Ever play a guitar with action that’s sky high or buzzes too much? It’s a fact, a guitar with poor action will stifle your playing and quickly rob you of enjoyment.

How do you fix it? And what tools and methods do you use to get it where it should be?

This guide explains how to make critical adjustments for most common types of guitars and the principles behind achieving great guitar action.

Editor’s Note:

This article explains, in a wholistic way, how to adjust the action on your guitar for maximum playability and enjoyment.

In order to keep the details as concise as possible, major points of adjustment are covered in broad terms first, then explained in detail further on.

What this means for you as the reader, is that you may find yourself moving from section to section in order to gain the information that fits your current situation.

I sincerely hope this guide makes sense for you and supplies the information you need to get the most out of your guitar’s action.

Steve B.

What is Guitar Action?

Guitar action refers to how the guitar feels when you play it. A guitar with good action should have the strings set at the optimal height for your instrument, match your playing style and allow you to express yourself freely.

From a physical standpoint, the word “action” also fits the context of how you manipulate the guitar. As you play, your fret hand is literally where most of the action is.

Adjusting the action on a guitar refers to changing the distance between the strings and the fretboard. Moreover, it can be a delicate process as it requires precise measurements and careful handling of the instrument.

Setting Guitar Action: An Overview

By now you should have a good idea of the target measurements you’re aiming for, the tools you need and how to make the adjustments to get you there.

To adjust the action on a guitar, there are three main points you need to focus on:

• The nut
• Neck relief
• The bridge

By raising or lowering each element, you can find the perfect balance of playability for both the instrument and the player.

Why Action Matters

If your guitar’s action is poor, it’s not only annoying, it’s distracting. In other words you’re not getting the most out of your playing time or enjoying the experience as much as you could.

In my experience, well over 90% of guitars suffer from high action. For new guitarists this can be a deal breaker – the struggle is very real. Plus they usually don’t know what good action is supposed to feel like.

Conversely, if the action is too low, the strings may buzz against the frets when played, resulting in poor sound quality.

If your guitar doesn’t play the way you’d like, what follows is the remedy to curing your poor action woes.

The Tools You’ll Need

The tools required to adjust virtually any guitar’s action are really quite modest and certainly won’t break the bank. A few of the most common tools you’ll need include:

• An appropriate truss rod adjuster for your specific guitar
• Screwdrivers and allen keys to make bridge saddle adjustments
• A fine measuring tool to determine string height
• Feeler gauges or similar reference tools
• And ideally, a set of radius gauges

Depending on your instrument you may need additional things like files or sandpaper for trimming things like acoustic saddles.

For a complete list of the essential tools for setting guitar action and further setup adjustments, check out our Guitar Setup Tools Guide.

How to Measure Guitar Action

Start With an Assessment

Assessing the current state of your guitar’s action is your starting point. Sometimes you can easily see with the naked eye that the strings are too high or low to begin with.

Look at where the body meets the neck, do the strings seem excessively high? Or are they too close to the frets?

Now sight down the edge of the neck from just behind the nut looking towards the bridge. Do the strings seem to rise too quickly? Or are they nearly touching the tops of the frets.

Strings that are too high will seem hard to play. Strings that are too close will tend to buzz or even fret out in the upper register when you bend them.

Make some mental notes about what you observe.

As for neck relief, the neck may also look like it has a bit too much “bow”. Too much relief will make the strings in the middle of the neck feel particularly spongey or little too hard to manipulate.

The neck may also look pretty straight or even have a bit of an up-bow or a slightly rounded (humped) curvature. If this is the case, once again you’ll find the strings a little buzzy.

Commit what you’re feeling to memory. It’ll come in handy as we work through the process of adjusting the truss rod and setting the action properly.

Typical Factory Specifications

Here’s a generalized chart of factory setup specs for common brand-name guitars.

Keep in mind these measurements are not absolute and subject to many different variations such as playing style, string gauge, condition of the instrument etc.

All string heights measured in inches at the 12th fret:

Measure String Height

Measure String Height at the Nut

String height at the nut is measured by assessing the air gap at the first fret. This can be done using feeler gauges, or by eye if you have enough experience.

To use feeler gauges, pick a gauge that seems appropriate and measure the air space between the top of the fret and the underside of the string.

Keep in mind that neck relief and bridge height will influence this measurement. Therefor it is essential these factors be within a reasonable range before you commit to cutting any string slots at the nut.

The following measurements can be used a general guide for most guitars to at least get you in the ballpark. You can then tweak them to your own personal preference. Keep in mind that once a string slot is cut, it’s cut.

All string heights measured in inches from the bottom of the string to the top of the 1st fret:

If you think the nut needs attention, here’s an in-depth tutorial on how to cut nut slots to the ideal depth every time:

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Measure String Height at the 12th Fret

Using your preferred fine measuring tool, here’s how to measure your string height:

1. Hold the guitar in the playing position.
2. Starting with the low E string, measure the distance from the bottom of the string to the top of the 12th fret. (Coins work really well as a quick reference).
3. Record the measurement.
4. Next, move to the high E string and repeat the same measurement technique.
5. Record the measurement.

Note: The 12th fret this is a common reference point as it’s the middle of the string between the nut and the bridge.

If you want more precision, use the 8th and 14th frets. This technique will also allow you to account for effects of relief.

Don’t worry about measuring all the strings in between, setting the outer strings will give us a guideline for the remaining strings.

Lastly, move to the end of the neck at the first fret. Does it take a bit too much pressure to push the strings down? Or do they buzz when you play them open?

In either case, it means we’ll have to make one or more adjustments to get the strings to ring out properly and feel right at the same time.

Measure Fretboard Radius

Radius gauges are an indispensable tool for coaxing the maximum playing potential out of a guitar. By matching the radius of the fretboard with the radius of the strings at the bridge, it’s possible to achieve superior guitar playability.

Chances are your fretboard radius is fairly common if your guitar is manufactured by a popular brand. Here’s a table listing some of the most typical radii used by larger manufacturers:

Common Fretboard Radius Measurements

Of course, if you’re unsure or have a more unique model, it’s a pretty quick process to find the factory specs for your particular instrument’s fretboard radius through the manufacturer’s website. Or you can refer to this excellent list of radius measurements organized by manufacturer here.

In practice, ALWAYS measure the fretboard radius of service instruments to verify you have correct information.

Radius gauges come in a variety of styles and price points. In general, they all do the same job and won’t break the bank.

Types of Guitar Radius Gauges

How to Measure Fretboard Radius

To measure neck’s fretboard radius, follow these steps:

1. Pick a notched radius gauge you think is the right one.
2. Make sure it matches the wider spans of fretboard close to or at the body joint (14th – 18th frets) without any gaps.
3. If it doesn’t match, move to the next size up or down and repeat step 2.

To measure string radius at the bridge, follow these steps:

1. Pick a solid curve radius gauge that matches the fretboard.
2. At roughly 1/2″ ahead of the saddle(s), rest the gauge against the strings with as little pressure as possible.
3. Check that all strings contact the gauge by gently picking each string in turn. Each string should buzz slightly if it is contacting the radius gauge.

If any strings do not touch the gauge you’ll have to adjust the saddle(s) to match. Because different instruments require different approaches to making these adjustments, I’ll cover them individually in the section on How to Adjust the Action on Different Types of Guitars.

Measure Neck Relief

There are a number of ways to measure or “read” neck relief. My preferred method involves measuring the gap under the 3rd string around the 7th to 9th frets.

If there isn’t a gap it means the neck is too straight or may have a back bow. We’ll address this later in the article in the section: “How to Adjust the Truss Rod“.

How to quickly and accurately measure neck relief:

1. While holding the guitar in a playing position, press the G string down at the 2nd fret with your fret hand, and at the same time, the 14th or 15th fret with your pick hand.
2. Now look at the G string at the mid-point of this span – around the 7th to 9th frets.
3. Look for a gap of light between the top of the frets and the underside of the string itself. The gap should be somewhere between .006″ and .018″ or .15 mm and .46 mm respectively depending on the instrument.

For quick reference, the gap should look about the same thickness as the diameter of the 1st or 2nd plain strings.

If the gap is more than described, or not there at all, we’ll have to adjust the truss rod.

These initial measurements will give you an excellent idea of where your guitar’s action currently sits. Depending on how you want the guitar to feel as you play, you can increase or decrease these readings to match your style.

Now that you have your reference points, you can begin the most important process of setting your guitar’s action: balancing string height with truss rod relief.

Know Your Truss Rod

Neck relief should be set so that it’s not too straight – which can cause excessive buzzing, or have too much air under the strings – which causes the neck to feel spongey and harder to play.

Depending on the manufacturer, there are basically four different types of truss rod adjusters:

How to Adjust the Truss Rod

Regardless of the type of truss rod adjuster or which end of the neck it’s located at, they all work the same way:

• Tightening the adjuster increases pressure which straightens the neck. This brings the frets and the strings closer together.

• Loosening the adjuster decreases pressure which adds relief. This adds air between the frets and the strings.

To set the relief that’s perfect for your how you like your action, make small incremental bridge height and truss rod adjustments until you’re satisfied with the results.

Make Preliminary Adjustments

Now that we’re armed with the basic knowledge of how to measure action, it’s time to make preliminary adjustments. This step gets us in the ballpark and helps us better determine what the final adjustments should be. It also helps us control problems that can pop up if we commit to a setting prematurely.

For example, if we cut the nut slots to an optimal depth then straighten the neck, the nut slots will be too low causing the strings to buzz. The only remedy then is to repair or replace the nut.

To use an analogy, let’s write a rough draft before we commit to the final copy.

Additionally, try to make preliminary adjustments using the old strings if at all possible – especially if the guitar hasn’t been adjusted for a while.

Why? Because new strings will quickly get trashed from repetitive tensioning during the adjustment process. Save the fresh strings for the last few steps to maintain their full integrity.

To begin setting the guitar’s action, follow this series of preliminary adjustments:

1. If possible, lower or raise the bridge or saddle(s) to get them in the ballpark. It’s ok to be conservative, we want to “creep” the individual adjustments gradually towards the ultimate goal.
2. Read the neck relief and make a quick adjustment if necessary.
3. Make sure the nut is cut properly. If it seems ok, leave it alone. If it has issues and needs to be re-cut, check out the quick tutorial on re-cutting a nut here. If it needs to be repaired, check out this article on nut repair.

Next, we’ll look at the fine adjustments we need to coax the most playability out of your guitar.

Action and Different Types of Guitars

Different types of guitars, electric and acoustic for example, have different types of action adjustments. Nonetheless, they all follow the same basic principle of getting the string height and neck relief to work together.

I must stress that, as we go from instrument to instrument, we’re going to assume the nut is in good shape.

Why? Because regardless of the type of guitar, the nut is a fixed point and shouldn’t need further adjustment once it’s set. For help on setting the nut height, refer to the links in the Preliminary Adjustments section.

Otherwise, the truss rod and bridge are the areas that really need the attention – the vast majority of your work will involve setting the bridge or saddle height and adjusting neck relief.

Author’s Note: Getting the greatest possible action out of a guitar relies heavily on all critical adjustment points being within acceptable limits. If you’re in doubt or think these adjustments are beyond your comfort level, take your guitar to a qualified tech.

Steve B.

Acoustic Guitars

Whether you like your action a little higher or as low as possible, great action on an acoustic guitar, like any other guitar, involves finding the perfect balance between the nut height, neck relief and saddle height.

Most acoustic guitars come with a one-piece saddle made of natural or man-made materials. The most common being bone, plastic or graphite.

As mentioned previously, you should have the neck relief at least in the ballpark to minimize re-adjustments.

In my experience, acoustic action is usually set too high – either from the factory or due to the stresses of aging. Achieving comfortable low action on an acoustic involves trimming an appropriate amount of material from the bottom of the saddle – not the top, to bring the string height down.

During the trimming process, it’s not uncommon to have to reinstall the saddle and strings a couple of times to check the action. This is where keeping the old strings on really comes in handy

How to Adjust the Action on an Acoustic Guitar

To adjust the action on your acoustic follow these steps:

1. Measure neck relief and adjust to within your own acceptable limits.
2. Make sure individual nut slot heights are set properly. Adjust if necessary.
3. Remove the strings.
4. Carefully remove the saddle.
5. Check that the saddle slot is clean and make sure there are no pre-existing shims.
   • If the strings are already too low and you do need to install a shim, use a piece of stiff material with a thickness of roughly .025″ (0.635 mm) cut to the appropriate length and width. An old credit card works perfectly for this.
   • Once you’ve installed the shim, skip to step 8.
   • If you are removing saddle material, continue to step 6.
6. Mark a straight line along the bottom edge of the saddle, roughly .025″ from the bottom is a good start. Note: a little goes a long way. In other words, removing a small amount of material can make a big difference in how the action feels. Plus it’s better to creep towards your target rather than overshooting it.
7. Remove the excess material from the bottom using a sander, file or sandpaper. Aim to “split the line” and at the same time, make sure the bottom of the saddle is perfectly flat.
8. Reinstall the saddle and strings.
9. Tune to pitch.
10. Check neck relief again. Adjust if necessary.
11. Check for playability. Pick a few single notes and strum a few chords up and down the neck in multiple places. The action should feel comfortable and the notes should ring true without the strings buzzing.
12. If necessary, repeat steps 3 through 11.
13. Install new strings and tune to pitch.
14. Check neck relief and playability. Adjust if necessary.
15. Fully stretch the new strings and re-tune to pitch.
16. Play and enjoy!

You’ll notice there’s a lot of reference to checking neck relief. Why? As you remove and reinstall the strings you’re also removing and reapplying pressure. This can cause neck relief to change as compression is redistributed.

You’ll also notice new strings have slightly less tension and are more elastic. This will cause the neck to relax a little. Therefor keeping a constant close eye on neck relief is an important part of the process.

Note: Sometimes the an acoustic’s saddle radius doesn’t match the fretboard radius. whether you decide to adjust it or not requires careful consideration.

On some guitars this mismatch is intentional, the saddle radius will read flatter compared to the fretboard. A common trait with Martin guitars, this is due to either the use of a compound radius (a gradual flattening of the radius along the neck) or extra height added to the bass side to allow room for thicker string vibration.

Conversely, you may find the saddle has an overly rounded radius. This is usually due to overly-standardized production that has neglected the finer points, preferring quantity over quality.

Lastly, all the steps regarding action described above are exactly the same for a twelve string acoustic – the only difference is in the number of strings you get to deal with!

Electric Guitars

For the most part, adjusting the action on an electric guitar follows the same procedures as previously mentioned – but with one significant exception: electric guitars are inherently designed to be more adjustable in order to fine tune string height, radius and intonation length.

Though the goal of adjusting the action at the bridge is the same, the type of bridge your electric guitar has will greatly affect the types of tools and processes you use.

For example, adjusting the bridge on a typical Fender-made product will be very different from adjusting the bridge on a Gibson Les Paul.

Additionally, make sure you keep a close eye on string tension. Making these adjustments will definitely affect string pressure and potentially cause misreads. To maintain accuracy, good practice is to continually check the condition of your strings and keep them as close as possible to normal tension.

That said, let’s have a look at how to adjust the action on some of the most common types of electric guitars:

Fender Style Electric Guitars

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How to the Adjust Action on a Stratocaster

Stratocaster guitar bridges come in two basic forms according to the type of bridge mounting screws: the classic six-point and the modern two-point systems.

Overall bridge height can be adjusted by means of the bridge mounting screws:

Though each type of tailpiece is originally designed to be floating, it can also be “hard-tailed” or set flat to the body.

If the bridge is set to be hard-tailed, the process of setting your action is fairly straight forward.

If the tailpiece (ie: the bridge) is set to be floating, adjusting the amount of rise off the body surface will affect the overall height of the strings.

Therefor, when adjusting the claw-plate springs in the back, be sure to re-check your string height – more spring tension brings the strings closer to the fretboard and vice versa.

Stratocaster bridge systems feature individual saddles that are fully adjustable in three aspects: height, radius and intonation length.

Each saddle has two forward-mounted grub screws that can be used to set the string height, and at the same time, match the radius. The screw at the rear of the bridge plate is used to set intonation length.

Typical US (Imperial spec.) models use a 1/16″ allen key for the grub screws, whereas import and many MIM units use a 1.5 mm allen key driver.

Steps to Adjust a Stratocaster Bridge:

First and foremost, we’re going to assume you have a fresh set of strings on, the nut and neck relief have been adjusted, and you are ready to go!

1. Adjust the bridge mounting screws:
   • Relax string pressure until the back of the bridge plate contacts the body surface.
   • If necessary, adjust all bridge mounting screws to make sure the bridge plate is reasonably flush with the body.
   • Starting with the outermost screws, adjust the bridge mounting screws until the back of the bridge plate just begins to rise off the body surface.
   • Back off each bridge mounting screw equally an additional 1/4 to 1/2 turn.
2. Tune the strings up to pitch.
   • If floating, adjust the claw plate spring pressure until the back edge of the bridge measures 1/8″ or 3.18 mm off the body surface at pitch. Note: This height can be adjusted to better match your playing preference.
   • If hard-tailing, continue to step 5.
3. Check neck relief. Adjust if necessary.
4. Adjust the 1st string saddle height to its lowest acceptable limit. Note: individual string heights are set by adjusting the two grub screws at the front of each saddle
5. Adjust the 6th string saddle height to its lowest acceptable limit.
6. Using the appropriate radius gauge, set the remaining string heights to match.
7. Stretch the strings out fully and retune to pitch.
8. Double check for ease of action and playability.
9. Enjoy!

Author’s note: When setting up a Strat to be floating, the bottoms of the saddle plates should ideally be level and in line with the trajectory of the strings when at rest.

How to Adjust the Action on a Telecaster

The beauty of a Telecaster lies in its simplicity. Originally designed to be a working musician’s guitar, the focus was on the balance of utility and performance.

For the most part, achieving great action on a Telecaster is the same as previously mentioned instruments. But once again, the main difference lies in how you deal with the bridge components – namely the saddles.

Adjusting a Telecaster bridge with modern individual saddles is essentially the same process as on a Stratocaster – but without the need to adjust any bridge mounting screws.

Here’s a quick video about setting action on a Vintage 52 Reissue Telecaster:

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Adjusting a vintage style Telecaster bridge with three barrels is slightly different in a couple of aspects. For one, you may need a fine slot screwdriver to adjust the grub screws.

Secondly, it’s important to understand that adjusting one side of the barrel influences the other side slightly. Therefor it’s important to constantly re-check the overall height and radius measurements you’re aiming for.

Steps to Adjust a Telecaster Bridge:

Let’s assume (again) you have a brand new set of strings on, the nut and neck relief have been checked and adjusted to your satisfaction, and you’re ready to go!

1. Tune the strings up to pitch.
2. Check neck relief. Adjust if necessary.
3. Adjust the 1st string saddle height to its lowest acceptable limit.
   • Note: Whether the saddles are individual to the string or the two-string barrel type, string height is set by adjusting the two grub screws at the front of each saddle.
4. Adjust the 6th string saddle height to its lowest acceptable limit.
5. Using the appropriate radius gauge, set the remaining string heights to match.
6. Stretch the strings out fully and retune to pitch.
7. Double check for ease of action and playability.
8. Enjoy!

Gibson Style Electric Guitars

Adjusting the action on Gibson style electric guitars once again follows the same basic process as any other: we want to start by making sure the nut height and neck relief are set according to your preferences using the methods described above.

Next, assuming you have a new set of string on to work with and the appropriate tools, let’s have a look at how to make action adjustments at the bridge.

Gibson tune-o-matic type bridge adjustment points:

Steps to Adjust a Gibson Style Bridge:

1. Make sure the strings are tuned to pitch.
2. Double check neck relief. Adjust if necessary.
3. Using the appropriate tool, adjust the treble side of the bridge to its lowest acceptable limit.
4. Check string tension making sure it’s at least close to being in tune.
5. Adjust the bass side of the bridge to its lowest acceptable limit.
6. Once again check string tension.
7. Double check string height and readjust the bridge if necessary.
8. Stretch the strings out fully and retune to pitch.
9. Double check the action throughout the neck is to your liking.
10. Play away!

You may have noticed I haven’t mentioned anything about using a radius gauge. This is for good reason.

The interesting thing about Gibson tune-o-matic type ABR and Nashville bridge design is in the fact that the bridge unit itself acts as a unified carriage – the individual saddles are not height adjustable themselves.

Because Gibson type saddles are not height adjustable, setting the radius may require cutting the saddle slots. This process is not to be taken lightly as there are significant consequences.

Why? Well for one, older bridges, particularly those found on older and vintage instruments, suffer from what’s called a “collapsed bridge” or “bridge sag”. This is a condition where the bridge loses its original radius over time due to continuous pressure from the strings.

And two, if you cut one saddle slot too low, you have to adjust the others to match. In other words, you must be precise in your measurements and careful in execution – once it’s cut, you can’t undo it.

In this respect, Fender type bridge design has a significant advantage in the ability to fine tune without alteration.

Either way, recutting the saddle slots is a destructive process requiring careful consideration, especially when dealing with an older bridge that’s already compromised.

Tools Required:

If you do decide to refine the radius by cutting the saddle slot depths, you can use the same tools for cutting nut slots.

Additionally, you should cut the saddle slots BEFORE you set string height. If you try to do it afterwards, you’ll have to re-set the bridge height all over again.

Should I Top Wrap or Not?

What does top wrapping a stop tailpiece have to do with action? Well, the answer lies in why it’s adjustable in the first place.

According to original Gibson advertising literature, there was an intentional benefit baked into the design to begin with: the, “Tailpiece can be moved up or down to adjust tension”.

To this day, there is a highly polarized debate as to whether the strings should be oriented one way or the other. One side claims, “If it’s good enough for (insert guitar hero name here), it’s good enough for me.” versus “If it was designed that way, then that’s the way it should be done.”.

It really comes down to a matter of preference. If you do happen to favor one or the other, which side are you on? By all means, feel free to leave a comment in the comments section below.

Guitars with Locking Systems

As a group, guitars with locking systems are purpose-built for fast action. When build quality and material components are good, these guitars perform like thoroughbreds being nearly effortless to play.

Due to the nature of the locking system, these guitars also fall into a category all their own. Along with other features, the locking system also affects the process of setting the guitar’s action.

Many players find the process of working on a locking system incredibly frustrating. For good reason: you’re dealing with a host of mechanical points that have to be locked or unlocked while at the same time work with loaded springs under tension.

In reality, the process of adjusting the action on a guitar with a locking system is really not that complicated. You just need the appropriate tools, and follow a logical method to get the guitar’s action where you want it to be.

The Most Common Issue – The Bridge is Too High or Low

One of the most common pain points associated with locking systems is the change in bridge height when you switch string gauges. The bridge will get “decked” – that is, pulled back into the body with lighter strings, or rise sky high when going to a heavier gauge.

To correct a locking bridge height that is too high or low, refer to steps 4 thru 7 below.

Common Locking Bridge Adjustment Points

Adjusting the bridge to level is done by adjusting the claw plate screws located in the spring cavity.

When the spring pressure is equalized with the string pressure, the bridge plate should be relatively flush with the plane of the body.

Similar to Gibson style and modern Fender Strats, locking system bridges use a two-point adjustment system to raise or lower the entire bridge unit.

Locking Nut Shims

Shims of different thicknesses can be used to adjust the height of the locking nut.

Locking Bridge Saddle Shims

Steps to Adjust the Action on a Guitar with a Locking System:

For the sake of popularity, we’re going to use a standard Floyd Rose type locking system for reference.

1. Make sure the bridge is in as level a position as possible. See step 4 below for instructions on how to do this.
2. With the strings at tension, carefully asses neck relief is within tolerance. Adjust if necessary.
3. Check string height at the nut.
   • How to adjust a locking nut if it needs to be raised or lowered:
     • Remove the pressure pad bolts, pads and any nut mounting screws. Note: string tension will keep the nut in place.
     • Place a suitable block such as a tongue depressor under the back of the locking bridge. This will stop it from collapsing into the body.
     • Starting with the first string tuner, carefully back off each string 2 or 3 turns to reduce overall string tension.
     • To further reduce spring load on the guitar, carefully remove 1 spring from the cavity in the back of the body.
       Spring load should now be reduced enough so that you can either add or remove shims from underneath the locking nut.
     • Insert one of the 3mm locking pad machine screws 2 or 3 turns into the center position on top of the nut. Using the screw as a handle, you should now be able to gently pull the nut up vertically to add or remove shim material underneath. If the nut seems to still have too much pressure on it, back off the tuners a bit more and / or remove another spring if necessary.
     • Add or remove shims underneath as required. Note: If, after removing all shims, the locking nut needs to go still lower, the nut seat will have to be re-milled. If this is the case, take it to a pro as this is a highly specialized process and beyond the scope of this guide.
     • Using a stepped approach, carefully bring the strings back up to tension and reinstall any tremolo springs previously removed.
   • Recheck that the nut is at an acceptable height. If necessary, readjust using the method previously described.
   • Recheck that the neck relief and bridge are also within acceptable limits. Readjust if necessary.
   • Reinstall the nut mounting screws. Note: It is not necessary to reinstall the pressure pads just yet.
4. With the strings at tension, check that the bridge plate is level with the plane of the body. Alternatively, the bridge plate can be lined up with the trajectory of the strings.
   • How to level the bridge:
     • If the back end of the bridge plate is too high, tighten both claw-plate screws equally 1/2 to 1 full turn each.
     • If the back end of the bridge plate is too low, loosen both claw-plate screws equally 1/2 to 1 full turn each.
     • Retune the strings to pitch.
     • Check that the bridge plate is level. If not, repeat the above steps according to the condition of the bridge until it is level.
   • Double check the strings are at pitch.
5. Adjust the treble side fulcrum stud up or down until the 1st string height is set to its lowest acceptable limit.
6. Adjust the bass side fulcrum stud up or down until the 6th string height is set to its lowest acceptable limit.
7. Recheck that the bridge is level and that the nut height and neck relief are still within acceptable limits. Make refining adjustments if necessary.
8. Using the appropriate radius gauge, check that the radius of the strings indeed matches the radius of the fretboard.
   Important Note: Whether the saddle radius matches the fretboard radius or not is highly dependant on the quality of manufacture. In my experience, locking system saddles rarely match the fretboard radius and require shims to get a perfect match.
   • How to adjust string radius on a locking system bridge:
     • Remove tension from the string you want to adjust.
     • Record the intonation point for future reference.
     • Loosen and remove the saddle lock down screw attached to the saddle you’re adjusting.
     • Carefully lift up the saddle to expose a gap under the front portion. Pulling the string up vertically usually works well for this.
     • Insert the appropriate size shim under the saddle. This can be anything between .005″ to .015″ or .127 mm to .381 mm depending on the amount of radius gap you need to compensate for.
     • Realign the saddle to its original intonation point.
     • Reinstall and tighten the saddle lock down screw.
     • Tune the string up to pitch.
     • Check that the string height now matches the radius. Readjust if necessary.
   • Check that all strings are at pitch.
9. Recheck that the nut height, neck relief and condition of the bridge are set to your liking.
10. Line up and level the fine tuner adjustment screws making sure there’s enough room for adjustment after lock down.
11. Double check that the saddle lock down screws are secure.
12. Reinstall the nut pressure pads and pad bolts, and lock them down.
13. Recheck that the guitar is tuned to pitch. Fine tune if necessary.
14. Play!

For most systems, the above method works very well. But variations between manufacturers will require adapting some principles to make things work for the particular unit.

Floyd Rose vs Kahler Systems

For example, adjusting the locking nut for a Kahler system works exactly the same as described above, but adjusting the bridge is a very different animal – more like that of a Strat but on steroids. Plus there’s no true locking mechanism for the strings.

Archtops, Jazz Guitars and Semi-Acoustics

Adjusting Action on Archtop, Jazz and Semi-Acoustic Guitars

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Setting the action on archtop, jazz and semi-acoustic instruments is very similar to that of acoustic guitars – with some interesting exceptions.

Many traditional archtop jazz guitars come fitted with a pre-intonated, height adjustable bridge system. The saddle component is a typically a single piece of hardwood or metal set atop of a base plate fitted with adjustable thumbwheels.

With these instruments, adjusting string height for better action is a simple matter of raising or lowering the saddle using the thumbwheels.

Interestingly enough, even a straight metal bar, as used in Gretsch’s 7576 Country Club, can be remarkably effective and musical when adjusting the action on a jazz-box.

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Putting a wedge in the door of the future, more “modernized” instruments make use of tune-o-matic type bridges and are thus, fairly straight forward.

Setting the action on these guitars is essentially the same as with Gibson type instruments.

Classical Guitars

Adjusting Action on a Classical Guitar

For the most part, adjusting the action on a classical guitar follows the same process as steel string acoustics, but with a few very important differences:

• Classical guitars traditionally have a flat fretboard, therefor there’s no need for measuring or adjusting a radius.
• Due to lower string pressure, many classical guitars are not equipped with a truss rod – no adjustment is necessary.
• Action on a classical guitar will be a little higher due to the higher elasticity and tendency of the strings to vibrate more aggressively. This means both the nut and the saddle must be set fractionally higher.
• If you have to remove the saddle to make adjustments more than once, it’s not very practical to un-weave the strings at the bridge. Instead, loosen the string tension and carefully insert a suitably sized wedge just ahead of the saddle. This should allow you enough lea-way to remove the saddle, make an adjustment and reinstall it.

Basses

Adjusting the Action on a Bass Guitar

Adjusting the action on a bass guitar typically follows the same process as electric guitars. Most of the “action” is set using the bridge components.

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Depending on the architecture, the adjustment points and methods are essentially the same, just on a larger scale (no pun intended). For example, larger strings means a little more string height is needed along with a touch more neck relief.

From a player’s point of view, one major consideration is in whether you use a pick, fingers or combination of both. These various techniques have a substantial influence on how the action is set which is heavily dictated by the player’s style.

Should Action Be High or Low?

Whether you like your guitar’s action high or low depends on a number of factors:

• The type of instrument you play
• Your technique or approach to playing
• Your tolerance for string buzz
• Your general taste in music
• Your level of experience – or even age

Considering the range of musical styles and instruments, these factors suggest an incredibly wide range of variations in how action should be set.

How to Set the Lowest Action on a Guitar

Before setting the lowest action your guitar will allow, make sure you have covered the preliminary adjustments and general action adjustments for your specific type of guitar listed above.

Next, you’re going to check the neck in multiple areas. Checking these multiple points magnifies your sense of how the guitar sits. It also lets you determine the limits of your guitar’s action and helps balance it with your playing style.

Here are the specific steps to measure for the lowest action your guitar will allow:

1. Hold the guitar in the playing position.
2. While looking at the Low E string around the 12th to 15th fret area, make a mental note of or take physical distance between the tops of the frets and the underside of the string.
3. On the same low E string, play a few notes up and down the neck in between the 10th and 17th frets. if there’s too much resistance, the strings are too high. If the string buzzes, the string height is already set too low, or one or more frets need attention (which is common where the neck meets the body).
4. Again on the same low E string, move to the third fret area and play a few notes up and down the neck to make sure it doesn’t buzz or feel too spongey. If it does, most likely the neck still needs a truss rod adjustment (or less likely, you may need some fret work).
5. Now move to the high E string. Again, make a mental note of (or measure) the string height above the frets around the 12th to 15th fret area.
6. In that same area, play a few single notes up and down the neck. There should be no buzzing and very little resistance under your fingers. Each note should ring true and clear.
7. Now do at least a full tone bend (more is better) on every fret from the 10th to 17th frets. If you find the string buzzing or fretting out, the action is already set too low or one or more frets need attention.
8. Lastly, using a similar method as the described for the low E, move to the 3rd to 5th fret area on the high E string. Play a few notes in that section and check for any buzzes, sizzles or excess “air” under the string. If there are issues, once again it suggests the truss rod needs adjustment, or a fret or two may need attention.

The best and lowest action you can achieve will be a direct result of following this process. Moreover, this same process can also be used for the vast majority of guitars.

Acoustic Versus Electric Guitar Relief Measurements

Measuring nominal action on an Ovation acoustic and super low action on a Telecaster

You’ll notice nothing is mentioned about the inner strings: 2nd, 3rd, 4th and 5th. This is because we’re using the outer strings to determine our lower limits. The remaining strings will fall in line as we make fine adjustments later on.

There are a few other subtle hot spots that will manifest depending on the strings and instrument, but the fret areas mentioned above are those that tend to be extremely consistent.

The reality is, whether you prefer your action high or low or are still trying to figure it out, the best guitar action sticks to a straight forward principle: it should feel right.

The Pros and Cons of High Action vs Low Action

Contrary to most opinions, high action is not necessarily bad. Higher action will allow an instrument to “speak” a little better; it produces more volume, but you have to work for it.

One of my local clients, Ian Crichton of the prog rock group Saga, likes his action a little higher. He wants to hear the notes ring loud and true with a good amount of “ping”. His comment about high action was, “You get used to it.”.

Conversely, a guitar with low action requires less energy to manipulate the strings.

For instance, many metal players prefer their action very low in order to accommodate lightning fast shredding techniques such as sweeps, arpeggios, pivots etc.

Compared to higher action, the trade-off is that the lower you go, the more you sacrifice the instrument’s acoustic value. Notes will become stifled and choked because the strings simply don’t have enough room to vibrate and reach their full potential.

For most of us, the sweet spot is somewhere in the middle.

Do New Guitars Have Good Action?

Depending on build quality, new guitars may or may not have good action out of the box.

The fact is the vast majority of production instruments are set to factory specs. Though they tend to be within playable limits, they often need to be further refined to fit the player better.

Well known brands such as Martin, Taylor, Gibson, Fender and a host of others set very high standards for their instruments. This minimizes the chances of you getting a new guitar with poor action and playability.

On the other hand, there are an endless number of off-brand instruments that cover every conceivable level of quality.

At one end of the spectrum you’ll find new guitars that are literally unplayable, all the way over to those that play very well with great action, and everything in between.

Generally speaking, the better the grade of the guitar, the better your chances of it playing reasonably well directly from the manufacturer – or at least with minimal adjustments.

Why Does Action Change?

Over long periods, wood moves in ways you can’t see. The effects of time, pressure and humidity change the very nature of the guitar, this is why guitar action changes.

The effects of weather can have a very negative affect on instruments, particularly in extreme environments. Wood, the most common guitar material, expands and contracts with relative humidity which in turn causes structural issues such as cracking and joint separations.

Changing string gauges also changes the amount of compression or pressure on the guitar – which directly affects how the guitar plays.

For instance, going to heavier strings will pull the neck up which raises the strings creating a higher action. The reverse can be true if you change to a lighter gauge as well: the neck relaxes and the strings start to buzz requiring an action adjustment.

What’s the Difference Between Guitar Action and Guitar Setup?

Guitar action is the term used to describe how well a guitar plays, how easy it is to manipulate.

A guitar setup is more of a wholistic approach to the entire instrument. In other words, a setup covers all operational elements of the guitar from the tuners to electronics and everything in between.

For more information on all the elements that go into setting up a guitar, check out this guide.

How Much Does it Cost to Lower the Action on a Guitar?

The price to lower the action on a guitar – no matter what kind of instrument, will depend on how much effort has to go into making it right for the player.

Some guitars, especially better high-end brand name instruments, are fairly easy to get to play with nice low action because they’re just built better with better materials.

Consequently, lowering the action on a cheap guitar will likely cost more because of the extra work involved to get it to be more playable.

That said, a decent guitar setup will cost you somewhere between $50-$100 (USD) depending on your region, the amount of work required and the experience of the person doing the work.

Other Factors That Influence Action

Sensitivity to String Buzz

Along with simply being out of adjustment, other factors that influence guitar action include your own sensitivity to string buzz.

For example, an electric guitar that buzzes when played acoustically may not sound the same when plugged in. In other words, the buzzing doesn’t manifest through the amp.

Whether you can tolerate it or not is up to you.

On the other hand, an acoustic guitar with bad string buzz is outright annoying. For most players, whether acoustic or electric, this is the tipping point for an instrument that needs an action adjustment or complete setup.

Common Problems that Limit Action

Time, age and general build quality have a huge impact on how well a guitar plays. Sometimes, due to these same issues, a guitar’s action can be severely limited.

Moreover, a guitar that has underlying material or structural issues will be aggravated by an overly aggressive playing technique. Does this mean you should lighten up and change your style? Not necessarily.

You can have the guitar looked at or try to adjust it yourself, but best results will definitely be hampered by poor build quality.

Otherwise, common factors that cause a guitar to have compromised action include:

• The condition of the frets
• Distortions in the neck
• Distortions at the body joint or poor neck angle
• Poor quality, maladjusted or no truss rod
• A lifting or cracked bridge on an acoustic guitar
• Seized parts that should otherwise be adjustable
• Mismatched factory parts

I would say the most common culprit would be the neck to body angle, followed closely by a neck condition that’s out of whack.

Luckily, electric guitars with bolt-on necks can have the neck-to-body angle corrected with a simple shim in the neck pocket. Some manufacturers, such as Fender and Peavey, even offer a micro-tilt feature to account for this – a small grub screw adjuster accessible at the base of the neck plate.

Why this feature is even necessary these days is beyond me. Considering the current state of precision manufacturing, surely a neck pocket can be milled to accommodate the compensation offered by an adjustable bridge – yes? (End of rant.)

On the other hand, acoustic and electric guitars with traditional set necks are another story. The only cure for these instruments with compromised neck-to-body angles is a costly neck reset.

Luckily, more forward-thinking manufacturers such as Taylor, Godin and others, design their guitars with this upcoming distortion in mind. They know pressure will eventually take its toll over time and allow for their necks to be relatively easily reset at a minimal cost.

The net effect? Better and more consistent action over the long term.

Mental and Physical Fatigue

Ever find yourself going in circles trying to chase perfection? Like when you’re trying to coax the most out of your guitar, and you wind up second guessing you work asking yourself, “Should it be this?.. or that?..”.

Not a good deal. Too many kicks at the can and you’ll lose sight of the goal.

Take a break, it’s good advice.

What to Do When Parts Don’t Match

Before I close out this section, I’d like to pass a long a curious, yet all too common situation that came across my workbench recently.

A regular client of mine had just purchased an electric guitar he wanted set up – a beautiful new Fender Vintera ’60s Jaguar in stunning Sonic Blue.

As much as he liked the guitar, he said it just didn’t feel right, even after a few well-practiced adjustments.

As soon as I picked it up I knew exactly what the problem was, I could feel it – a severe mismatch between the bridge radius and the fretboard radius.

As soon as I put it on the bench my suspicions were confirmed: the fretboard radius measured 9.5″ whereas the radius of the factory supplied bridge measured 16″!!…

There was no way the action on this guitar was going to be satisfactory by merely adjusting the bridge height. Either the inner strings would always buzz, or the outer strings would always be too high with respect to the middle strings.

Ultimately, the bridge saddles needed some serious tinkering to get things to line up and the action where it needed to be.

After cutting the saddle slots and making the other critical action adjustments, the guitar played ridiculously well.

More importantly, the owner was extremely happy.

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Not to bash Fender, but it would seem even the best of manufacturers have their blind spots. In this case, the negative effects of selecting over-generalized “off-the-shelf” parts is fairly evident.

Sadly, this is not the only time I’ve come across situations where mass production and end usage diverge – a beautiful Japanese-made Gretsch comes to mind.

I guess the point is, regardless of what a manufacturer says, check for yourself and don’t take anything for granted.

Common Items You Can Use for Measuring Action

There’s something to be said for keeping it simple. Not to downplay the importance of proper tools, but using materials at hand in a practical way does offer a certain convenience.

For instance, you probably have some spare change in your pocket or on the dresser, and every guitar player uses strings which come in specific gauges.

Both coins and strings can be used as tools for fine measurements. You just need to know their thicknesses.

Here are a couple of charts you can make use of for handy reference:

Coins: USD sorted by thickness

(Keep that spare change handy!)

	Half Dollar	.085″	2.15 mm
	Nickel	.077″	1.95 mm
	Quarter	.069″	1.75 mm
	Penny	.061″	1.55 mm
	Dime	.035″	1.35 mm

Guitar Strings: Common gauges and types in inches, sorted by thickness

(The next time you change your strings, keep the tag ends!)

Summary of Key points

Regardless of the type of guitar, most instruments will follow the same general procedure to maximize action:

1. Determine the current action of the guitar. This can be done by measuring the distance between the strings and the fretboard at the 12th fret.
2. Decide on the desired action. This will depend on personal preference, as well as the type of music being played and your playing style.
3. Adjust the truss rod to alter neck relief. The action through the middle of the neck will raise or lower depending on the amount of curvature.
4. Check and adjust the nut height. The depth of the string slots will raise or lower the action at the headstock.
5. Adjust the saddle for height and fretboard radius. Saddle height will raise or lower the action at the bridge.
6. Fine-tune the action by making small adjustments to the truss rod, saddle, and nut as needed.
7. Test the action by playing the guitar and observing any issues with comfort or sound quality.

Adjusting the action on a guitar can be a time-consuming process, but for any guitarist, it’s important for achieving the best playability and sound quality.

Personal Thoughts, Notes and Observations

Just as there are many different kinds of people and sensitivities, there are that many interpretations of what “good action” could and should be. The type of guitar you play, the style of music you try to push out, your approach to playing etc.

My point is, there is no one perfect type of action thats serves everyone and every guitar. It’s very much a matter of personal preference. This is why I continually used the phrase “acceptable limits” in the adjustment procedures.

Should Action Look Right, or Feel Right?

From my own experience, and doing considerable additional research for this article, I found an overabundance of reliance on the technical aspects of measuring action.

Don’t get me wrong, you gotta have and make use of good tools. But at the end of the day, the ultimate judge in how well a guitar plays is the feedback that comes through your fingers – either it feels right or it doesn’t.

You don’t play with your eyes, you play with your hands. Think about it, which “sense” makes more sense when it comes to playing? Sight – or touch?

When it comes to setting a guitar’s action, I’ve been fooled by tools. Then I set them aside and let my hands, that tactile sense, tell me what’s really going on.

Feel never fails.

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Part 6: How To Setup A Gibson Les Paul. Beginning Fine Adjustments.

What’s Covered:

• Adjusting pickup pole pieces

• Preliminary truss rod adjustments

• Setting the string height

• Stop tailpiece adjustments

In the last segment, How To Setup A Gibson Les Paul Part 5, we tackled the rather menial but very necessary task of housekeeping. With that out of the way, we can now begin preliminary adjustments that bring the guitar to a state of maximum performance and dependability.

Video: Les Paul Setup Tutorial Part 6

Transcript:

Adjusting Pickup Pole Pieces

While trying to adjust the pole pieces here I noticed that this last screw head is just destroyed with corrosion. I’m going to dig that out a little bit with a small screwdriver, a jeweller’s screwdriver, of course being careful not to scratch anything in the process. You’ve got to be careful that you don’t damage any of the surrounding area.

I’m going to take that screwdriver again and go around and knock off any of the junk carefully that is any of the wax that popped up and what not. It’s pretty clean actually, I’ve seen a lot worse.

Adjust the pole pieces so that when you look across that pickup face you see a nice gradual arc that would match the radius of the fret board.

On to the next step, we’re going bring a little bit more tension into the instrument by tightening up the strings. Not up to full pitch, just inducing some pressure on it. Then we’ll look at the look at the end geometry.

Preliminary Truss Rod Adjustments

First we’re going to set the height after giving the neck a quick read. It doesn’t look too bad, I’m going to straighten it out just a hair.

We are in a bit of a hurry so I’m going to bring the truss rod adjuster towards me to tighten up the truss rod. There is a separate video I did about this that explains how that little mechanism works for you.

Just a small movement, not a quarter turn or anything, just a little judgment turn. You can feel the stiffness of the truss rod, whether it is engaged or not.

If the adjuster is loose and going chatter then you have got to snug it up to the end. If it is really, really tight, you might want to try backing it off and put a bit of 3in1 Oil on the threads.

Set the neck relief as it should be for the player. Different people want their strings at different heights. I’ll give you a bit of information so that you’ll be able to do that correctly for your own playing style.

Setting the String Height

I’ve set the truss rod in what I’d consider a good median position. At about the 15th or 17th fret on the bass side, in this case, its the 16th, I want to see is that the height is about the height of two dimes or 3/32″ (.085″ or a hair over 2mm). If you’re not sure, get two dimes and look at them. That’s your gauge. In our case here, the current height is going to come down a little bit.

And then on the treble side, I am going to look around the same area where the neck meets the body. It’s just an arbitrary point that works for me. You can tinker with this and try to figure out some way that may be more specific to the way that you like to get things done.

The 15th fret area works well as a general rule. On the treble side here, I am going to re-situate the string height by adjusting that thumb wheel. I want to see the thickness of a nickel or just a hair over a 16th of an inch (.075″ or 1.8mm).

Keep in mind these are guidelines for setting a starting point, and that point is pretty low. My approach is to start from an ideal low-action position, then compensate for the player’s tastes and the instrument’s limitations as I finalize setting up the action.

So I have adjusted the truss rod. I haven’t talked about the neck yet, but I will get to that. I have made some preliminary adjustments to the truss rod.

The strings are at a nominal pressure. It is not up to pitch or anything. If things are tight and bound up it makes it very hard to adjust these things properly.

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Stop Tailpiece Adjustments

Now the tailpiece, I have a preference for where I like to see these things. This is ballpark to the fine point. I might make a small incremental adjustment down the road. But this is very much where it is going to wind up as a final position.

Now there is a certain amount of angle break here where the strings transition from the bridge to the tailpiece. That amount of angle. If you tinker with this you will find a sweet spot that works really well for your playing.

Some people want the studs right tight to the body, That’s great because the theory is you’ve got the studs tight to the body and you get maximum transference.

That’s awesome. I personally don’t notice too much of a difference either way but what I have noticed is that the amount of angle over the saddle that angular break there to the tailpiece can make a really significant change to the overall feel of how the strings play under your fingers.

So it is really worth tinkering at, but be careful because you don’t want to wreck the studs, use a proper screwdriver. You can even use a coin that’s the right size for a pretty significant slot in this stud.

The treble side it looks good to me and I am going to work on the bass side actually. I am going to be very, very careful with this thing.

Control it. The stud can be under a lot of tension unless you loosen the strings. And watching a flat end screwdriver skate across the top of a guitar is no fun.

There are tools out there that you can use to make sure that you don’t slip off and what not. I believe if you are careful enough you wouldn’t have that problem to begin with.

I have those slots are in line with each other laterally. It is a nice finish. It just looks pleasant that way. Looking from the end of the guitar I want to see the same angle of the studs to the thumb wheels.

So I can actually see the bottoms of the studs of the tailpiece. I see the same amount of reveal on each side looking straight down the middle of the instrument so that I know that this plane is exactly in line with this plane.

That’s just the way I prefer to do it. I have never, ever had any issues with that. I think it works very, very well.

I am going to take a little break and we will come back and we’ll look at getting the strings up to pitch. We are going to address the nut and we are going to deal with setting the pickup height, okay. All right, I will be right back.

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The post How To Setup A Gibson Les Paul Part 6 (Preliminary Adjustments) first appeared on GuitarNiche.

Part 5: How To Setup A Gibson Les Paul.

What’s Covered in the Video:

• How to save time cleaning the body

• Detailing the body and headstock

• installing a new set of strings

• How to batch your processes and save time!

Previously in Part 4 of How To Setup A Les Paul, we began the process of prepping the guitar for the next all important process. In this segment we carry on towards our ultimate goal – a clean, perfectly set up guitar that plays beautifully.

Video: Les Paul Setup Tutorial Part 5

Transcript:

How to Save Time Cleaning a Guitar

Well, not the most fun job in the world but absolutely necessary. Dunlop 65 polish, this is good stuff. This will help pick up the dirt and fingerprints. This guitar’s not really dirty so we don’t have to worry about getting really crazy with it.

Dunlop System 65 Guitar Maintenance Kit

The cleaning process described in this video segment is organized and should save you a bunch of time with housekeeping.

I have a ’79 Les Paul Custom, it was in rough condition finish wise so one day I took it apart and spent four hours getting that sucker polished up like new, and it looked spectacular! It was awesome. That was a deep clean which was long overdue.

Detailing the Body and Headstock

I’m actually going to get tight to these sides of the headstock. That’s where a lot of finger junk builds up around, where your hands are always touching the side of the headstock when you’re tuning, so you want to get at that.

Again, back to my little wooden stick, it helps me get right tight to the corners all around. I keep shifting this thing around so I’m not just pushing dirt into the same spot all the time. I keep using different parts of the paper towel here.

We want to get around that pickup selector switch, and we’ll get around the bushings. Again, I’m not too worried about these bushings here or the adjusters/thumb wheels in this case and the end screws because the instrument’s in fairly decent condition to start.

But there is a little corrosion on them for sure. I’m going to hit that again. I will be making some adjustments down here, so I’m not worried about the position of them.

Now, I’m going to be handling this instrument quite a bit, so what I’m trying to focus on here is just getting the majority of the junk off, the real garbage, the stuff that’s been caked in for a while.

To begin with, the guitar’s fairly clean so I’m happy about that. If it was nastier, then of course we’d spend more time accordingly and whatnot.

Tell-tale sign of a pick guard on Les Pauls; that nut on the back always leaves a mark on the face. If you see that you’ll know what it is.

That is if the pick guard’s not on it. I’m just gonna do the face for now, because I’ll come back to the rest of it when we’re close to being done. And as far as strings go we’re going to put on some D’Addario 10’s. Get those bad boys ready.

As for the dirt, junk goes in the junk.

Installing New Guitar Strings

Now we’re going to start throwing some new strings on and have at it.

Starting with number six, the saddles of the bridge are canted forward. I’m gonna put the fifth string aside there for a second. let’s get this sixth string installed. Note, there’s more than one right way to install strings, and I’ll do another video series on that.

When somebody tells you got to do it this way, some stuff yes, but other stuff, it’s common sense. There’s more than one right way to do many things, so I want to keep that in mind. Anyway, a little quick instruction on this,

I’m keeping the slack end of the string under control, otherwise it will control me and that doesn’t exist in my guitar world, okay. I am the person in control of such things.

Batch Your Processes

Okay, so now all the guitar hardware is locked down and, that is it’s not going to fall off anymore. I’ve put the sixth string on just to hold things in place, you know. Again, I refer back to batching your processes.

In this case, when we have loose hardware, we want to keep it under control. So I put one string on to control the environment. Now I’ll go back and do the rest of the strings, just get them installed.

Some people like to install the strings backwards. That is, top wrapping the strings over the top of the tailpiece. There’s nothing wrong with doing that, it’s a matter of preference.

You have to experiment with different things, because it comes down to the angle at which the string hits the bridge. And there’s a trick to that.

There’s a sweet spot. I’ll give you some direction on that, but ultimately, it’s going to be what you prefer. Anyway, I’ll get back to this area in a second.

I’m just going to get the rest of these strings installed. Measure off about an inch and a half or so of string which will equate to about three wraps around the tuner post. In this case, one post to the next is a good indicator.

Switch my grip, pop the string through, give it a right angle bend that locks the string in place. Now again, there’s ways to get the string locked down and whatnot. I prefer to let the string induce it’s own pressure from one wrap under the next.

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I’ll deal with the specifics of re-stringing at a later date. With the first string I make an exception with because it’s fine and prone to slippage. So I’m actually gonna do a tag end wrap on that. I took the tag end of the string and wrapped it under the string itself, which locks it in place. That’s a very common thing to do.

One of my little things is that I only do that on the first string. I’ve found that the rest of the strings, there’s no real benefit to it in my opinion.

So we have all our strings on. Nothing’s really out of joint or down here, all the working guitar hardware is in the ballpark. It’s not sky-high or goofy or anything. Everything’s kind of within tolerable range.

I’ll get rid of that the excess string ends, I’m gonna give it a haircut. These freshly installed strings are not coming off. There’s no reason that they’re gonna have to come off again. I’m going to use side cutters. Using the flat face on top of each post, cut, cut, cut, cut, cut, cut. Remove the garbage all in one shot, nice and neat.

Once again I’m going to take a quick break and we’ll get down to the business of finessing the rest of this out. Okay, All right. Back in a second.

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The post How To Setup A Gibson Les Paul Part 5 (Cleanup And Reassembly) first appeared on GuitarNiche.

Part 4: How To Setup A Gibson Les Paul.

What’s Covered:

• Cleaning the pickups

• Cleaning the hardware

• Cleaning the neck

• Polishing the frets

• Reconditioning the fretboard

Transcript:

Cleaning the pickups

We’re going to deal with pickups first. I’m going to use a little bit of polish on this piece of paper towel.

There’s other polish products and whatnot that we can use, and I’ll deal with those at a later date. I have some other videos that will discuss that. But you’ve got to stay tuned in order to see that.

This guitar hardware has got a gold finish on it and I’m not going to try to take off any of that gold or anything, obviously.

People will get a little concerned about the condition of the finish, such as rest and whatnot around pole pieces and stuff like that. And it really doesn’t hurt the sound or anything like that, it just looks ugly. Right?

And to tighten this up a little bit, I have a little wooden dowel. You can use a bamboo skewer or something like that, preferably wood instead of metal.

You don’t want to use metal. This will help me get tight into some of these corners and places. This pickup is not so bad, so the polish is helping to pick up some of that junk and whatnot.

There’s a lot of corrosion here which I could deal with, with a number of different methods. But in this case, I’m not going to get really hard-core with this. The purpose of our video here is to do basic housekeeping and whatnot.

This hard edge here really helps to get tight into the nasty bits. You’re not going to have to worry about scratching it or anything like that. So if that were metal, it would poke through.

You’d have a problem, you know what I’m saying? To get some of this extra junk off you’re going to use that tip there, and just nibble at it.

Now this is just making me cringe a little bit. The gold is so soft that it will come off very easily if you’re not careful with this, and you can see it’s evident in the top of the pickup.

I could maybe take the pickup out really have at it if I wanted to get it right – super clean again. But again, that’s not what this particular video is after. We are doing a basic set up. So I’m going to be brief about this.

Cleaning the Hardware

That’s a heck of a lot better than it was, for sure. All right, and I’m going to just turn that up a little bit and do a little bit more housekeeping here. While I’m at it I’m going to clean the tailpiece.

Do yourself a favour, don’t hold parts over the top of the guitar when you’re working them because they slip and they can fall down.

And the next thing you know you’ve got damage on the top of your instrument.

So stay away from the top of the instrument, good habit. How do you learn that kind of stuff? Well, let’s just say experience accounts for something, and some of those are hard-won lessons. Okay. That’s good to go. Now this is actually a really good shape.

And yeah, so this is a replacement. Often what happens is the gold is soft and it degrades, and a lot of bridges on Les Paul’s and other instruments will… Because your Palm is resting there so much, they just get chewed out and you wind up replacing the things. I would prefer to see that as being an original part.

You can get it from Gibson, but the price is going to be leveraged by the name. Or you can go directly to Schaller and get exactly the right part. Which is down here. Now, when I took this off it was mounted backwards.

I always like to see the saddles ramping forward. Okay, you can take it apart and turn it around. It’s a bit of a pain in the butt, but it is possible.

I’m just eyeballing this for intonation right now. I’ve got to pay attention to my own advice here, and not stay over top of the instrument.

I’m trying to make a visual point here, so I am expediting some things and not paying attention. Anyway, so here we are. Again, this is totally eyeballed.

What I have is a series of three ramps, and three ramps. Okay? So it’s like this, and then it shifts back about a sixteenth of an inch, and it does the same thing. So we have kind of a staggered sort of thing. Okay.

Three and three. Three wound strings, three plain strings. As to why?, that’s a whole other ball game which I’ll get to in another video series.

I forgot to mention another valuable tool. I have an old toothbrush, good to go. That’ll get right in there. This is thankfully pretty clean.

There are other tools and whatnot you can use to clean house with these bridges because all of those little voids and whatnot, those cavities, they’re just rotten for catching dirt and stuff, just nasty.

Video: Les Paul Setup Tutorial Part 4

I think this is… Yep. It says “Gotoh” right there. As I was suspecting that this was an aftermarket part because it was too clean. And the holes, those would be metric. They’re over-sized. It still fits and all that, but this is not the right bridge. For this era, ’93, it would be a Schaller part. It would say “Made in Germany” on the bottom.

Cleaning the Neck

I’m going to leave that off because we’re going to deal with the neck. This neck is actually in pretty good condition. If it was grungy, really grungy I would have at it more or less the same way.

But I’ll give you a quick lesson on how to deal with that. Okay, these pickups are recessed. I don’t have to worry about setting them to the right height yet.

I’m just going to take some painter’s tape here, and just mask off our work area. Low-tack. It’s got to be low-tack because you don’t want to see the finished coming up, right?

Very, very low-tack. Okay so we’re going to tackle the neck and clean the frets as well. There’s no real specific order to this, as long as the jobs are being performed in a logical sequence, it’s all good.

I have some Windex here. Sorry, if I keep adding some elements and whatnot, but as the situation arises I’ve got to keep using the tools that I need to get the job done.

I’m going to spray this on here. I’m not going to spray directly on the finish. I don’t want to get it anywhere near the finish because Gibson products will have a natural lacquer finish.

You can see the dirt coming off there, not to get it into the finish, like on the underside of the neck and stuff like that. And one thing I want to make really clear is I’m really not a fan of using steel wool.

Not a fan at all because those little bits of the steel get everywhere. They can get into your pickups, they can get on the finish, and create problems, and get on your work surface. It’s just ugly, ugly, ugly, ugly.

Anyway, there’s alternatives. All that did there was soften up the goo on the surface. You don’t have to worry about the ebony being really problematic.

If you have a lot of junk on there, you can just keep at it and eventually you’ll soften it up. The last process if you want to save yourself a step or so, dollar store brass bristles. Good stuff.

Polishing the Frets

You’ve got to be careful with polishing the frets. I’m going to use this to make a point of something. Okay. Very lightly, what this will do is get the junk out of the knees of the frets, and it will burnish the frets at the same time.

It’s not going to harm the ebony at all because ebony is so hard. This will actually give a light polish.

You can use this on the rosewood too, but you’ve got to be very, very careful with it. It still a hardy little brush, it’s metal okay? So that’s good to go, got a lot of the junk out of there.

This is 1500 grit micro mesh sandpaper, which you can find online on Amazon, stuff like that. Okay.

Or even a hardware store you can get 2000 grit, would be just dandy. Okay. Then I’m just going to give these frets a quick polish.

ou can use finer grains of course, and get a nicer shine if you really want to have at it. You can get some really good shine happening. I wasn’t pressing really hard, and I’m not worried about the ebony finish on that either.

In other words, I didn’t mask it off or worry about that because that was a pretty light buff, let’s say. Again, back with the Windex just to pick up the junk. See? Just a little bit of junk left over.

I’m not leaving it sit on there because that leaches up the oils in the wood. I want to get that off of there pretty quick.

There you go. That literally dries in seconds. I just put that on there and, seriously it’s dry. It’s already dry.

Reconditioning the Fretboard

Okay, fretboard reconditioning coming up. I’m going to dribble on a few drops. It can be a bit of an experience trying to get the lemon oil on without getting it everywhere, but this is what we do.

This works really well with rosewood and inexpensive offshore stuff. That wood can be so dry, it does suck up half the oil in no time.

All right, I’m just going to wipe off the excess. No need to let the oil sit on there because it’s not going to go anywhere or do anything because that ebony is really, really tight.

That is Housekeeping 101 on an ebony neck.

Different kinds of necks such as a clear coat maple, rosewood, stuff like that, you want to treat… well, rosewood is more or less going to be the same process, but clear coat maple is a different thing.

I’m just getting some of that extra oil off my hands. Okay so, that’s that. And then get rid of this.

Okay. I’m going to take a short break and will be back to do some basic body housekeeping, and get the rest of it done. Thanks!

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The post How To Setup A Gibson Les Paul Part 4 (Cleaning Hardware And Fretboard) first appeared on GuitarNiche.

Part 2: How To Setup A Gibson Les Paul

The second segment of our nine part series on how to setup a Gibson Les Paul. Time for teardown – removing the old strings, getting the hardware sorted out and batching processes!. You wanna get it done? let’s get started:

Video: Les Paul Setup Tutorial Part 2

Transcript:

Removing the Hardware

The first thing we’re going to do is get our truss rod cover off. We’re also going to take off our pick guard, put that aside. Get yourself a new tray, good deal, anything that will hold it, a bowl or whatever, it’s all good.

All right – batch your processes. Do one thing and then…because you got six strings on the guitar so you’re probably going to do that six times. So if you’re going to unwind the strings, unwind one unwind the next and unwind all the strings, so that’s done.

Removing Old Strings

Get rid of the strings all in one shot. Now back here I’m going to not worry much about this coming off because I’m going to reset those studs, okay? If you want to keep your studs in place, you don’t want them to move around, you can use different methods.

You can put an elastic band around and keep them from chattering, just carefully take the tail piece off. Just put an elastic band on there and it’ll keep things pretty organized for you. The old strings go in the garbage.

Same thing with our bridge, you want to put an elastic band around there. If you have it set and you’re just doing some housekeeping that’s awesome. Let me get rid of these strings, these are all coming off.

Cutting off strings in a bunch

All right, love doing this, one two, one two and in the garbage it goes. All right, I’m going to raise these pickups a few turns.

I will reset them later, so I’m not worried about – that’s got some junk in it. I’m not too worried about where the pickups are sitting at the moment because I going to reset them.

Setup Tools:

That’s a little awl, it’s just an old jeweler’s screwdriver that I filed a real sharp point on to get into some stuff. It’s a handy tool to have around, but these screws are kind of messed up. Okay, so I’m going to use a finer tipped blade screwdriver that’s got some good bite to it, see if I can get that. Yup, that’s fine.

Dealing with Damaged Screws!

These screws are fairly, well, they’re kind of pooched. So what I’m going to do is I’m going to take that pickup out and I just happen to have some screws that I can replace those with, because these are really quite damaged.

And this is not part of our setup procedure, but you know what it is, that’s what happens when you get into instruments that come in and get these surprises.

Nice to see it’s nice and clean in there, there’s no monkey business going on. Another thing you can do is if you want to make an adjustment, you’re just doing it the hard way, but you can push that down and try to turn that with your finger. It’s a bit of a sketchy thing.

Next, I’m going to go hunt down a couple of screws to replace these and then put it back in place and nail it back down again and then we’ll carry on. Next…

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The post How To Setup A Gibson Les Paul Part 2 (Teardown) first appeared on GuitarNiche.

Through the use of a simple analogy, you’ll see first hand the basic principle behind the truss rod and how to adjust it according to what your guitar needs.

Video: How A Truss Rod Works

Let’s say, you know that adjusting a truss rod is supposed to make the neck move either up or down – that is – induce more or less relief along the length of the neck.

But really, the “problem” for most guitarists is either:

1. – “I don’t want to screw it up“… (fair enough, knowing your limits is a very good thing, but not trying is another…)

2. – “I’m not sure which way to turn it“

THE most common statements I’ve heard regarding truss rod  adjustments for years.

And the reason for this article; to shed some light on the basic principles behind what a truss rod is and does to help eliminate the intimidation of the great guitar voodoo unknown.

Sorry, no eye of newt or batwing here, just plain old fundamental mechanics.

Over time, the constant pressure from the strings, combined with seasonal changes in humidity, take their toll on the guitar’s structure compressing the span between the nut and the bridge enough to force the neck into the infamous “banana” shape.

The neck is then referred to as “warped”, “kinked”, “sprung”, “mushy”, “f****d”, etc… all meaning the same thing: it just ain’t right.

In 1921, Thaddeus J McHugh, being assigned by the Gibson Mandolinguitar Company of Kalamazoo Michigan, applied for a US patent: “To provide an improved neck for stringed instruments, which is so constructed that it is not likely to spring or warp under the strains to which it is subjected in use, and one which should warped, may be straightened.” – Source: Google Patents

So, we’ve had this little gem for almost a hundred years, not bad. It was such a good idea it’s become a staple in modern guitar manufacturing saving countless players the grief of a “sprung” neck (provided you know how to use it) – thank you Thaddeus.

Still, being a mechanism with only one visible moving part from our point of view, the truss rod seems… ambiguous.

Truss Rods and Age

Thankfully, even the most cost-effective truss rods are capable of providing some resistance against the ravages of time and pressure. But, there are instances of instruments being tucked away in attics and basements where they languish for years becoming GSOs (guitar shaped objects) permanently lock-jawed into an unplayable state.

A few years back, a cheap old acoustic came in for service that the owner told me was one such instrument – it had been stowed in his attic for years.

Knowing this and having the presence of mind, I warned that adjusting it might not go well; the first order of business being to adjust the badly warped neck.

I found the allen key that fit, give it a modest tug in both directions to try and free it up when it suddenly responded with a fateful “SNAP!” The adjuster had been seized and broken clean off the end of the rod – the only time this ever happened to me, and I’ll never forget it. I also remember how little force it took.

Chances are you’ll never have to experience that – which is a good thing.

Personal Observations

With so many clients posing the same questions on a regular basis, and so did I when I was starting out, I felt compelled to provide some insight on the subject to help pull back the curtain of confusion.

I vividly remember fumbling with my old Les Paul’s truss rod adjuster many, many years ago and not fully understanding the net effect: which way do I turn it?, and what’s supposed to happen?

After some careful research and practical application, adjusting a truss rod became a fairly routine process. Over the years I’ve encountered many different types and quality levels of truss rods. At the end of the day, they basically all work the same way by inducing pressure.

I’ve observed that for most players, simply knowing which way to turn the truss rod adjuster to achieve the desired effect is a good stating point. Hopefully this article has shed some light on how to do just that.

The post How A Truss Rod Works: A Quick Explanation first appeared on GuitarNiche.