Learn to solder like a pro in this easy-to-follow demonstration.
Given the DIY nature of this issue, we thought it would be appropriate to address good soldering technique. If you’re willing to invest a few bucks in some modest tools and spend a little time practicing the basics, you can learn to wire up guitars, stomp kits, speaker cabinets, and even do some simple amp mods. Once you understand the fundamentals, you can save money and derive a lot of satisfaction from working on your own gear.
The tools.
You’ll want a decent soldering pencil (a small type of soldering iron) rated at least 25 watts, but no more than 60 watts. (Many guitar techs like a 30-watt soldering iron for working on guitars and amps, and a 15-watt iron for working inside stompboxes and on delicate printed circuit boards.) You’ll also want a stand to hold the hot iron when not in use, a damp sponge, and some rosin core solder made for electronic work (Photo 1).
Photo 2 — If your soldering stand doesn’t house a sponge, just put a damp household sponge in a glass or ceramic dish. Other helpful tools: a hemostat and small clamps to hold parts still as you solder them, and a “solder sucker” bulb for removing solder.
You should also have some basic hand tools, such as wire strippers, needle-nose pliers, wire cutters, and something to hold the wire in place while a solder joint cools (Photos 2 and 3).
Photo 3 — In addition to hook-up wire, you’ll want wire strippers. Alternatively, luthier suppliers offer old-school “push-back” wire with a waxed cotton jacket (center) that eliminates the need for stripping off the plastic insulation from the end of the wire. Electrical tape and heat shrink tubing come in handy when you need to protect or insulate your work.
There are tools sold specifically for holding wires and parts, available through an electronics supply house.
Step 1: Prepare the Joint
Photo 4 — Before you attempt to solder a connection, the wire and component must be secured to assure they remain absolutely motionless. Here, a spring-loaded heat-sink clamp holds the wire in place while a vice grip gently clamps the pot shaft.
For every joint, you need to find a way to hold the wire in position without using your hands (Photo 4). Wrap the wire through the solder lug once to make it hold tightly on its own, use tape to hold it in place, lay a pair of pliers on the wire to hold it firmly where you want it, or use a mechanical soldering aid to hold it. Use whatever works, except holding the wire manually. When you make a solder connection and rely on your hands to hold the soldered wire steady while the joint cools, you will fail—no human hands are steady enough to hold anything perfectly still, and you want the wire to remain absolutely motionless while it cools. If there is movement, the result will be internal fractures in the solder.
Step 2: Clean the Tip
Photo 5 — Wipe the hot tip with a damp sponge to keep it clean.
The tip must be cleaned before each and every joint—you can use the damp sponge for this (Photos 5 and 6).
Photo 6 — A clean, dross-free tip looks smooth and shiny.
Solder produces a by-product called dross very, very quickly, and the dross fouls the tip, preventing good heat conduction and introducing waste material into your solder joints.
Step 3: Tin the Tip
Photo 7 — Add a small amount of solder to a freshly cleaned tip just before you solder a connection. When you see this telltale puff of smoke, pull the strand of solder off the tip, shake off any excess, and then move quickly to the joint.
Immediately before you get on the joint with the heat, add fresh solder to the tip of the iron to “tin” it. Simply feed solder directly onto the tip so it’s completely coated (Photo 7). A tinned tip will provide much better heat conduction than a tip that’s clean but not tinned.
Step 4: Remove the Excess Solder
Shake off the excess solder after tinning—you want the tip coated, but not dripping. I have a fire-resistant container beside my soldering bench, and after tinning I tap the barrel of my iron on the edge of the container to knock excess molten solder into it. You can use any fire-resistant container for this, such as a tin can or ceramic bowl, but use care not to start a fire. Because solder melts at such a low temperature the risk of a fire is very low—molten solder is unlikely to ignite even highly flammable materials like paper—but use care anyway!
Step 5: Get on the Joint Right Away
As soon as you’ve removed the excess solder from the tip, get right on the joint. By “joint,” I mean the wire and the solder lug, or the wire and the back of the pot, or whatever it is you’re soldering. Dross will start to form on the tip very quickly, so as soon as the tip is prepared, get to work.
Step 6: Heat the Joint
Photo 8 — Gently press the iron’s hot tip against the joint to heat it before you bring the solder into the equation. The goal is to make the joint itself hot enough to melt the solder.
Heat the joint, not the solder (Photo 8). You want the joint to be hot enough to melt the solder. It’s a given that the iron is hot enough to melt it—just feed a little onto the tip and you’ll see—but you also want the joint itself to be hot enough to do the same.
Photo 9 — While holding the tip against the joint, feed the solder onto the heated joint, not the soldering iron tip. Here the emerging puff of smoke indicates the solder is melting.
If you feed solder onto the joint without it touching the iron (Photo 9), the solder will melt and be attracted right to the joint. You can watch the solder actually wick out onto the surface you’re soldering to—this is what you want.
Step 7: Get off the Joint
As soon as the solder has flowed onto the joint properly, remove the heat from the joint. Most components can stand a fair amount of heat, but some are more susceptible to damage than others, so there’s no need to push your luck. Pots are fairly durable (unless it’s a cheap pot), so it’s highly unlikely you’ll damage one by trying to solder a wire to its back. But again, there’s no need to push your luck, so as soon as you’ve completed the joint, pull the iron away and let the joint cool with the components remaining motionless.
Photo 10 — When the molten solder has flowed into the joint, pull away both the solder and iron. Keep the joint motionless as it cools and don’t blow on it—the moisture in your breath will enter the cooling connection and potentially cause it to fail.
If you’re soldering to a ring-shaped solder lug, then you’ll want to fill it completely with solder (Photo 10). This will maximize the mechanical strength of the joint.
Like most skills, soldering proficiency is acquired through practice. Employing good technique will allow you to become competent all the more quickly, so follow these steps, and you’ll be soldering like a pro in no time. You should probably practice on projects that aren’t expensive or mission critical—you might want to think twice about rewiring your only guitar before that gig with Clapton tonight. But if you keep at it, you’ll be one step closer to being a consummate DIY’er.
Two Ways to Improve Your Soldering Projects
After you master the basics, there are two more skills to add to your bag of tricks: removing old solder and installing heat shrink tubing. There are plenty of occasions where you’ll wish you could remove old solder and re-use a part. For example, you might have rescued a volume or tone pot from a previous mod or project. If it’s a high-quality pot, like those from CTS, why toss it and buy a new replacement when you can put the old one back into service? It’s easy to reverse the soldering process and remove old solder and bits of wire. You simply need a solder removal tool. There are several types, including disposable braided wire that’s designed to wick molten solder away from a joint, and various vacuum pump tools and “solder suckers.” I prefer a simple rubber bulb with a heat-resistant Teflon tip.
Photo 11
Here’s how it works: Stabilize your component, in this case, a pot (Photo 11). See how one lug is filled with solder? Let’s make that go bye-bye. Apply heat to the lug with a freshly cleaned soldering-iron tip.
Photo 12
When you see the solder turn shiny and molten, hold the bulb away from the lug, squeeze and hold the bulb, and then bring its tip to the lug and release the bulb. Fffffft! The molten solder goes up the tip and into the bulb (Photo 12).
Photo 13
Look at that—a nice clean lug ready for its next mission (Photo 13).
Tip:It’s good to recycle pots and parts, but never try to reuse old solder. Clean it off and start fresh.
In case you’re wondering what happens to the old solder, every few months you simply work the tip out of the bulb, shake the collected cold solder beads into the trash, and reinsert the tip into the bulb. Good to go.
When you’re working with wire and electronics, you’ll often encounter instances where you need to insulate a connection from other wires or components. For example, you want to install a favorite old pickup into another guitar. However, the pickup leads have been cut back over the years and now they won’t reach the intended switch or pot, which means it’s time to splice short extensions to the pickup leads. No problem, except if the exposed wires touch each other or other components, they’ll create a short and you’ll hear only silence (or an annoying hum).
Electrical tape will do the job to insulate the splices, but heat shrink tubing—aka heat shrink—offers a more elegant solution. To make this work, you’ll need a heat source. Some folks use a lighter, but I prefer a heat gun because I like to avoid open flame in my workshop. Heat guns aren’t expensive and they get the job done efficiently and safely.
Photo 14
The details: Designed to slide over wire of different gauges, heat shrink comes in various diameters. After you select the right diameter to comfortably slip over your wire, cut off a piece that will straddle the solder splice or joint you plan to cover. The pros suggest a length that’s about three times as long as the exposed section. Use hemostats or a clamp to temporarily hold the ends together while you gauge the length you’ll need to cut (Photo 14).
Photo 15
Next, remove the clamp, slide the heat shrink over one end of the wire (keep it far away from your hot iron) and solder the wires. When the solder has cooled, slip the heat shrink over the new joint, center it, and fire up the heat gun. The tubing will start to immediately contract around the joint (Photo 15). Don’t worry, air from the heat gun doesn’t get hot enough to compromise the solder joint. Once the tubing has completely closed up around the wire, you’re done. The joint now has a tough, new skin to protect it. —Andy Ellis
[Updated 1/13/22]
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Trey Anastasio unveils plans for a special solo acoustic run starting in March, 2025.
The tour gets underway March 8, 2025 at Springfield, MA’s Symphony Hall and then visits US theatres and concert halls through early April. Real-time presales begin Wednesday, December 4 exclusively via treytickets.shop.ticketstoday.com. All remaining tickets will go on sale to the general public on Friday, December 6 – please check venues for on-sale times. For complete details, please see trey.com/tour.
TREY ANASTASIO - SOLO ACOUSTIC TOUR 2025
MARCH
8 – Springfield, MA – Symphony Hall
9 – Boston, MA – Wang Theatre at Boch Center
11 – Wilkes-Barre, PA – The F.M. Kirby Center
12 - Rochester, NY - Kodak Hall at Eastman Theatre
14 – Columbus, OH – Mershon Auditorium
15 – Milwaukee, WI – Riverside Theater
16 – Nashville, IN – Brown County Music Center
18 – Chicago, IL – Orchestra Hall
19 – Kansas City, MO – Uptown Theatre
21 – New Orleans, LA – Saenger Theatre
22 – Birmingham, AL – Alabama Theatre
23 – Nashville, TN – Ryman Auditorium
26 – Orlando, FL – Walt Disney Theater at Dr. Phillips Center for the Performing Arts
28 – Clearwater, FL – Ruth Eckerd Hall
29 – Savannah, GA – Johnny Mercer Theatre
30 – Charleston, SC – Gaillard Auditorium
APRIL
1 – Knoxville, TN – Tennessee Theatre
2 – Greenville, SC - Peace Concert Hall
4 – Washington, DC – Warner Theatre
5 - Red Bank, NJ - Count Basie Center for the Arts
More info: TREY.COM.
Watch John Bohlinger and Fender’s mad scientists dissect and rip away at Jack White’s new trio of visionary, eclectic, and multi-dimensionally magical electric, amp, and acoustic-electric.
Fender Jack White Triplecaster Telecaster Electric Guitar - Black
Jack White Triplecaster, BlkFender Limited-edition Jack White Triplesonic Acoustasonic Telecaster - Blacktop Arctic White
Jack White Am Acous Tele LTD, Satin ArGibson Band Featuring Slash, Duff McKagan, and Cesar Gueikian Announce Benefit Single
100% of "I Can Breathe" song proceeds to benefit the National Alliance on Mental Illness, NAMI.
On Giving Tuesday, Gibson announces a new release from the Gibson Band--a revolving collective of musicians who join together to make music and raise funds and awareness for worthy causes.. A hard-hitting rock song, the new benefit single “I Can Breathe” features rhythm guitars and piano from Cesar Gueikian, CEO of Gibson, with special guests Duff McKagan on lead vocals and lyrics, and Slash on lead guitar and solos. 100% of the proceeds from the sale of the song “I Can Breathe” will benefit the National Alliance on Mental Illness (NAMI), through Gibson Gives. NAMI is the nation’s largest grassroots mental health resource organization that is dedicated to building better lives for the millions of Americans affected by mental illness.
On “I Can Breathe” Duff McKagan crafted the lyrics and is featured on lead vocals, Cesar Gueikian wrote the music and played rhythm guitar and piano, and Slash wrote and played thelead guitar and solos, while Jota Morelli (drums), and Seta Von Gravessen (bass) rounded outthe group in the studio. The music was recorded by Cesar at La Roca Power Studio in BuenosAires, Argentina, vocals were recorded by Duff at the Sound Factory in Los Angeles and leadguitars and solos by Slash in Los Angeles. The track was produced by Cesar Gueikian and JorgeRodriguez with collaboration from Pablo Toubes and Francisco Trillini, and mixed and masteredby Greg Gordon. A special thanks goes to Gonzalo Riviera Villatte, Gina Furia, and guitar techLisardo Alvarez for all his work at La Roca Power Studio.
Gibson Records, Duff McKagan, Slash, and Cesar Gueikian, will donate 100% proceeds from thesale of “I Can Breathe,” in addition to all auction funds raised to the National Alliance on MentalIllness (NAMI), through Gibson Gives. NAMI is the nation’s largest grassroots mental healthresource organization that is dedicated to building better lives for the millions of Americans affectedby mental illness. NAMI’s mission is to create a world where all people affected by mentalillness live healthy, fulfilling lives supported by a community that cares.
“It was such a pleasure to work with Cesar and his whole crew on this tune,” says Duff McKagan.“The musical slant and progressive rock-ness of this huge epic pushed me in a whole new direction. Ilove a challenge and Cesar killed it! Most importantly, to be of service for mental health issues andawareness is super important to me at this time. Let’s rock!”
“Cesar and Duff came to me with a really cool piece of music,” adds Slash. “I loved the riff idea, andDuff's vocal, so I felt right at home on the track.”
“Guns N’ Roses had a profound influence on me and my guitar playing, so having the opportunity towrite and record this song with Slash and Duff is a dream come true, and it’s an honor to call themfriends and partners,” says Cesar Gueikian, CEO of Gibson. “’I Can Breathe’ started as aninstrumental track I recorded at La Roca Power Studio in Buenos Aires. Upon listening to the mix thatGreg Gordon put together, Jenny Marsh (Global Director of Cultural Influence at Gibson) suggestedDuff as lyricist and vocalist. Guns N’ Roses had just come off touring when I shared the song withDuff, he loved it and quickly wrote the lyrics and cut the vocals at the Sound Factory in Los Angeles.Having Duff on vocals made the next step obvious, which was asking Slash if he would collaboratewith lead guitars and solos. Both Duff and Slash transformed the track from a collection of riffs to agreat song! While Greg Gordon’s mixing and creativity tied it all together. I am grateful for thecollaboration from Slash, Duff and Greg, and from my friend Serj Tankian’s participation with coverartwork. I’m thrilled we are donating all proceeds from the song to a great and relevant cause.”
Made in close collaboration and with significant input from Jimmy Page, the Jimmy Page EDS-1275 uses new 3D scanning technology to aid in handcrafting an effective clone of his original EDS-1275.
There are very few guitars that can claim to be as instantly recognizable and iconic as Jimmy Page’s 1969 EDS-1275 Doubleneck. The photos of him playing it on stage with Led Zeppelin are indelible to rock ’n’ roll history. While Gibson has been making doubleneck electric guitars since 1958, Jimmy was the player who defined the EDS-1275 from the day it was delivered to him. Introducing the Jimmy Page EDS-1275 Doubleneck VOS, now part of the Gibson Custom core lineup and built to the exact specifications of Jimmy’s iconic EDS-1275 Doubleneck.
The Jimmy Page EDS-1275 features a double-cutaway one-piece mahogany body that provides exceptional access to the full length of both the12-string and six-string mahogany necks. Both necks have long tenons and are hide glue fit, and the neck profiles are recreated from 3D scans of the necks on the original guitar. The necks are both capped with bound Indian rosewood fretboards. Each fretboard is equipped with 20 authentic medium jumbo frets and adorned with aged cellulose nitrate parallelogram inlays. The fretboards of both necks have a 12” radius, which is perfect for both playing chords as well as for string bending while soloing. The 18 tuners are Kluson double line, double ring style, just like those found on the original guitar, and even the headstocks feature the correct 17-degree angle and specific logo stylization found on Jimmy’s EDS-1275. The electronics are just as authentic and deliver all of the sonic character of Jimmy’s legendary EDS-1275. Two uncovered Jimmy Page EDS-1275 Custombuckers with double black bobbins and Alnico 5 magnets are used for the two six-string pickups, while a covered pair is installed on the 12-string neck. Of course, the two volume and two tone controls use CTS potentiometers and period-correct ceramic disc capacitors, and the pickup select switch, neck select switch, and output jack are all from Switchcraft.
Here is your opportunity to own a clone of Jimmy Page’s famous EDS-1275, identical to how it appeared on the day that Jimmy first received the guitar. A Gibson Custom hardshell case is included, along with a vintage leather strap, and a certificate of authenticity with a photo from famed photographer Barrie Wentzell.
Jimmy Page EDS-1275 Doubleneck VOS '69 Cherry
Recreation of the EDS-1275 used by Jimmy Page made using 3D scans of the original guitar, one piece mahogany body, mahogany six and 12-string necks with custom Jimmy Page profiles, Indian rosewood fretboards, Jimmy Page Custombucker pickups with Alnico 5 magnets and double black bobbins, Gibson Custom hardshell case