
Photo 1
Ready to tweak your 6-string for maximum musical versatility?
For decades, blues and rock guitarists have been laying glass or metal cylinders across their strings to add expressive riffs to their music. Unlike a Dobro or lap steel, which is played horizontally with a bar and has its strings jacked up way off the fretboard, a standard 6-string guitar can be set up for both fretting and slide work—if you know what you're doing.
Let's explore how to finesse a guitar so its strings sit high enough to keep a slide from crashing into the frets, yet remain close enough to the fretboard that you can play chords and riffs with your fingertips. Yes, you can have it all, as Duane Allman, Johnny Winter, Sonny Landreth, Ry Cooder, Derek Trucks, and many other greats have proven over the years.
It's not too hard to set up an electric guitar for dual duties, so that's what we'll focus on. It's more of a challenge with an acoustic, but with a little ingenuity, you can also adapt the following techniques to a flattop, so read on.
Project overview.
To illustrate the steps, I'll use a 2003 Gibson Les Paul Studio (Photo 1) a client brought in to have converted into a ripping slide guitar. He wanted to stick with his moderately light .010–.049 strings so he could comp and solo as usual, but he also wanted to augment his standard riffage with slide licks when the spirit moved him.
To make this happen, I suggested he use a lightweight, straight-wall glass slide—similar to Allman and Trucks—as opposed to the heavier brass or bottleneck slides that are often favored by acoustic resonator guitarists. Why? Using a lightweight slide, such as a Dunlop Derek Trucks Signature medicine bottle or the aluminum BigHeart Firecracker, makes it possible to use slinkier strings and keep the action reasonably low. Heavier slides can sound great, but they demand stouter strings and stiffer action. A light slide allows you to find that sweet spot in your setup where you can use the same guitar for two very different techniques.
Preliminary measurements.
Photo 2
The first step is to measure three things: action at the 12th fret, neck relief, and string height at the 1st fret. These measurements will provide a baseline to work from.
Here's the process: To measure the action, first tune to pitch (this is crucial) and then place a capo on top of the 1st fret. Next use a precision metal ruler to measure the string height at the 12th fret. I use a String Action Gauge—a handy tool from Stewart MacDonald—(Photo 2) for this. You want to determine the distance between the top of the 12th fret and the bottom of both the 6th and 1st strings.
Photo 3
On this Les Paul, the gap was 3/64" for the 1st string and 4/64" for the 6th. This action is comfortable for my client, but too low for slide.
Now to measure the amount of relief. With the capo still on the 1st fret, hold down the 6th string at the last fret and measure the greatest distance between the bottom of the string and the top of the frets (Photo 3).
On my client's guitar, the relief was .012"—perfect for his current playing style and also fine for supporting a lightweight slide. If your guitar has less relief, you may need to loosen the truss rod very slightly to introduce a tad more forward bow. (Read "Time for a Neck Adjustment?" to learn more about working with a truss rod.) But before you take that route, first complete the setup I'm about to describe. It's quite possible these steps will be all you'll need to enter the slide zone.
Photo 4
Next, remove the capo (it wouldn't hurt to confirm your strings are still at pitch) and measure the height of the 1st and 6th strings at the 1st fret (Photo 4).
In this case, the height was 1/64" and 2/64" for the 1st and 6th strings, respectively. While this is ideal for fretting chords and lines, it's too low for playing slide.
From these preliminary measurements, I was able to determine what would be required to give this Les Paul its new dual identity:
- Raise the action at the bridge and then adjust individual saddles.
- Raise the action at the nut by either shimming the stock nut or carving a new one.
- Adjust the pickups to balance string-to-string volume.
- Adjust the intonation.
Adjust the bridge.
To raise the action on a Les Paul's Tune-o-matic bridge, turn the thumbwheels counter-clockwise (Photo 5). Do this in small increments, perhaps a quarter of a rotation for each thumbwheel. Retune the guitar, put a capo on the 1st fret, and then measure the action at the 12th fret again.
For starters, I suggest adjusting the action to 4/64" on both the 1st and 6th strings. Remember, you can always come back and raise the treble or bass strings a bit more if you find your slide is hitting the frets.
Adjust the saddles.
Now here's our first tricky part. Most lightweight slides (such as a glass or chrome tube, or the medicine bottle favored by Allman and Trucks) contact the strings in a straight line. However, on a guitar set up for fretting—including my client's LP—the strings follow the fretboard radius or curvature. In other words, strings 1 through 6 are subtly arched at the bridge so they sit at a consistent height above the frets.
Slide licks often incorporate two or three strings at a time. When your slide has a straight playing surface, yet the strings are arched, you'll wind up pressing some strings down more than others as you move across the fretboard. This can create subtle intonation problems within a chord or interval.
Yes, you can have it all, as Duane Allman, Johnny Winter, Sonny Landreth, Ry Cooder, Derek Trucks, and many other greats have proven over the years.
The solution is to flatten the string radius at the bridge so the strings sit in a straight line that corresponds to the slide's playing surface. On a guitar with individually adjustable saddles, like a Strat, it's easy to raise or lower each string to achieve the target 4/64" gap between the bottom of all the strings and the top of the 12th fret.
However, on a guitar with a fixed-radius bridge—such as a Les Paul with a Tune-o-matic—some saddle slots will need to be deepened slightly to create a flat line between strings 1 and 6. Typically it's the middle saddles that need attention, but your current bridge radius and string gauges will determine which slots require recutting and by how much.
Gauged nut slotting files, which are available from Allparts, Stewart-MacDonald, and other luthier suppliers, work great for this task because you can precisely size the slot to match the string. For example, knowing that my client plays a .010–.046 set, I'll use a .036 gauge nut file to deepen the notch for the .036 A string.
The process is pretty straightforward: After you've set the bridge so the 1st and 6th strings are 4/64" above the 12th fret, measure the 2nd string. If it's also 4/64" at the 12th fret, move onto the 3rd string. But if it's higher, carefully deepen the slot to bring the 2nd string down to 4/64".
Photo 6
When re-cutting a notch, always follow the angle of the string as it emerges from the tailpiece up to the saddle (Photo 6). Go slowly, retuning and then measuring the action every few file strokes. Gently clean off any burrs on the front or back of the saddle using the nut file. This will prevent the string from getting caught up on the saddle and creating tuning issues.
Repeat the process on each inside string until you've achieved a uniformly level playing surface across all six strings. It's painstaking work, but the payoff in tone and feel will be worth the effort. Once you've flattened the radius and are satisfied with the overall action, you'll be ready to move over to the nut.
Raise the nut.
From experience, I knew that having the 1st string sit 1/64" above the 1st fret is too low for slide, so I'd need to raise the nut on this Les Paul. The trick, of course, is to get the nut high enough to accommodate slide technique, yet not make the guitar unplayable when fretting. Based on the owner's playing style, string gauges, and light glass slide, I decided on a uniform height of 2/64" for all six strings on his guitar.
There are only two ways to correctly and permanently raise the nut: You can shim it or carve a new one. The owner wanted to keep the stock Gibson nut, which was in excellent condition, so we elected to shim it.
Here's how that works: First remove the nut by gently tapping it on the fretboard side with a flathead screwdriver and small hammer (Photo 7). Next, clean up the nut slot by removing the excess glue with a small chisel or razor knife, and then scrape any glue off the nut.
Photo 8
Now super-glue the nut onto a thin piece of mahogany (Photo 8). For this kind of shim, I use a .020" thick piece of wood.
Trim off the excess wood around the string nut with a razor knife (Photo 9). Install the string nut and secure it with one drop of super glue on the face of the nut between the 4th and 3rd strings.
Adjust the pickups.
After you change the action on a guitar—especially to this degree—it's a good idea to adjust the pickups to make sure the treble-to-bass and string-to-string balance is how you want it.
First start with overall pickup height. Hold the 1st and 6th strings down at the last fret and measure the distance from the bottom of the strings to the top of the pickup. The distances in this table provide a good starting point for humbuckers.
Photo 10
The next step is to adjust the individual pole pieces using a small flathead screwdriver (Photo 10). The goal here is to create an even and consistent string-to-string balance.
Begin with the 5th string pole piece and adjust it to match the volume of the 6th string. Raising the pole piece will make a string louder and vice versa. Then move to the 4th string and compare it to strings 6 and 5. Continue working across the strings, checking them relative to each other and making small tweaks as necessary. Typically, the 3rd string is the loudest, so don't be surprised if you wind up lowering it below the pickup cover to keep it in balance with the other strings.
It's a wrap.
The final step to complete the project is install a new set of strings, tune to pitch, and adjust the intonation. If you need instructions for checking and adjusting the intonation, read "How to Install a New Tune-o-matic Bridge."
With the string height and pickups adjusted for playing slide, our project Les Paul is ready to return to its owner. But before he carts it off, I'll listen to him play and see if the bridge height and pickup pole pieces are dialed in to his satisfaction. If you set up your own guitar for double duty, you may find yourself making small adjustments after playing it for a few days. That's the beauty of being your own tech, right? That said, if you're not confident you can safely work with glue, files, and other tools around your guitar, take it to your local pro.
[Updated 11/18/21]
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Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.
Find the full tour itinerary right plus a link for tickets & VIP, including additional dates featuring John 5 only. Reserved seating tickets will go on sale Friday May 16 though a fan presale will begin today at noon local time and fans are strongly encouraged to buy early to get the best seats.
Meet and Greets for both artists will be available. For John 5 please go to: https://john5store.com/collections/vip.
Today, John 5 also announces more details of his anticipated new album. Called The Ghost, it will be released October 10 and is led by the new track “Fiend,” featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satan’s Service Museum of KISS Memorabilia in Los Angeles, California. Guided tours are open to the public for one month only (with a possible expansion). Current dates available are May 12-16, May 19-23 and May 27-30. Each will be led by John 5 himself who will provide tons of rich detail and answer any questions. Secure your place HERE.
JOHN 5 continues to tour with Mötley Crüe including an upcoming residency in Las Vegas in 2025.RICHIE KOTZEN &
JOHN 5 FALL 2025 TOUR
October 16 El Cajon, CA @ Magnolia
October 17 Riverside, CA @ Fox Performing Arts
October 18 Roseville, CA @ Goldfield Trading Post
October 19 San Jose, CA @ The Ritz
October 21 Phoenix, AZ @ Celebrity Theatre
October 22 Albuquerque, NM @ KiMo Theatre
October 24 Dallas, TX @ Granada Theater
October 25 Leander, TX @ The Haute Spot
October 27 New Orleans, LA @ House of Blues
October 28 Memphis, TN @ Minglewood Hall
October 29 Nashville, TN @ Fogg Street Lawn Club
October 30 Atlanta, GA @ Variety Playhouse
October 31 Orlando, FL @ House of Blues
November 1 Fort Lauderdale, FL @ Culture Room
November 2 Clearwater, FL @ Capitol Theatre
November 4 Richmond, VA @ The National
November 5 Leesburg, VA @ Tally Ho Theater
November 6 Patchogue, NY @ Patchogue Theatre
November 11 Glenside, PA @ Keswick Theatre
November 12 Derry, NH @ Tupelo Music Hall
November 13 Foxborough, MA @ Six String Grill & Stage
November 14 Stroudsburg, PA @ Sherman Theater
November 15 Lorain, OH @ Lorain Palace Theatre
November 16 Columbus, OH @ The King Of Clubs
November 17 Warrendale, PA @ Jergels
November 19 Wyandotte, MI @ District 142
November 20 Flint, MI @ The Machine Shop
November 21 Fort Wayne, IN @ Piere’s
November 22 St. Charles, IL @ Arcada Theatre
November 23 Belvidere, IL @ Apollo Theatre
November 25 Denver, CO @ Oriental Theater
November 29 Pioneertown, CA @ Pappy & Harriet's*
*John 5 only
AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).
“Well…it’s time to let the music do the talkin again,” PERRY says. “I’m really excited about the JPP line up this year!!!! Most of these guys played with me at The Roxy in L.A. at the debut event for my latest solo album [Sweetzerland Manifesto] in January 2018. They’re all busy as hell but thankfully they’re able to carve out some time for this run. And I’m not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang ‘Fortunate One’ on Sweetzerland Manifesto MKII], Robert DeLeo and Eric Kretz from STP!!! and Buck Johnson who plays keys and sings with Aerosmith, the Hollywood Vampires, and is also a solo artist in his own right.”
For the shows, the Rock and Roll Hall of Fame inductee says “the set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad we’ll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if you’ve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!”
DATE | LOCATION | VENUE |
Wednesday, August 13 | Tampa, FL | Seminole Hard Rock - Tampa |
Thursday, August 14 | Hollywood, FL | Seminole Hard Rock - Hollywood |
Saturday, August 16 | Toronto, ON | HISTORY |
Sunday, August 17 | Muskoka, ON | Kee to Bala |
Tuesday, August 19 | Boston, MA | Wang Theatre |
Wednesday, August 20 | Hampton Beach, NH | Hampton Beach Casino Ballroom |
Friday, August 22 | Mashantucket, CT | The Premier Theater at Foxwoods Resort Casino |
Saturday, August 23 | Port Chester, NY | Capitol Theatre |
A sample page from the author’s analog log.
Seasonal changes are tough on your acoustic. Here’s how you can take better care of your prized instrument.
As you read this, spring is in bloom in most of the US, or maybe it has been for some time. I’m timing this column specifically to ask acoustic guitarists, in this season of increasing humidity and comfortable conditions, to prepare for what’s coming. It’s never too soon, and time flies. Before you know it, we’ll be back to the maintenance phase and you might be blowing up the phones of your local guitar shops, luthiers, and techs. I’m here to encourage a decidedly old-school approach to preventative guitar maintenance, and yes, it starts now.
Why, you ask? Well, as the lead luthier at Acoustic Music Works, I can tell you that in my nearly 15 years in this position, this was the worst winter ever for preventable repairs on acoustic guitars. Fret sprout, bridge lifts, top sink, soundboard cracks, back cracks, loose binding, general malaise… These hit us very hard in the winter that spanned 2024 and 2025. Am I complaining? On the one hand, no. This is part of how we make our money. On the other hand, yes! Repair schedules related to dryness and humidity issues can stretch into weeks and even months, and nobody wants to be without their favorite instruments for that amount of time. With a little thoughtfulness, however, you might get through next winter (and every one thereafter) without hefty repair bills or time apart from your musical companion.
Our preparation is going to start with an unlikely but very important guitar accessory: the humble notebook. Plain, lined, grid, day planner… it doesn’t matter. We all need to actively participate in our instrument maintenance, and in my experience, fancy apps that track humidity via Bluetooth breed a kind of laziness, a feeling of safety that might prevent us from actually physically looking in on conditions. Better we keep an analog, well, log, so that we know where things stand, and I suggest checking in daily.
“This was the worst winter ever for preventable repairs on acoustic guitars.”
Track your relative humidity, both in the case and in the room where your instruments mostly reside, but also take notes on your action height, top deflection (StewMac has some great tips for measuring this) and anything related to playability that you believe you can observe empirically.
Dryness is the root cause of most guitar issues that manifest in the fall and winter months. Symptoms of dryness include sharp fret ends, falling action and dead frets, sunken top around the sound hole, and cracks and bridge lifts. With your trusty notebook, you’ll get a feel for the sensitivity level of your instrument, and that knowledge is power!
A few other basic implements will not only assist you in your observations, but may also satisfy your need to buy guitar-related things (at least for a minute). Getting quick and comfortable with a fret rocker is a great skill to have, and is invaluable in diagnosing buzzes due to high frets or frets that have come unseated due to dryness. A well-calibrated relief gauge might seem luxurious, but it can prevent you from making unnecessary or extreme truss rod adjustments. A string action gauge, or even a simple machinist’s rule or set of feeler gauges, will help you keep track of your action. Get a three-pack of hygrometers so you can average their readings, rather than depending on one.
Lest we forget: A guitar can not only be too dry, it can also be too wet. By beginning your maintenance diligence in the spring/summer, you’ll also be able to tell if your instrument is the victim of a too-humid environment. The signs of over-humidification are subtle: Your action may rise from a puffed-up top, and in extreme cases, glue joints could begin to fail. In my experience, an over-humidified guitar will suffer from dulled tone, almost like a sock in the sound hole. If you’re sensing a lack of clarity in your guitar all of a sudden, start with new strings. If it persists, it might be due to over-humidification, and you may want to introduce a desiccant to the case for a time. The more lightly built your guitar is, the more sensitive it will be to seasonal changes.
By getting into these habits early, you’ll be empowered by knowing your instrument more intimately. You’ll understand when and why changes in tone and playability might have occurred, and you’ll hopefully save on repair bills year-round. Feel free to reach out with any questions. Who knows? I might just send you a notebook with an AMW sticker on the cover!