
Sometimes a guitar’s bolt-on neck needs a shim. Find out why and learn how to shim a neck the right way.
Recently a client brought an older Fender Telecaster into the shop for a setup. The action was really high, but the saddles had run out of adjustment and couldn't drop any lower. After careful inspection, I determined that the neck needed a shim to fix the problem. Fortunately, shimming a bolt-on neck isn't too hard. In fact, if you're handy with basic tools you can do this yourself, but you need to understand the process and know what mistakes to avoid. Let's investigate.
Understanding Neck Angle.
Fig. 1. This neck angle is too low, so even dropping the saddles flush to the bridge plate won't bring the strings close enough to the fretboard to play comfortably.
Our journey begins with neck angle, which is the pitch of the neck relative to the guitar's body and bridge. When the neck angle is set correctly, an electric guitar's saddles can be raised or lowered to create comfortable playing action and optimum tone and sustain.
But when the neck angle is too low (Fig. 1), the saddles can't be moved down enough to bring the strings close to the frets. The guitar is hard to play and the intonation suffers. Conversely, when the neck angle is too high (Fig. 2), you can't raise the strings enough to prevent fretting out or buzzing—even when the saddles are adjusted to their maximum height.
Fig. 2. This neck angle is too high. The guitar is unplayable even with the saddles raised to their maximum height.
In this column, we'll learn how to fix a neck angle that's too low. Typically, this problem can be resolved using a shim (Fig. 3).
Fig. 3. A full-pocket neck shim can correct a neck angle that's too low.
What causes a neck angle that's too low? Most players don't realize that an electric guitar can compress over time. As an instrument ages, constant string tension can cause the body to become slightly concave, and this changes the neck angle. This doesn't occur with every guitar, but it is common.
Many experts say that the angle for a bolt-on neck should be between zero and five degrees. From my experience, this is correct in most cases. But what I find even more important is how you adjust the neck to its optimal angle. When this is done properly, your guitar will play and sound at its best. When the neck angle is adjusted improperly, it can ruin a perfectly good neck.
If your guitar plays well and the saddles offer enough adjustment range for you to set the action correctly, you don't need to change anything. However, if the angle is too low and you can't move the saddles down any further, the neck needs a shim.
Fig. 4. A shim made from a Popsicle stick or scraps of wood leaves a gap between the neck pocket and neck. Eventually, pressure from the neck screws will warp the neck as it tries to fill the void.
Shimming dos and don'ts. I've seen just about every type of material used to shim a neck, including a matchbook cover, metal washers, a broken Popsicle stick, wood scraps (Fig. 4), and a guitar pick (Fig. 5).
Fig. 5. Another no-no: Using a guitar pick as a shim.
For starters, don't use paper or plastic, and above all, only use a "full-pocket" shim. Here's why a full-pocket shim is essential: When someone uses, say, a matchbook cover or guitar pick, it leaves a gap between the body and neck. Over time, the screws holding the neck force it to fill that void. As a result, the neck warps and the end of the fretboard looks like a ski jump. Next thing you know, the fretboard has to be sanded to remove the warp and then refretted. If you're lucky, the neck will have a thick enough fretboard to allow resurfacing. If not, the neck is a total loss. Either way, it's going to cost you hundreds of dollars.
To avoid these problems, use a full-pocket shim that fits inside the entire neck pocket and is shaped like a thin wedge, with the slightly taller end facing the bridge This raises the end of the fretboard just a bit, which is what you want when correcting a neck angle that's too low.
What You'll Need.
The best material for a shim is a thin piece of maple veneer. Most bolt-on necks are made of maple, so it makes sense to make a shim from the same material. The wood can be easily shaped to fit the neck pocket and angled to the proper degree. I typically start with a piece of maple about .060" thick.
The project requires a small hobby saw, 80-grit self-adhesive sandpaper attached to a flat plastic or wood sanding block, a belt sander, a hole punch, a pencil, and some superglue.
Fig. 6. Tracing the neck heel contours onto a full-pocket maple shim.
Crafting a Shim.
Use a hobby saw to cut out a rectangular piece of wood that's slightly wider and a bit longer than the neck pocket. Begin by tracing the neck heel onto your rectangular piece of maple (Fig. 6). Next, using the 80-grit sandpaper or a belt sander, trim the wood along the neck-heel line. Frequently check your progress to assure a close fit (Fig. 7).
Fig. 7. Checking how the shim fits into the neck pocket.
When you've shaped the shim so it sits securely inside the neck pocket, trim off any excess length. Using the rear edge of the neck pocket as a ruler, mark the trim line on the shim, remove the extra wood with the hobby saw, and then sand the edge smooth.
Fig. 8. Using a pencil to mark the bottom of the shim before sanding it into a subtle wedge.
Once the shim fits the neck pocket, the next step is to shade its entire bottom with a pencil (Fig. 8). This will help you know where to sand and how much material to remove.
Fig. 9. Getting ready to sand the shim to its proper thickness and angle.
Next, place the shim on the belt sander—make sure it's turned off—with the shaded side face down. Lay your sanding block on top of the shim with the 80-grit paper against the wood (Fig. 9).
Holding the block, turn on the belt sander while keeping pressure on the block. Apply more pressure to the end of the shim that will face the headstock. This will create the subtle wedge shape you need to correct a neck angle that's too low.
Fig. 10. Checking the bottom of the shim to confirm that the end facing the headstock is sanded a bit thinner than the end facing the bridge. The pencil marks tell the story.
Frequently check the bottom of the shim to make sure it's getting sanded evenly from side to side, but developing a slight front-to-back angle (Fig. 10). This is where the pencil marks come in handy.
Don't sand away too much wood—you'll have a chance to check your shim depth and angle in a few minutes when you string up for the first time. If need be, you can return to the sander to remove a little more wood from the bottom of the shim. By working incrementally, you won't have to start from scratch again.
Once you've sanded the shim into a subtle wedge and smoothed the top, it's time to punch holes to accommodate the four neck screws. Place the shim into the neck pocket with the shaded side down. Be sure it's oriented so the thicker end of the wedge faces the bridge. Insert the neck bolts and gently turn them until they each make a shallow impression in the shim.
Remove the shim and place a few drops of superglue around each screw-tip impression to reinforce the wood where you'll be punching holes for the neck screws.
Fig. 11. Punching holes for the neck screws after reinforcing the screw-tip impressions with superglue.
Using the screw impressions to center your punch tool, make four holes in the shim. Work slowly and carefully to avoid cracking the shim as you punch holes in it (Fig. 11).
Following the same orientation described above, reinsert the shim into the neck pocket. Bolt the neck onto the body, string up, and tune the guitar to pitch. From there, measure the action and test playability.
Remember: The problem you're correcting is a low neck angle that prevented you from adjusting the saddles down far enough to create comfortable action. The shim is working properly if you can use the saddle screws to set the action the way you like it. The saddle screws should offer sufficient adjustment range to lower or raise the action.
If the action is too low with the shim in place—even with the saddles raised—you need to remove the shim and sand it thinner. It may take several attempts to achieve the correct thickness and angle. Carving a shim takes time and patience, but the reward is well worth the effort.
Tilt-Screw Syndrome
Fig. 12. The micro-tilt neck adjustment system uses an Allen screw to press against a metal disc embedded in the neck heel.
Some electric guitars have a "micro-tilt" assembly in the neck pocket (Fig. 12). By inserting a hex wrench through a hole in the neck plate, you can push an Allen screw against a metal disc embedded in the neck heel and adjust the neck angle without using a shim. This invention, in my opinion, is a great way to force the end of the neck to warp or bow. If your guitar has micro-tilt hardware, I'd remove the Allen adjustment screw from the body and simply bolt the neck flat against the pocket. If the neck angle is too low, use a full-pocket shim to correct the problem.
[Updated 9/1/21]
- DIY: How to Set Up a Fender Stratocaster - Premier Guitar ›
- How to Balance Pickups on Strats and Teles - Premier Guitar ›
- How to Get the Most Out of Your Delay Pedal - Premier Guitar ›
- Time for a Neck Adjustment? - Premier Guitar | The best guitar and bass reviews, videos, and interviews on the web. ›
- Time for a Neck Adjustment? - Premier Guitar ›
- DIY: How to Refinish Your Axe - Premier Guitar ›
- Tone Tips: A Crash Course on Buffers - Premier Guitar ›
- Guitar Shop 101: “Decking” a Stratocaster Trem - Premier Guitar ›
- Reader Guitar of the Month: T-Style Chickadee - Premier Guitar ›
- Time for a Neck Adjustment? - Premier Guitar ›
- Time for a Neck Adjustment? - Premier Guitar ›
- The Inexpensive, Everyday Tools That Live on My Workbench - Premier Guitar ›
Montana’s own Evel Knievel
If artists aren’t allowed to take risks, and even fail, great art will never be made. Need proof? Check Picasso, Hendrix, Monk, and Led Zeppelin.
In sixth grade, I went to a strict Catholic school. When you have an Italian-Irish mother, that’s just part of the deal. The nuns had the look and temperament of the defensive line of the ’70s Oakland Raiders. Corporal punishment was harsh, swift, and plentiful–particularly toward boys—and we all feared them. All but one second grader. I can’t remember his first name; nobody used it, because his last name was Knievel. His uncle was Evel Knievel, the greatest and perhaps only celebrity ever to come from my home state, Montana. On the playground, we would watch in awe as this wild Knievel kid raced by us, nuns chasing in an awkward, sluggish pursuit as he knocked kids over, dust, books, and gravel flying behind his path of terror. This kid was fearless. It was truly inspiring to watch.
I hadn’t thought about my schoolmate for decades, until recently, when I saw Dave Chappelle talking about a terrible show he had in Detroit where the audience rebelled against him and began chanting, “We want our money back. We want our money back.” Chappelle told the angry mob: “Good people of Detroit. Hear me now. You are never getting your f*****g money back. I’m like Evel Knievel. I get paid for the attempt. I didn’t promise this shit would be good.”
Good art is a gamble. Look at Picasso. In 1907, he spent nearly a year drawing rough sketches and eventually painting his jagged, raw, unpretty Les Demoiselles d’Avignon. Picasso kept Les Demoiselles d’Avignon in his Montmartre, Paris, studio for years after its completion due to the mostly negative reaction of his immediate circle of friends and colleagues. After its first public showing in 1916, critics were hostile. Today, the painting is hailed as a pivotal moment in art history—the first true work of both Cubism and modern art. Many argue that the 20th century began culturally in 1907, with this painting that today hangs in the Museum of Modern Art in New York. Picasso wasn’t paid to make folks comfy; he got bank for shoving boundaries.
Similarly, I remember my sister and I watching a clip of Hendrix’s feedback-drenched “Star-Spangled Banner” at Woodstock. I couldn’t really process it at the time, but I knew I was watching something that had never been done. When he got to the “bombs bursting in air” part, it sounded like a barrage of explosions. Then, he references the mournful military bugle call “Taps,” played on bases at the end of each day and at funerals. My sister was offended. When I asked why, she said it was “unpatriotic.” I watch it now and I see a Black Army veteran who justifiably had a complex relationship with the country he had served. Martin Luther King was assassinated a year earlier, police brutality toward Black citizens was common. Black Americans were disproportionately stuck in low-wage jobs, and unemployment rates for Black workers were roughly double those of white workers. And although Hendrix was discharged, many of his Army buddies were overseas fighting a war they did not understand or support. So, yes, unpatriotic seems appropriate. But Hendrix’s performance was iconic because he dared to try to show his complex feelings through his guitar.“That’s the sweet spot: Fearless doesn’t mean flawless.”
Listen to Led Zeppelin’s groundbreaking “Black Dog.” The B section is so wonky, sticking out like a sore thumb with that weird timing that always feels wrong to me, but it would not be the rock masterpiece it is without that unsettling section. Maybe that’s the sweet spot: Fearless doesn’t mean flawless. Thelonious Monk’s janky genius proves that; those off-kilter notes hit you in the gut, not the head. Beck, Bowie, Coltrane… they didn’t polish away the edges; they leaned into them. That’s what makes you feel like a kid at an amusement park, wide-eyed and along for the ride.
When somebody hires me, they get what they get. I want to nail it, but art is subjective, so my idea of what feels right may not jibe with theirs. Humans are not great at communicating, so often I walk away from sessions and gigs wondering if my contribution was good, great, or garbage. But that’s a stupid question I try not to allow myself to indulge. You can’t do great work playing scared. There are times when music is not creative, just painting by numbers, trying to give the customer what they think they want. I do a lot of that to make a living, but that’s more like being a vending machine spitting out custom orders, not an artist.
Real artists are like that Knievel kid—leaving a trail of chaos, and not apologizing for it. I think artists who do it the best flip the script. Their audience isn’t just a judge, but a co-conspirator in the mess. They’re betting on the artist’s next move, not buying a finished product. They’re paying for the front-row seat to potential, not a flawless show. The paycheck was for the swing, not the home run. If the audience pays for “enjoyment” that turns artists into jukeboxes, not creators… if artists aren’t free to fail… innovation dies.
Nashville luthier and guitar tech Dave Johnson shows us the baker's dozen of tools he thinks any guitar picker requires to be a guitar fixer.
3. Guitar Tech Screwdriver Set - 3000
4. Nut File Set (for medium guitar strings) - 0882
8. String Spacing Ruler - 0673
9. Nut and Saddle Files - 4556
The Ultimate Guitarist's Tool Chest Giveaway
Whether you're setting up your first guitar or fine-tuning a custom build, these are the 13 tools every guitarist needs. Now you can win them all. We've partnered with our friends at StewMac to give away a complete pro-level toolkit valued at over $750.
Click here to enter
Kemper updated the entire product range introducing the all-new Kemper Profiler MK 2 Series. More Power. More Flexibility.
KEMPER PROFILER - The all-new PROFILER MK 2 Series
Kemper today announces the immediate availability of the all-new KEMPER PROFILER MK 2 Series. Kemper continues to raise the bar with the upcoming Profiler MK 2 Series — a bold evolution of the Profiler lineup (All PROFILERs: Head, Rack, Stage, the Player, and the powered versions), delivering more power, more flexibility, and more creative potential than ever before.
At the heart of the PROFILER MK 2 Series works an upgraded processing engine, unlocking faster performance, with boot times clocking in around 20 seconds, and a host of new features that expand the boundaries of what a modern guitar or bass rig can do.
A New Era of Effects:
20 Blocks in Series, the most powerful effects architecture ever found in a Kemper unit - The PROFILER MK 2 Series now offers seven additional effect blocks, raising the total number of simultaneous audio effect blocks to an incredible 20 — all running with zero added signal latency. It’s like having an entire, fully integrated pedalboard with pedal essentials at your feet — but one that boots in seconds, never needs rewiring, and always remembers your settings.
A new Era of Profiling:
Kemper announces a new profiling technology for the MK 2 series. Availabilty is expected during Summer. Currently in extended testing with some selected third-party profile vendors the new profiling offers:
- More than 100,000 individual frequency points meticulously analyzed for the most precise amp recreation ever achieved.
- Next-Level Speaker & Dynamically adjustable Cabinet Resonance – Capturing the true dynamics of your setup with the longest and most complex impulse responses in the industry.
- Liquid Profiling Technology – Seamlessly integrate the original amp’s gain and tone controls, transforming a single profile into a fully dynamic, living amplifier.
- Unparalleled Precision & Feel – A cutting-edge hybrid approach combining precise, deterministic analog measurement with Kemper’s industry-leading profiling intelligence.
Overview - All that’s new in the PROFILER MK 2 in more Detail:
All-New FX Section – 7 Additional FX Slots - ThePROFILER MK 2-Series introduces an expanded FX section with seven dedicated “pedalboard essential” FX slots, featuring: A new second Noise Gate (Palm Ninja), Compressor, Pure Booster, WahWah, Vintage Chorus, Air Chorus, and Double Tracker.
Adding these to the pre-existing 10 audio blocks, Spectral Noise Gate, Transpose Effect, and Volume Pedal - in total this provides users with 20 simultaneous audio effect blocks, setup gig-ready right out of the box while maintaining full flexibility for customization.
This new layout makes it convenient to cover all the bases and offers 8 flexible FX blocks available for the acclaimed tone shapers and studio-grade unique FX the KEMPER PROFILER is famous for.
Performance Meets Portability - With a smarter internal design and new lightweight aluminum components, the Profiler Stage Mk 2 has shed excess weight — making it even more gig-friendly without sacrificing the tank-like build quality musicians rely on. Whether for touring the world or heading to a local session, this is the most travel-ready full-featured Profiler yet.
Mk 2-ready Player! - For all guitarists and bassists already rocking the compact PROFILER Player, there is good news: it’s been “MK 2”-ready from day one, meaning it’s fully aligned with the power and potential of the new series, and now, on LVL 1 already, it features 16 simultaneous FX in total. This new extended signal flow becomes available for all Player owners as a free update, and yes, it will get Profiling, too. Making the PROFILER Player out of the box the features richest and most professional performance and recording solution - with its travel-friendly footprint and convenient price point!
8-Channel USB Audio Support for the new Mk 2-Series - Native 8-channel USB audio support to all KEMPER PROFILER MK 2 Series units, enabling seamless multitrack recording and reamping directly into your DAW – no external interface required.
Loop Longer, Play Harder - The integrated Looper also gets a serious upgrade. With up to two full minutes of recording time, the MK 2 Series lets you capture extended phrases, build layered soundscapes, or craft entire performances — all on the fly. (Looper available from LVL 3 for the Player)
Speed and Responsiveness Upgrades - Major improvements under the hood. Boot times, preset switching, and UI responsiveness are noticeably faster and smoother, especially in Performance Mode.
Christoph Kemper, Founder & CEO:
“The new PROFILER MK 2-Series makes the PROFILERs feel more like a complete rig than ever before. With instant access to essential FX, full USB audio integration, and improved playability, we’re giving our users a platform that adapts and grows with them.”
Pricing & Availability:
The new KEMPER PROFILER MK 2 Series models are available now from dealers worldwide and directly from the Kemper Online Store. All the new features require a KEMPER PROFILER MK 2 Series device. Visit www.kemper-amps.com for downloads and release notes.
PROFILER Head $1,348.00
PROFILER Rack $1,398.00
PROFILER Stage $1,498.00
PROFILER Player $ 699.00
PROFILER PowerHead $1,798.00
PROFILER PowerRack $1,798.00
PROFILER Remote $ 469.00
At a glance!
The Kemper Profiler MK 2 Series isn’t just about doing more. It’s about doing it better, faster, and without compromise. With unmatched tonal power, surgical precision, and effortless usability, this is the most complete and forward-thinking Profiler platform yet.
The Billy Idol guitarist rides his Knaggs into Nashville.
There’s nothing subtle about Billy Idol, so it tracks that there’d be nothing subtle about the guitars used onstage by his longtime guitarist, Steve Stevens. Famous for his guitar work with Idol and the Grammy-winning symphony of sustain “Top Gun Anthem,” Stevens brought a brigade of eye-popping signature electrics and some choice other jewels out on the road with Idol this spring.
The tour touched down at Bridgestone Arena in downtown Nashville in May, and while Stevens was jetting into town, PG’s John Bohlinger met up with tech and guitar builder Frank Falbo to learn the ins and outs of Stevens’ rig.
Brought to you by D’Addario
Cherry Pie
This cherryburst is one of a score of single-cut Knaggs Steve Stevens signature models in Stevens’ arsenal. He plays with heavier Tortex picks and uses Ernie Ball strings, usually .010–.048s.
More, More, More (Sustain)
This Knaggs Steve Stevens Severn XF, complete with a Sustainiac pickup system, was designed to mimic the look of one of his old guitars, and the stage lights make this finish go insane. It comes out for three to four songs in any given set, including “Rebel Yell.”
Songs from the Sparkle Lounge
This Knaggs Steve Stevens, finished in silver sparkle, is outfitted with a killswitch, push-pull control knobs, and Fishman Fluence pickups. Falbo was on the R&D team that helped design the Fluences.
Other guitars backstage include a red sparkle Knaggs with PAFs, a Godin LGXT with piezo saddles and Seymour Duncan pickups that sends three signals (synth, electric, and piezo), a pair of piezo- and MIDI-equipped Godin nylon-string guitars, a dazzling Gibson Les Paul with stock Gibson pickups, a Suhr T-style electric, and a Ciari Ascender for travel and dressing-room rehearsal.
Tube Heart, Digital Brains
Stevens runs through a pair of Friedman heads—a B100 and Steve Stevens SS100, plus a third backup—with each panned hard to either the left or right. Both signals run through a Neve 8803 rack EQ into two RedSeven Amplification Amp Central Evo loadboxes, and through their impulse response programs to front of house. A Neural Quad Cortex is on hand as a backup and for fly dates.
Steve Stevens’ Pedalboard
Stevens’ pedal playground is masterminded by an RJM Mastermind GT, which lives on its own board alongside a Fractal FM3 MK II. He orchestrates most of the changes himself, but Falbo is ready to flip switches backstage in case Stevens is away from his board for a key moment.
The centre hub, built on a Tone Merchants board, carries a TC Electronic PolyTune2 Noir, Xotic Effects Super Sweet Booster, Vox wah, Ernie Ball volume pedal, Mission Engineering expression pedal, DigiTech Whammy Ricochet, Suhr Discovery, JHS Muffuletta, DigiTech Drop, ISP DECI-MATE, Walrus Voyager, Suhr Koji Comp, Zvex Super Ringtone, DryBell Vibe Machine, and Ammoon EX EQ7. An Ebtech Hum Eliminator, two Strymon Ojais, and a Strymon Zuma keep the wheels greased.
The board to the right carries a Boss RV-500, Fender Smolder Acoustic OD, Lehle Dual Expression, Boss GM-800, Empress Bass Compressor, Grace Design ALiX preamp, Fishman Aura, and a Peterson tuner. Utility boxes include an Ernie Ball Volt and a Radial J48.