way, few strokes and then back. I cut the back wall or the back, say, the trailing edge and then finesse it – just go across the slot itself at the last couple cuts.

Okay that’s really good. You can get the first string down pretty fine without worrying about any kind of buzz or anything like that so again I’m not going to get into too much more detail about that. That’s done, that is done. I know where the instrument’s sitting I won’t have to touch that again because I’m not taking the neck off at this point.

A Word on Customer Service

Funny thing might happen here, we might have some leftover compression from adjusting the trust rod which will force the neck up. I will make a point of telling my client that I had to use a couple good torques on that neck and and if it decides to move it’s not a problem, it’s just a matter of a readjustment – that’s service after the fact and that’s good business.

Okay, always, always throw that out there – that you don’t want to say, “Well, you know I couldn’t, I don’t know where it’s going to…” Yeah, don’t play that card, that’s just not cool. You want to make sure that your customer is cared for and that you’re knowledgeable enough to anticipate these natural changes, and help them to understand that it is natural and that they’re taken care of. You’re going to care of them okay, that’s a good deal.

Okay, so that being done, I’m pretty comfortable with getting those strings under there which is good to go. Give that screw up there a test – that’s good like that.

Now we’re down here, now we’re going to get into the final phase of the actual setup process which is dealing with the saddles and getting the actual action down here fixed up, or where where it’s going to wind up.

The main Factors of a Perfect Setup

I’ll relate this before I’m going to take a break, I want to relate this one thing which I come to over and over and over which is what I call the triangle of a perfect setup. That is you have three points that constitute, let’s say, the perfect setup and imagine it like a perfect triangle.

If any one of those points is out of balance the whole thing is skewed. One point is your nut, another point is the bridge, the saddles that whole area here, and the other point would be the relief in the neck.

All those things have to be in harmony to achieve the ideal setup. Once we deal with the nut, that is essentially done you should never have to worry about it again unless it wears or needs replacement through breakage or whatever. This and your relief, that’s really where the meat and potatoes is going to happen.

This, for the most part can be, once you have your your radius set you shouldn’t have to tinker with that anymore – except to maybe generally raise or lower things. You can do that like, the same amount of turns per adjuster here.

Your intonation once it’s set, unless you change the string gauges, you shouldn’t have to deal with that again either. And really, the hero in this whole thing is the relief in the neck because that will dictate how the whole thing is going to react under your hands.

I tend to to aim for a point where everything is moderate, nice, relatively easy action. I speak with the individuals. I watch them play and get a sense of how they approach the instrument and that sticks in my mind. Again, we set it up accordingly. I already have that information for this person.

Anyway, on with the show. I’m going to take a short break and get right back. Thanks.