The body is all-important, but we can’t discount the importance of the neck, too.
In my past several columns, I’ve talked about the importance of the soundboard and how its coupled components profoundly affect the performance of an instrument. Even though it’s true that a guitar’s soundboard system is ultimately the gatekeeper to great tone, there are about 17 separate points of coupling (glue joints and components) on an acoustic guitar, and each has a place in forming the sound of the instrument.
One component that can be overlooked, or, should I say, underdeveloped, is the guitar’s neck, and I’m not just talking about how it plays. I’m referring to the structure of the neck itself. A stiff neck is key to promoting high-end and sustain, but far too many instruments have weak necks due to low-quality materials and poor construction methods.
One prime component of a quality neck is the truss-rod system, which could be one of three styles: the static truss (non-adjustable), the single-action adjustable, or the double-action adjustable.
The first adjustable truss rod I encountered was with early 1900s Gibson instruments. The backbone to this system was a single-action carriage bolt with a brass nut and half-washer, all accessible under a cover on the peghead. When the nut was tightened, the truss rod counteracted the string tension, and when loosened the opposite would happen. Some people view this access pocket as a design flaw which could cause the peghead to break prematurely, but I have owned many Gibsons over the past 40 years and have never broken one of them. Furthermore, I have seen many more pegheads break on electrics than acoustics, so it’s most likely that electric players just tend to break their guitars more. For an adjustable system, these were pretty hard to beat, so I give the Gibson-style single-action truss rod a thumbs-up.
Sometime in the ’80s, the double-action truss rod appeared—primarily in the custom- and boutique-guitar market. This innovation had a right- and left-handed thread on the same rod. When turned one direction, it would add relief, and when turned the other, it added back-bow. Even though this style of truss rod was very effective, it did have quirks. The adjustment nut was welded on, which created a weak spot that would break if used incorrectly. And the fact that some double-action rods worked backwards from standard systems only added to the confusion.
A stiff neck is key to promoting high-end and sustain.
Finally, let’s take a look at the non-adjustable, static truss system that was used on some of the most iconic acoustic guitars ever made. The earliest versions were simply 3/32" x 3/8" sections of steel glued in place. They did a pretty good job, but it wasn’t until Martin introduced the T-bar (Photo 1) that static systems were perfected. The T-bar was incredibly rigid and added weight, which in turn helped drive an acoustic guitar’s body.
The only drawback (if you could call it that) was that it couldn’t be adjusted, but it’s been my experience that T-bars are so rigid they never need to be adjusted. For this reason, and others, I give Martin T-bars a big thumbs-up as well. What’s the interesting twist to all this? Many builders today blend the best of both worlds by adding stabilizing rigidity bars on both sides of an adjustable truss rod. Steel and graphite are the most common choices, but in my shop, we choose the steel option to add weight that mimics the mass of a vintage Martin T-bar.
Structurally, the truss rod plays a major role in the integrity and quality of a neck’s design. When done right, it adds stability and playability, but at its worst it will cause a lot of problems that can rob an instrument of its high end and sustain. In some cases, sympathetic vibrations caused by poorly installed systems can be activated by certain notes on the neck, which will cause a guitar to have one or more dead spots, or just flat-out rattle.
Dead spots or rattles are most common with double-action systems, and while this issue can be easily fixed by simply turning the truss rod until it becomes slightly activated, most players and technicians don’t understand what’s happening. And the issue will go on for years.
All of the systems I’ve mentioned are good options, but if you own a guitar with an adjustable truss-rod system, just be sure you know its limitations, and your own. Most technicians are more than happy to guide you through the steps of properly adjusting a truss rod so you can become familiar with the process. I strongly encourage you to take this route, because breaking a truss rod not only disables your guitar, it’s an incredibly expensive repair.
Sanding down the finish and sealing the wood to get a nice, smooth bare wood feel on your neck
I can't tell you how many guitars I've played where the lacquer on the back of the neck made me just want to put it down and pick up something else. I've always been a fan of the bare wood feel as opposed to thick finish on the back of a neck, so I thought for this month we could talk about getting a nice, smooth bare-wood neck. We've all sanded a neck at one point or another, right or wrong. Here are a few that can get your guitars feeling slicker in just a few quick steps.
Keeping Clean
I'm a clean freak when it comes to my gear, so dusty and dirty is not acceptable. I don't take the strings off or even loosen them up first, so my first suggestion to you is to place the body of the guitar in a trash bag. Tie the bag around the neck joint to keep the dust from getting into your pickups, pots, and switches and this will save you from lots of scratchy noises later.
Sanding in Stages
The thickness of the clear coat tells what grade of sandpaper I'll start with. Usually a 500 grit will work through just about the thickest of them with a little persistence. Scotchbrite makes a nice sandpaper substitute as well—buy both red and blue if you got this route.
To get started, cup your hand around the neck with the sandpaper so you have contact with the entire surface area. The first few strokes will cut into the finish and you can see if you need to apply or release pressure in any spots. Also, make sure you run the sandpaper the full length of the neck. You don't want to wear any uneven places anywhere on the neck. The lacquer will come off as a whitish powder when you get started, and as you work your way down into the wood you'll see the color turn to a light brown.
When you start seeing some wood dust coming off, it's time to go with a lighter grit. You don't want deep scratches in the wood—you're only trying to remove a layer of clear coat and bring the wood back to a smooth finish. Use the lighter grit until the grain is slick feeling, then move to the next higher grit paper. After a few minutes with a 1000 or 1500 grit sandpaper you're ready for the next step.
Sealing the Wood
You don't want the wood to be unprotected from the elements. This can cause unnecessary truss rod adjustments and you definitely don't want to have to deal with that every time you go into a new venue. Sealing the wood will eliminate that problem, but obviously certain products will put you right back where you started with a sticky finish. I've seen guys use anything from Tru Oil for gunstocks to 3-in-1 oil to Linseed Oil to Lemon Oil. I've even seen Super Glue used on one occasion (yeah I didn't get that one either). Some need to be reapplied every so often, but I want to be able to do it once and be not be concerned about it at the next gig.
My favorite product is a little concoction of rubbing alcohol and shellac. It sounds strange, I know, but it'll completely seal the wood and it dries with the slickest feel. Mix the two ingredients 50/50 in a plastic cup and apply it to the wood with a rag. It will dry to the touch pretty quickly, so as soon as it does go ahead and apply another coat. Go for three or four coats and let it dry overnight. The next morning, take some 0000 steel wool to it and you'll be amazed at how natural the back of the neck will feel.
I tried this trick for the first time with Brad's baby blue Crook Esquire and he loved it. I hope it works for you!
[Updated 10/20/21]