
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.
Few musical acts did more to put their fame and fortune to good use than punk rock icon Wayne Kramer. Known for his enduring commitment to activism, especially in justice reform, his life story embodies the defiant, DIY ethos of punk, directly inspiring generations of bands and musicians who followed. Now, fans and fellow musicians alike can attempt to emulate Kramer’s incendiary sound with the new, limited-edition pedal.
Designed before his death in February 2024, Wayne Kramer—together with friend Jimi Dunlop (Dunlop CEO) and Daredevil Pedals owner Johnny Wator —the pedal features artwork from artist and activist Shepard Fairey (Obey Clothing founder). A majority of profits from the sale of the pedal goes directly to Kramer’s charity supporting the rehabilitation of incarcerated people of all ages, genders, and backgrounds.
In honor of his close friend, Tom Morello—the innovative guitarist behind Rage Against the Machine, Audioslave, the Nightwatchman, and more—demoed the pedal, showcasing its sound and shining light on Wayne Kramer’s incredible legacy.
Tom Morello Introduces MC5 Wayne Kramer-Inspired Pedal For Charity: MXR Jail Guitar Doors Drive
"What they've tried to bake into the MXR® Jail Guitar Doors Drive distortion pedal is not just Wayne's sound but Wayne's attitude, and the grit and the rawness of Detroit and of the MC5," said Morello, one of Kramer’s best friends, during his demo of the pedal. "This is the guitar pedal that was used on the song 'Heavy Lifting' that I recorded with Wayne for the last MC5 record.
"Named after the late rocker's charity—which provides instruments and art workshops to incarcerated individuals as rehabilitation tools—the MXR® Jail Guitar Doors Drive pedal aims to capture all of the high-voltage energy of Wayne Kramer's sound. It features two uniquely voiced gain circuits cascaded together with a singular pot controlling both the output level of each circuit and the overall saturation level of the distortion.
Music makers looking to capture Kramer’s raw, fiery sound can pick up the new MXR® Jail Guitar Doors Drive pedal, exclusively on Reverb via The Official MXR Jail Guitar Doors Drive Reverb Shop for $199, here: https://reverb.com/shop/the-official-mxr-jail-guitar-doors-reverb-shop.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).
His credits include Miles Davis’ Jack Johnson and Herbie Mann—next to whom he performed in Questlove’s 2021 documentary, Summer of Soul—and his tunes have been covered by Santana and the Messthetics. But it’s as a bandleader and collaborator where Sharrock cut his wildest recordings. As groundbreaking as Sharrock’s music could be, his distorted tone and melodic tunes helped bring rock listeners into the jazz tent. Our callers let us know how much Sharrock meant to them and why he’s one of the “top guys of all time.”