With a few simple tools, you can adjust your neck and be back in business in just a few minutes.
Few things are more frustrating than when you pick up your favorite guitar and discover it's not playing right. Either the action has “magically raised itself " or it's so low that every note rattles. You wonder, “What happened to my guitar?"
At some point, the neck goes out of adjustment on virtually every guitar. The culprit is typically weather, humidity, or changes in altitude. When the weather changes, so does anything made from wood. Likewise, as the humidity changes, the wood in a guitar will contract or expand, and this causes the instrument to drift out of adjustment.
Fear not! With a few simple tools, you can adjust your neck and be back in business in just a few minutes. To illustrate the process, I'll turn to a Fender Stratocaster with a typical modern truss rod and a rather unconventional paint job. I call it my Zombie-Caster (Fig. 1).
There are several types of truss rods: single- action, double-action, and non-adjustable. Though they work in different ways, all truss rods are designed to counteract the tension of a guitar's strings, which are constantly pulling on the neck. Left unchecked, this tension would bow the neck forward.
Fig. 2. A single-action truss rod creates back-bow to counteract string tension.
A single-action truss rod moves the neck in one direction (Fig. 2). By tightening the rod, you force the neck into a convex shape known as "back-bow." Conversely, when you loosen the rod, it relieves the tension inside the neck and the strings will pull the neck forward, creating a concave shape called "fore-bow."
The single-action rod will eventually run out of adjustment. Once the rod has reached a fully relaxed position, by itself the neck won't offer any more fore-bow. This limits the adjustability and is a problem if the neck wasn't made properly when the truss rod was installed.
Fig. 3. A double-action truss rod allows both back-bow and fore-bow.
Double-action truss rods force the neck in either direction (Fig. 3). I've used this type of truss rod in several of my guitars and I really like them. You tighten the double-action rod to force a back-bow or loosen it to force a fore-bow. The key difference between a single- and double-action rod is the latter has the ability to create fore-bow. With a double-action rod, you can actually force the neck into either a concave or convex shape.
Non-adjustable truss rods are self-explanatory. Typically composed of wood, graphite, or metal, they cannot be manipulated. They are also referred to as a K-Bar or steel re-enforced neck. These rods are usually found in older archtops, classical, and some flattop guitars.
Step 1: Gather your tools and prepare your workspace.
You only need a few tools for this project, but it's very important to use the correct ones. Here are the three items I use when adjusting a truss rod:
- Action gauge (available from stewmac.com)
- Capo
- Correct neck wrench (typically, this is supplied with the guitar)
The measurements are very small on an action gauge, so you'll need good lighting to read them.
Step 2: Measure current neck relief.
Fig. 4. To measure relief, clamp a capo on top of the 1st fret and then hold down the 6th string at the last fret.
Before you adjust the truss rod, you need to assess the neck's current state. Measuring the amount of "relief "—i.e., intentional fore-bow to provide room for a vibrating string—in a neck can be tricky. I suggest using a light with a built-in magnifier. You'll need the magnifier when taking measurements that vary from 1/64" (.015) up to 3/64" (.045). These are very small increments, but just a few thousandths of an inch can make a big difference in playability.
Here is my process for measuring existing neck relief:
- Tune the guitar to pitch.
- Place a capo on top of the 1st fret (Fig. 4).
- Hold down the 6th string at the last fret.
- Place the action gauge behind the 6th string, resting on the frets (Fig. 5).
- Gently slide the gauge from the 1st to the last fret, taking note of the space between the fret and string as indicated by the gauge's markings.
Fig. 5. Using a Stewart-MacDonald action gauge to precisely determine neck relief.
Write down the greatest distance—the biggest gap you encounter—from the top of the frets to the bottom of the string. This distance tells us how much relief or fore-bow the neck has. This measurement can vary dramatically from one guitar to another.
If there is no relief or fore-bow, then either your neck is dead flat or has back-bow. This means you need to loosen the truss rod to add the proper amount of relief.
Step 3: Determine the correct amount of relief.
How much relief do you need? This depends on how you play: If you're a light strummer, you only need the minimum amount of relief. If you strum hard or use a capo, you'll need more relief—a larger gap between the frets and vibrating strings.
For a light-to-medium strummer, relief measuring about .010 is plenty. This will also help keep the action low. For an aggressive strummer (or if you use a capo), .015 to .020 is normal. This will help prevent string rattle and buzzy notes. Keep in mind that these measurements are the distance from the top of the frets to the bottom of the 6th string.
Step 4: Adjust the truss rod.
There are several different ways to adjust a truss rod. Some truss rods require a screwdriver; others use an Allen wrench or even a socket wrench. Make sure you have the correct tool for the job!
As for my Zombie-Caster, it has .020 relief, as you can see in Fig. 5. That's more than necessary for my playing style and explains why the action feels so high.
Fig. 6. Adjusting the truss rod with a 1/8" Allen wrench.
Because I don't play hard or use a capo, I'll adjust the relief to be around .010 (Fig. 6). To adjust this truss rod, I need a 1/8" Allen wrench.
Fig. 7. Some necks need to be removed to access the truss rod.
Sometimes the access for the truss rod is at the heel of the neck. If that's the case, depending on the design, you may have to remove the neck to adjust the rod (Fig. 7). Vintage and vintage-style reissue Fenders, for example, require neck removal. Of course, this means remounting, restringing, and retuning between each adjustment. That's okay—be patient and make small adjustments. It takes time to get this right, but the effort is well worth it.
To add relief or fore-bow, turn the wrench counter-clockwise. If the neck needs less relief turn the wrench clockwise. (If you're looking directly at the truss rod nut, you can think "righty-tighty, lefty-loosey.") Always retune and remeasure after every adjustment.
Tip: If the truss rod won't turn smoothly— stop! There could be a problem with it. Remember, never force a truss rod. If you break it, it will cost a fortune to repair and probably trash the neck. If you're not comfortable adjusting your truss rod, consult a qualified repair technician.
Because my Zombie-Caster has .020 relief, I needed to turn the wrench clockwise to tighten the truss rod and reduce the gap. After turning the wrench about 1/3 of a revolution, the neck was right where I wanted it.
Wrap. If you carefully follow this procedure, you'll be able to adjust your truss rod and keep your guitar playing its best. Don't be surprised if you have to make this adjustment once or twice a year. The frequency really depends on your climate and how much traveling you do. And if you change string gauge, you'll also want to tweak your truss rod to accommodate the increased or decreased string tension.
We'll tackle another DIY project next month, so see you then.
[Updated 7/21/21]
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Featuring Bluetooth input, XLR inputs, and advanced amplifier platform, the KC12 is designed to offer exceptional sound quality and versatility for a wide range of applications.
The KC12 is a first-of-its-kind, 3-way, 3000-watt active loudspeaker system encompassing the visual aesthetic of a column loudspeaker while surpassing the acoustic performance of conventional designs. Simple and easy to deploy, the elegant KC12, available in black and white, is ideal for a wide range of customers and applications from solo entertainers, musicians and bands, mobile entertainers and DJs to corporate AV, event production, and static installations.
Column-style portable loudspeaker systems are most often put into service due to their unobtrusive form factor. However, typical designs lack clarity and definition, particularly when pushed to high output levels, forcing the user into a form-over-function compromise. Solving this common dilemma, the KC12 cleverly utilizes a 3-way design featuring QSC’s patented LEAF™ waveguide (first introduced in L Class Active Line Array Loudspeakers) combined with a true 1-inch compression driver, two 4-inch midrange drivers, and a high output 12-inch subwoofer, while still maintaining the desired, elegant appearance of a “column” system. The KC12 produces an outstanding full-range horizontal coverage of 145 degrees and 35 degrees of audience-directed vertical coverage with clean and natural sound at all output levels.
The system features three inputs: a Bluetooth ® input combined with a 3.5 mm TRS stereo input, as well as two combo XLR inputs (Mic/Line/Hi-Z and Mic/Line/+48 V), with independent, assignableFactory Presets for each XLR input, making it ideal for small events where two microphones are needed for different uses. The rear panel incorporates a multi-function digital display, offering control and selection of several loudspeaker functions, including Global Parametric EQ, Subwoofer level, Presets and Scenes, Bluetooth configuration, Delay (maximum of 200 ms), or Reverb. Bluetooth functionality also provides True Wireless Stereo (TWS), which ensures low latency pairing between the music source and both left and right loudspeakers simultaneously.
Additionally, the KC12 can be deployed with or without its lower column pole, making the system ideally suited for utilization on a floor, riser or raised stage. The system is backed by a 6-year Extended Warranty (with product registration).
“The KC12 exquisitely resolves the form-over-function compromise that has frustrated users of this category of products since they made their market introduction over 20 years ago,” states David Fuller, VP of Product Development, QSC Audio. “With the benefit of time, experience, extensive customer research, and cutting-edge innovation, our talented design team has truly created something very different from the status quo – not simply a differentiated product, but an overall better solution for the customer.”
The feature set and performance characteristics of the KC12 are complemented by a new, advanced amplifier platform, first incorporated into the L Class LS118 subwoofer released this past October. Fuller adds, “Among the platform’s key attributes are layers of real-time telemetry and protection to ensure uninterrupted performance day after day, which is a foundational QSC brand attribute.”
“Just like our first K Series reset the bar for powered loudspeakers, elevating customers’ expectations for performance, quality, reliability, usability, and professional appearance, the K Column offers a compelling, new approach to a familiar category and is destined to redefine the whole notion of what a ‘column’ is for users of portable PA products,” states Ray van Straten, VPBrand, Marketing & amp; Training, QSC Audio. “The product is simply stunning in its sleek and elegant appearance, but with the marketing tagline, ‘Just Listen’, we’re confident that once again, QSC sound quality will ultimately be the reason customers will quickly embrace the K Column as the next ‘New Standard’ in its category.”
The QSC KC12 K Column carries a MAP price of $1,999.
For more information, please visit qsc.com.
This pedal is designed to offer both unique distortion qualities and a tonal palette of sonic possibilities.
At the heart of the Harvezi Hazze pedal is a waveshaper designed around a unijunction transistor - a relic from the early days of the semiconductor industry unearthed from the e-waste bins of flea markets in Tbilisi, Georgia, the Eastern European country's largest city.
The unijunction transistor offers unique properties allowing one simple component to replace a number of very complex devices. Therefore. depending on the operating mode, users can access a distortion, a limiter, a waveshaper and a generator - with smooth transitions among each of these.
The name "Harvezi Hazze" translates from Georgian as "a fault on the transmission line" or "signal jamming", and both the semantic and phonetic nature of these translations imply what users can expect: an impediment to the input signal, which can range from pleasant harmonic distortions to complete obliteration. The signal chain of Harvezi Hazze consists of an optical compressor with fixed parameters; a dual-mode distorting amplifier with either softer or harsher clipping; a waveshaper built around a unijunction transistor; and a tone stack section designed to tame these sonic building blocks.
Signal flow and controls
Following the input, the signal goes to the Compressor, Distorting Amplifier, Waveshaper, and then to the Tone Stack and output stages. Harvezi Hazze features six control knobs, a three-way switch and a footswitch.
- Gain Control: This controls the output amplitude of the signal in the distorting amplifier section. Depending on the position of the switch, the distortion introduced by this section is soft (with the switch in the left position) or more aggressive with an abundance of high harmonics (with the switch in the middle position).
- Spoil and Spread: This knob controls the operation of the unijunction transistor (waveshaper section). Spoil sets the point on the amplitude axis at which the wave will fold, and Spread sets the amplitude of the folding. The higher the Spread value, the more severe the distortion will be, while Spoil will change the timbre and response threshold. By adjusting Spoil, users can achieve various gating and cutoff effects; at low Spread values, distortion sounds are mixed into the clean sound.
- Tone: This knob adjusts the brightness of the sound. With higher values, higher harmonics become present in the signal.
- Three-way switch. This feature regulates either the distortion mode in the amplifier section (left and center positions), or turns on the total feedback mode (right position) when the values of all knobs begin to influence each other. In this position, effects occur such as resonance at certain frequencies and self-oscillation.
- Level knob: This controls the output volume of the signal.
- Footswitch: This routes the signal through the effect circuitry or from input to output directly (true bypass).
The array of switches on the side of the unit provides even further tonal options; the lower position of the switch enables the specific function:
- Tone Stack: Routes the signal through the tone stack section (Tone knob).
- Bass Boost: Enhances bass frequencies.
- Tone Mode: Changes the behavior of the Tone knob (tilt or lowpass).
- Notch Freq: Changes the central frequency of the filter.
- High Cut: Attenuates high frequencies.
- Compressor: Routes the signal through the compressor.
Harvezi Hazze is priced at €290. To learn more, please visit https://somasynths.com/harvezi-hazze/.
Ibanez Blackout series acoustic guitars feature all-black aesthetic, high-quality electronics, and in-demand woods. Models include AEG721 with Fishman S-core pickups, AEWC621 with Ibanez AEQ-SP2 preamp, and TCY621 with Ibanez under-saddle pickup. With prices ranging from $249.99 to $399.99, these guitars offer a unique and stylish option for musicians.
Ibanez has unveiled its new Blackout series of acoustic guitars to their lineup. Inspired by the popular Iron Label series, these instruments feature an all-black aesthetic, including a matte black finish and black hardware. The Blackout series offers three distinct models: the AEG721 7-string acoustic-electric, the AEWC621, and the TCY621. Each model boasts in-demand woods, including a Spruce top, Sapele back and sides, and Macassar Ebony or Purpleheart for the fingerboard and bridge.
To complement their unique appearance, the Blackout guitars are equipped with high-quality electronics. The AEG721 and AEWC621 feature Fishman’s S-core pickups and Ibanez AEQ-SAP2 preamps, while the TCY621 utilizes an Ibanez under-saddle pickup and AEQ-2T preamp.
For more information, please visit ibanez.com.
AEG721
- AEG body
- 634mm/25" scale
- Spruce top
- Sapele back & sides
- Comfort Grip 3pc Nyatoh/Maple neck
- Macassar Ebony fretboard & bridge
- Black dyed Bone nut & saddle
- Black Die-cast tuners (18:1 gear ratio)
- Fishman® S-core pickup
- Ibanez AEQ-SP2 preamp w/Onboard tuner
- Balanced XLR & 1/4" outputs
- Ibanez Advantage™ bridge pins
- D'Addario® XTAPB1253, plus .070 guage Phosphor Bronze
- String Gauge: .012/.016/.024/.032/.042/.053/.070
- Factory Tuning: 1E,2B,3G,4D,5A,6E,7B
- Recommended case: AEG10C/MAP: $169.99
- Finish: Blacked Out
LIST PRICE: $599.99
ESTIMATED STREET PRICE: $399.99
AEWC621
- AEWC body
- 634mm/25" scale
- Spruce top
- Sapele back & sides
- Comfort Grip Nyatoh neck
- Macassar Ebony fretboard & bridge
- Black Die-cast tuners (18:1 gear ratio)
- Fishman® S-Core pickup
- Ibanez AEQ-SP2 preamp w/Onboard tuner
- Balanced XLR & 1/4" outputs
- Ibanez IACS6C coated strings
- Recommended case: AEG10C/MAP: $169.99
- Finish: Blacked Out
LIST PRICE: $599.99
ESTIMATED STREET PRICE: $399.99
TCY621
- Talman Double Cutaway body
- Neck joint at 16th fret
- Spruce top
- Sapele back & sides
- Okoume neck
- Purpleheart fretboard & bridge
- Black Die-cast tuners
- Ibanez Undersaddle pickup
- Ibanez AEQ-2T preamp w/Onboard tuner
- Ibanez Advantage™ bridge pins
- Recommended case: TM50C/MAP: $179.99
- Finish: Blacked Out
LIST PRICE: $374.99
ESTIMATED STREET PRICE: $249.99
Martin's 2025 NAMM Show lineup features new guitars with enhanced playability and vintage aesthetics.
C. F. Martin & Co. is unveiling an exciting lineup of new guitars ahead of The 2025 NAMM Show, including refinements to its trusted Standard Series and two all-new Retro Plus guitars.
With the Standard Series refresh, Martin brings fans enhanced playability, timeless aesthetics, and three stunning new models, while its two new Retro Plus guitars offer thermally aged spruce tops and the classic appearance of an 18-style guitar at an accessible price point. These releases showcase Martin's mission to create instruments that unleash the artist within.
These new guitars and more will be on display at The 2025 NAMM Show in Anaheim, California, through Saturday, January 25, with more releases to come.
Standard Series Refresh
Martin is refreshing its popular Standard Series lineup to bring subtle yet impactful refinements to enhance the look, tone, and playability of these iconic guitars, while introducing three new models to the series: the D-17, 000-17, and OM-45.
One of the key updates is Sitka spruce Golden Era (GE) top bracing, as featured on the Modern Deluxe Series, which offers a more vintage, breathy tone with enhanced sustain. The GE modified low oval neck profile maintains its popular shape but is optimized for vintage appeal with minimal increase in total mass.
It's paired with playability enhancements like a thinner fingerboard with a gently beveled comfort edge and refined string spacing at the nut, while the new GE modern belly bridge features smoother, more comfortable corners.
Standard Series guitars also now feature either bone or ebony bridge pins, along with newly added sunburst and ambertone finish options for select models. Additional aesthetic updates include a long diamond neck transition, a nut cut on angle, and a sleeker vintage-style heel.
These are the changes Martin enthusiasts have been asking for, delivering a blend of vintage appointments and modern playability enhancements. Players will notice improved comfort and vintage tones, particularly with the GE-inspired bracing and aesthetic refinements.
For more information, please visit martinguitar.com.
D-17
The Martin D-17 is a bold new offering in the refreshed Standard Series, combining vintage-inspired appointments with modern refinements for players seeking rich sounds and enhanced playability. Its iconic Dreadnought body shape is a favorite among players for its loud, projective tone and strong bass. This model is handcrafted with a satin-finished solid mahogany body, delivering a warm and woody tone, while vintage-inspired details such as a sleeker heel and nickel open gear tuners give the guitar a timeless, elegant look. With its satin-finished select hardwood neck and 25.4" scale length, whether you’re strumming big chords or picking intricate tunes, the D-17 delivers powerful, dynamic sound with a classic, vintage vibe.
000-17
The Martin 000-17 is another fresh addition to the Standard Series lineup. Its Auditorium (000) body shape offers a balanced tone and comfortable size, making it great for both fingerstyle playing and heavy-handed strumming. Crafted from solid mahogany with a satin finish, it delivers a warm, woody tone with a clear top end and a punchy midrange—ideal for players seeking a vintage-inspired sound with a modern edge. Its satin-finished select hardwood neck and 24.9" scale length contributes to a more relaxed string feel and warmer, mellower tones. Whether you’re playing at home, in the studio, or on stage, the 000-17 delivers the balanced, dynamic sound that players expect from a high-quality Martin.
OM-45
The Martin OM-45 is a pinnacle of craftsmanship in the refreshed Standard Series, combining classic appointments with modern enhancements for a truly exceptional instrument. This all-new full-gloss acoustic is crafted with solid East Indian rosewood back and sides and a solid spruce top, delivering a rich, resonant tone with remarkable sustain. Its genuine mahogany neck ensures a smooth, effortless feel, while the longer 25.4" scale length provides just the right amount of string tension for enhanced clarity, making this guitar great for intricate picking and strumming. Its dazzling pearl inlay, aging toner, and gold open gear tuners offer an elegant touch, making the OM-45 as stunning to look at as it is to play.
De Retro Plus Mahogany
The Martin DE Retro Plus Mahogany is inspired by Martin’s legendary 18-style flagship models. It combines powerful tone and iconic design with cutting-edge craftsmanship at a fraction of the price. Its torrefied solid spruce top is thermally aged for enhanced resonance and a beautifully seasoned sound, delivering the rich, broken-in tone of a vintage instrument from the first strum. It’s the same premium feature long reserved for our Authentic and Modern Deluxe series, now available for the first time ever in the Road Series. It even comes stage-ready with Martin E1 electronics, featuring a built-in tuner and controls for dialing in your perfect live tone.
000E Retro Plus Mahogany
This 000 model blends balanced tone with the same cutting-edge craftsmanship and 18-style appearance as its Dreadnought counterpart, including a torrefied solid spruce top. With solid mahogany back and sides, scalloped spruce X bracing, a Performing Artist neck, ebony fingerboard and bridge, and Martin E1 electronics, these guitars have everything you could want in an acoustic. Ideal as a gigging workhorse or your first step into premium acoustics, they deliver best-in-class quality at an unbeatable value for serious players, and a lifetime of inspiration for anyone who picks one up. Just be warned, you won’t be able to put them down—because nothing compares to a Martin.