Here’s how to adjust your truss rod for a low-action setup.
Last month we looked at how truss rods work (“The Magic Truss Rod”), so now the big question is, what can we do with this knowledge? As we discussed previously, a wooden neck is mechanically the weakest part of the instrument. Changes in humidity and the relentless pull of the strings affect the neck’s curvature, so to control this shifting we can anticipate having to periodically tweak the truss rod.
For a perfect setup, do we want to have our bass neck straight or curved? If the answer is the latter, how much bowing—also known as relief—is required? Even experienced luthiers and guitar techs debate this, so let’s see if we can shed some light on the topic.
Let’s assume that like most players, you’re looking for a comfortable setup that plays well with very low action. We’ll also assume we’re talking about an instrument with evenly leveled frets and a correctly cut nut, and the intonation has been adjusted. This means that the number of remaining parameters for a good setup is rather small. Two, to be exact: One is bridge height, the other is neck bow. Sounds like an easy task, right?
We need to consider the elasticity of the different regions between bridge and nut. This elasticity defines how each part of an instrument reacts to string tension. Luckily, these regions behave very similarly on most instruments, which makes it easy to predict their role in a quick and easy setup.
The body itself is pretty much immune to bending, and the only adjustable part on it is the bridge. Next comes the upper range of the fretboard with either a neck pocket for a bolt-on, or the thicker part of a neck-through or glued-in build. This transitional area is rather substantial, so here string tension won’t have much of an effect, if any, which explains why truss rods offering headstock access typically don’t reach into that area.
The neck itself is inarguably the weakest part of the whole ensemble, and it gets even thinner and more flexible as it extends toward the nut, so that’s where we need to focus. Many players are afraid of adjusting the truss rod and often don’t know where to start this part of the setup process. But no worries—there are two simple steps that almost guarantee a perfect setup.
First, adjust the bridge so the strings don’t buzz against the highest frets—the ones right above the neck-body joint—when you play in this region. (Or the strings buzz only as much as you are willing to accept when fretting up there.)
Next, tighten the truss rod until the open first string starts to buzz. Now back the truss rod off minimally—just enough to eliminate that buzz. Okay, you’re as good as done. At this point, any instrument with level frets, a properly slotted nut, and a smoothly working truss rod will be perfectly set up for a low action. If you experience areas with too much buzz, then the condition of your nut or frets isn’t ideal. But there are ways to compensate for these issues, if they’re not too extreme: Any buzzing in the lower range of the fretboard calls for loosening the truss rod, while buzzing in the upper regions requires raising the bridge.
And we can now return to that initial question of straight versus curved: After following this two-step procedure, it’s very, very likely the neck will not be straight, but rather slightly bowed forward. Why? Next month we’ll try to answer this question without using too much math.
Stompboxtober Day 29 is live! Enter today to win a pedal from StewMac—more chances to win tomorrow!
StewMac International House of Overdrive Pedal Kit, With Bare Enclosure
The IHOO is based on the Crowther Hot Cake, an overdrive that became available around 1976. It was one of the earliest hand-made boutique effects pedals available. The circuit was designed to be what is now referred to as a “transparent” overdrive. An effect that enhances the player's sound while keeping the original tone intact.
This circuit has undergone many changes since its inception, and we have further expanded on the design by returning to an earlier version most revered by players and removing the buffer, which resulted in a reworked circuit that is true bypass but still retains the charm of the design.
We also include the original LM741 IC chip found in the originals, as well as the TL071 that is found in later versions so you can experiment with which IC best suits your playing style.
Developed specifically for Tyler Bryant, the Black Magick Reverb TB is the high-power version of Supro's flagship 1x12 combo amplifier.
At the heart of this all-tube amp is a matched pair of military-grade Sovtek 5881 power tubes configured to deliver 35-Watts of pure Class A power. In addition to the upgraded power section, the Black Magick Reverb TB also features a “bright cap” modification on Channel 1, providing extra sparkle and added versatility when blended with the original Black Magick preamp on Channel 2.
The two complementary channels are summed in parallel and fed into a 2-band EQ followed by tube-driven spring reverb and tremolo effects plus a master volume to tame the output as needed. This unique, signature variant of the Black Magick Reverb is dressed in elegant Black Scandia tolex and comes loaded with a custom-built Supro BD12 speaker made by Celestion.
Price: $1,699.
Kevin Shields of My Bloody Valentine is one of the loudest guitarists around. And he puts his volume to work creating mythical tones that have captured so many of our imaginations, including our special shoegaze correspondent, guitarist and pedal-maestro Andy Pitcher, who is our guest today.
My Bloody Valentine has a short discography made up of just a few albums and EPs that span decades. Meticulous as he seems to be, Shields creates texture out of his layers of tracks and loops and fuzz throughout, creating a music that needs to be felt as much as it needs to be heard.
We go to the ultimate source as Billy Corgan leaves us a message about how it felt to hear those sounds in the pre-internet days, when rather than pull up a YouTube clip, your imagination would have to guide you toward a tone.
But not everyone is an MBV fan, so this conversation is part superfan hype and part debate. We can all agree Kevin Shields is a guitarists you should know, but we can’t all agree what to do with that information.
This episode is sponsored by Fender.
Learn more: https://www.fender.com./
The masterbuilt limited-edition John Frusciante Stratocaster is a meticulously crafted replica of Frusciante’s beloved 1962 sunburst Strat.
“Frusciantes’ Strat is right up there with the most iconic Fenders of all time; being able to work on his first-ever Signature model was a true privilege,” said Paul Waller, FCS Master Builder. “Recreating this instrument’s many beautiful imperfections was no easy feat, but behind every ding and dent is a story and it’s our job to make sure that this guitar’s narrative is told in full, stunning detail. For an instrument this heavily reliced, it still retains so much of its original beauty. A ton of work went into this one, and while much of that can be reflected in its visual components, the whole team is tremendously proud of how this thing plays. The neck has that singular worn in quality that is usually only attainable with a pre-owned vintage guitar and the Abby hand-wound pickups really speak to Fruscinate’s expressive, crystalline tone.”
While Frusciante has been known to wield a number of different Fenders, his 1962 Sunburst Stratocaster is by far the most well known. Much of Frusciante’s style can be attributed to his tremendous technique and otherworldly fusion of punk rock intensity and complex funk rhythms, but the Stratocaster® guitars unique voice informed his playing and signature sound. While many players might relegate themselves entirely to the bridge or neck pickup, Frusciante taps into the Strat guitars true potential by frequently switching between all five pickup combinations. Thanks to the bridge pickup’s midrange bite and robust output, his solos cut through both on records and live. With the flip of the switch his tone seamlessly turns crystal clear, delivering lush rhythm lines with all the roundness and warmth one could hope to expect from a neck pickup.
To honor the indelible mark that John Frusciante has made on the musical stratosphere, the Fender Custom Shop™ has spared no expense in recreating his beloved 1962 Stratocaster. The unmistakable reliced finish is expertly cast onto a two-piece alder body that is as comfortable and lightweight as it is deeply resonant. The early-60s style “C” shape rift sawn maple neck and slab rosewood fingerboard harken back to the prized trappings of the Stratocaster guitars golden era—this will leave Fender obsessives jumping for joy while players across all skill levels will revel in the neck’s comfort and playability. A set of three '60s-style Strat pickups handwound by legend, Abigail Ybarra, sing with profound dynamic range, versatile frequency response and sheer sonic power. An Ilitch Electronics Hum-Canceling system allows players to experiment as wildly with gain effects pedals as Frusciante himself without the need to worry about excessive noise.
Masterbuilt Paul Waller John Frusciante Stratocaster® Heavy Relic®
After joining the Red Hot Chili Peppers in 1988 at the age of 18, John Frusciante was quickly embraced by fans thanks to his unique blend of intricate, funky, soulful playing and unmistakable tone. Over the next three decades, Frusciante’s 1962 Sunburst Stratocaster became his go-to guitar. For this limited run, Fender Custom Shop Senior Masterbuilder Paul Waller painstakingly replicated this cherished guitar—from the faded and beautifully aged lacquer finish down to the heavily worn body contours. All the dings, dents and scars that cover this infamous Strat give players the feeling of holding a true piece of rock and roll history in the palms of their hands. The highly-resonant, select two-piece alder body, early-‘60s “C” profile rift-sawn maple neck and slab rosewood fingerboard are perfect examples of prized golden era Stratocaster appointments. The combination of those quintessential pre-CBS specs and the trio of Abigail Ybarra Hand-Wound Stratocaster pickups, with an Ilitch Electronics Hum-Canceling system, gives players the same warm, clear and expressive tones that are the foundation in Frusciante’s signature sound. Other premium features include 7.25” (184.1 mm) radius, 21 narrow tall (6105) frets, Vintage Strat wiring, 5-way switch, vintage-style synchronized tremolo, vintage-style tuners, bone nut, wing string tree with metal spacer and certificate of authenticity. Available in 3-Color Sunburst