Tag Archives: setup

Demystifying Part 5: The Fender Mute

After a years-long hiatus, the Demystifying series is back!

First, I need to say thanks to all of you that have checked out the blog, and in particular the many that have shared and reposted these articles. Because of their popularity, Premier Guitar recently asked me to write an offset guitar setup guide for publication, which you can find in the May 2017 issue. AVAILABLE NOW IN STORES AND ONLINE!

So thanks to all of our readers, customers, and friends––without your support, this never would have happened.
The one bit of hardware I’ve not discussed previously is often thought of as a vestigial, an hold-over from a different time fit for the bin. Ultimately, it’s up to you if you’re ever going to use the thing, and to be honest, it seems like many don’t. However, if you’ve ever been curious about it, or if you use it but find it problematic, then friend, I come bearing glad tidings. I am of course talking about the Fender Mute.

A feature shared by both the Jaguar and Bass VI – though not across all models or years of production – this curious metal plate was originally intended to be a surrogate for palm muting. Couldn’t be a simpler mechanism, really: the mute is secured to the body by two screws, and the long bolt in the middle pivots on a spring-loaded plunger sunk into the guitar body. The mute can be engaged by pressing on the plate, shifting it back and forth in place, causing the foam pad to make contact with the underside of the strings.

The Fender Mute leaves the player’s picking hand totally free for strumming or sustain-less leads. This gives the device a sound distinct from traditional palm muting techniques, one widely used on instrumental surf recordings of the 1960s. What’s it sound like? I just happen to have an example for you here:

Like the Fender offset bridge, the mute requires some extra thought to set up correctly. Really, the whole procedure comes down to balance; the mute has to be set to engage smoothly while allowing the bridge to be lowered enough for playable action. If the mute sits too high, the bridge will rest on its mounting screws. Too low, and the mute won’t engage at all.

It’s best to begin with the mute installed on its own––leave the bridge for later. Remember those two mounting screws I mentioned earlier? You’ll need to find the lowest possible setting for them where the mute still pivots. Try screwing them in all the way, then backing off until the foam side of the mute pops up and stays put. Then, install the bridge and make sure it doesn’t sit on top of the mute mounting screws.

It may take a few tries, but you’ll soon find that balance. When pressing on the plate, the foam side should rise up to meet the strings but not push them up, then stay firmly in place. Pushing down on that side should disengage the mute, again with a firm action. If the mute doesn’t stay in place, or is difficult to move, take the bridge off and keep adjusting those mounting screws.

Top: disengaged. Bottom: engaged

It’s worth noting that, In order to get the mute set up correctly, your guitar will need to be shimmed as described in part two of the Demystifying series. A sufficient amount of neck angle is crucial, otherwise there may not be enough room under the bridge for the mute to be functional.

One problem that can crop up with the mute is that it pulls the strings sharp when it’s engaged. Often, this can be due to the mute sitting too high, which effectively shortens the scale length of the instrument. If that’s the case, cranking down the mounting screws should solve this issue for most players. Too-hard foam can also be the culprit, pushing up on the strings and raising pitch. Substituting a softer piece of foam here can work wonders (more on that later). Alternatively, one can easily shave off the bit of foam that touches the strings.

If you have a vintage Jaguar or Bass VI, you’re likely familiar with a problem that arises when the original foam on vintage instruments, due to age or contact with sweat: deterioration. This happens to pickup foam as well, where it hardens and compresses, rendering pickup height adjustment difficult or even impossible.

Hardened, sticky mute foam on a refinished ’63 Jaguar. You can see the gooey residue on the low E side of the mute.

If this happens to your mute foam, I have to tell you there’s no point in trying to salvage it. Touching or removing the stuff, you’ll notice that what was once foam is now a slightly gooey, sticky mess. Even on a totally original ‘60s guitar, leaving foam in this state is at the very least off-putting and potentially problematic, what with the black residue left behind on contact with skin or strings. Seriously, that stuff is disgusting.

Do yourself a favor and replace that foam. I’ll admit, it’s often the only part we’d even thing of replacing on a perfect vintage Jaguar. Replacement Fender foam can be found on eBay, but it seems that every parts supplier is out of stock right now. In a pinch, we use this. The link will take you to some weather stripping foam that’s just slightly taller than the 3/8” by 1/4” Jaguars have from the factory, but it should work like a charm. If the extra height concerns you, the same brand has a version with a height of 3/16″ as well.

Interestingly, this Mute wasn’t Fender’s first shot at string-dampening technology. Earlier, there was foam stuffed under the bridge covers of ‘50s Precision basses. The first Jazz Basses featured stiff pads for each individual string, while the later Mustang Bass  bridge had similar devices. Muting may make a bit more sense on bass than guitar, but give this mute system a shot and see if you can’t make it work for your brand of music. To the author, it’s a fun sound that makes some rhythm parts more interesting, and with effects added, it can bloom into something totally unique. And weird. Definitely weird.

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Mike Landis’ Very Special 1966 Jaguar: A Holiday Tale Spanning Two Decades

Happy Holidays from all of us at Mike & Mike’s Guitar Bar. We truly would be nothing if not for the love, support, and business of our many friends and customers. Cheers to you! In celebration of this joyous time, I’d like to tell you about something extraordinary that happened to me recently, something I couldn’t talk about because it would have spoiled a surprise.

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This 1966 Jaguar belongs to the father of my good friend Mike Landis, and it happens to be the very first offset guitar I ever encountered. I haven’t seen it in 20 years.

I vividly remember Mike pulling it out of the case on some otherwise average day in 1996. I’d never seen anything like it before—like something out of a Sci-Fi dream. The cold gleam of the Jaguar’s many control plates ignited within my young mind what felt like a fumbling musical adolescence; I didn’t know what I’d do with it if I had one, I just knew I needed it.

Sunglasses case, no less!

Sunglasses case, no less!

Holding that guitar for a brief moment two decades ago felt like some guilty, illicit pleasure. Everything inside me knew I shouldn’t have been messing with it, but the rush of getting caught made it all the more thrilling. I strummed a few chords, ignorant to the function of the switches, yet marveling at its beauty and quality of the sound I was hearing. It was clear to me then that I wasn’t worthy of such a guitar.

When Mike heard that I was coming back to my hometown of York, PA for a quick visit, he asked if I’d be able to get it back into playing shape as a Christmas gift for his dad. Of course I said yes!

That night as I stood over the guitar—the guitar—I paused for a moment before I dared touch it. I thought back to that first trespass, handling his dad’s Jaguar as if it were a priceless artifact, caught up in wonder and amazement. Surely, at that time, it had been the nicest instrument I had ever seen, let alone played. I wondered, was I worthy of it yet? I breathed, spoke aloud a quick thank you to any deity that may have been listening, and got to work. For two hours, I attended to it with the same thoughtful, careful attitude I try to lend to every instrument.

fullsizerender_1Before I arrived, Mike gave me a run-down of what the guitar might need. For starters, he wasn’t getting any sound out of the thing, and my first thought was that the Rhythm Circuit switch may have a bad solder joint. When I finally got my hands on it, the solder joints didn’t look obviously inoperable, but I thought it a safe bet to simply reflow a few key joints. This certainly helped, and suddenly I was getting sound from the Lead Circuit, with intermittent functionality of the RC.

It took a few minutes of turning the Rhythm volume and tone controls, but it turned out that those pots were just so dirty from disuse that they wouldn’t pass signal. Ideally, I’d have sprayed them out with contact cleaner, but alas, this was one thing I forgot to mention when I sent Mike my laundry list of tools I’d need to do the work. They cleaned up beautifully just by being turned over and over, and I told Mike to get some cleaner before too long.

Back in 1996, I remember asking why Mike’s dad never seemed to play the thing. The complaint then was that it just didn’t play all that great, and that was still a problem today. I don’t think the guitar had ever been set up, at least, not by someone that understands the intricacies of Fender Offset Guitars. Strung with too-light strings and with the bridge too high and saddles set at the wrong radius, it was clear that this guitar hadn’t been comfortable to play for ages.

fullsizerender_2I took the strings off, removed the bridge, and gave the guitar a thorough cleaning, from finish to frets. It wasn’t filthy by any means, but the frets showed signs of disuse and the finish had a dull shine. It’s Christmas, after all; this should feel like an entirely new guitar. After a good polish of the finish and frets, and some lemon oil for the rosewood fretboard, this guitar came right back to life.

I had Mike pick up a set of 11 gauge strings, which is usually the lightest I’ll recommend for Jaguars. I lowered and pre-radiused the saddles by eye and re-installed the bridge, intending to fine-tune it later on. To my surprise, the guitar actually played pretty well with just that done, but I decided to give the truss rod another quarter-turn to really dial in the relief. With 11s and the correct amount of neck angle, those strings weren’t going anywhere.

Because the guitar just wasn’t staying in tune before I started my work, I paid special attention to every point of contact on the strings, lubricating the nut and making sure it was properly cut for the gauge being used. Ideally, I’d like to replace the nut on this one at some point, but there just wasn’t time for that on this quick trip home. Another day, then! The trem was also wildly out of adjustment, so I zeroed in on the sweet spot for both the Trem Lock to work as intended and for optimum string tension, and the whole guitar snapped right back in to perfect functionality. Bam!

fullsizerender_3When I was finished, I hovered above the thing, not quite sure how to feel. This was the guitar from my youth that elicited such passion, though my ignorance kept me from fully embracing the model. I couldn’t believe that I was able to give back, as it were, to that first Jaguar. I dreamed about this shimmering blue guitar for years, and here I was, ready to play it as it should always have been. And play, I did; the sound, the feel, the response… it was magical.

Life has come full-circle, in a way. What an honor it was to care for this instrument! Thanks, Mike!

 

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Demystifying the Fender Jazzmaster and Jaguar, Pt. 2: Bridge Over Troubled Vibrato

IMG_2101By Michael James Adams

A few weeks back, we took some time to fully explain the electronic innerworkings of Fender’s paradoxically well-loved and oft-maligned models, the Jazzmaster and Jaguar. For many players, the tonal options available on these guitars is a breath of fresh air; for others, the switching becomes an exercise in futility, leaving them to wonder how to just turn on the bridge pickup. Hopefully we helped!

In today’s column, we’re going to dive into what be the most misunderstood and subsequently damning design element on these amazing guitars: the bridge.

It’s a common occurrence for players who are used to Strats and Teles or Les Pauls to get the Offset itch and pick up a Jazzmaster or Jaguar and find that it doesn’t play quite the way they expected: strings will slip out of their grooves with moderate pick attack, the bridge sways back and forth with vibrato action, and sympathetic ‘ghost’ notes will ring out from behind the bridge, prompting many stymied players to install a Buzzstop. Please, don’t do that just yet – I’m begging you to get to know your seemingly unwieldy friend before you do something rash.

Shim Shenanigans

Conventional guitar wisdom tells us that shims are bad. They’re tone-sucking, sustain-killing, useless pieces of paper that shouldn’t come anywhere near a neck pocket, right? Well, about that…

That's A Bruce Campbell, not THE Bruce Campbell. Unfortunately.

That’s A Bruce Campbell, not THE Bruce Campbell. Unfortunately.

Most of the vintage Fender guitars we love came from the factory with at least one shim installed, and I’ve seen vintage guitars with four or more original shims! Telecasters, for example, might have a shim in the front edge of the neck pocket so that when the guitar is strung, the strings sit closer to the top of the ashtray bridge instead of down in the middle, which isn’t exactly the most comfortable place for picking. Also, the height adjustment screws on the brass bridge saddles could be longer than necessary, which means sharp pieces of metal digging into your picking hand. Not fun.

Many players operate under the belief that a shim will kill their tone, and to an extent they have a point. Obviously, for maximum sustain and tonal transfer, it makes sense to have a tight neck pocket with full wood-on-wood contact. Here’s the thing: tone is subjective, and the vast majority of us won’t be able to hear the difference between a shimmed and un-shimmed guitar. Add to that the fact that many of the old-school tones we’re all chasing were created with shimmed guitars, and the argument gets even more murky. And, unlike Strats and Teles, Jazzmasters and Jaguars were actually designed with shims in mind!

Break Angle Benefits

You see, Leo Fender knew that his floating bridge design needed a certain amount of downward force to work properly, so he used shims in the leading edge of the neck pocket to adjust the angle of the neck, causing the strings to pass over the bridge at a sharper angle. This is called the break angle.

The further back he tilted the neck, the bridge would have to be set higher to achieve playable action, and thus, more downward force on the bridge. More downward force on the bridge also means greater tonal transfer via the contact between the bridge and its thimbles, which in turn transfer that vibration to the body, and then who the hell really knows how much sustain and resonance you’re losing or gaining?! It boggles the mind.

When players complain about their strings slipping out of the tiny grooves on their saddles, more often than not the problem isn’t the saddle, it’s the aforementioned break angle.  A sharper break angle means more downward force on the bridge, which in turn helps to keep the strings seated! One other solution is to deepen the grooves with a file, which is a fine solution that I’ve had to use a few times. It’s not my first choice fix, but with some guitars with worn or import bridges, there’s not much else you can do, short of replacing the bridge. More on that later.

Players will also cite excessive mechanical buzz from their bridges as a source of frustration, but again, I point to neck/break angle as the first solution. Most of the time, the bridge buzzes because of a weak break angle and thus, less pressure, which means the saddles themselves aren’t tightly seated on the bridge plate. Tilt that neck back and voila, the buzz disappears. At least, it usually does; new bridges that haven’t been played-in will often make noise because they don’t have years of oxidation helping to tighten things up. In that case, either sweat a lot or dab some blue Loc-Tite* on the saddle screws, which will not only diminish rattle but also ensure that screws don’t turn when you don’t want them to.

The other solution to this problem is the Buzz-Stop, an add-on unit that screws into the trem plate and forces the strings down toward the body. While this solution certainly works, it also kills the vibe of having a Jazzmaster or Jaguar; the strings behind the bridge are deadened – a huge part of what makes these guitars  so fun! – and the vibrato has another point of friction to contend with, making it work less efficiently. It also makes the guitar feel different in terms of playability, but feel is subjective.IMG_4061

Rock. YEAH. Ing. YEAH. Bridge. YEAH. YEAH. YEAH!

For the Jazzmaster, Leo Fender designed a new “floating” vibrato system which revolved around a bridge that rocks back and forth as the whammy bar is actuated and promised unparalleled control and flutter as well as better tuning stability. But if this system was supposed to be so great, why does it seem like everyone complains about it?

A lot of people don’t understand that the bridge is supposed to rock, which understandably freaks them out. I’ll admit that this feature isn’t my favorite element of the design, but it really does work, but not perfectly. The bridge doesn’t always return to its zero position, but this is a problem just about every trem system on the market has, and if we lived in a perfect world it would be enough.

If the rocking bridge bothers you and makes your intonation spotty, a lot of us will wrap the bridge with foil tape, which locks it into place in its thimbles. The vibrato still works well like this, but again, it’s not a total solution. This is yet another issue addressed by the Mastery Bridge, with its larger diameter posts that fit snugly into the bridge thimbles.

A Word About String Gauge

When Leo was rolled out the Jazzmaster, he intended to market the guitar to Jazz players, hence the addition of the darker preset rhythm circuit. Because of this, the guitar was also designed with heavy-gauge flat-wound strings in mind. Back in the day, light guitar strings weren’t readily available, especially when it came to flats. That’s why you so often hear older guitarists talking about using a banjo string on the high E and moving the rest of the set over one string! Jazz players were often using sets as heavy as .014”, and .011” sets were considered pretty measly by comparison.

When the Jazzmaster rolled out, the idea was that these jazzers would be using at least .012” flat sets on the guitar, which have much more tension than today’s slinkier round-wound strings. Heavier strings equals greater tension, get it? If you ever try to put flat-wound 12s on a Jazzmaster, they usually won’t go anywhere.

When you want to use light strings on a Jazzmaster or Jaguar, you’re going to have to compensate somehow. You’ll need to increase the break angle and adjust the bridge, but if you’re going lighter than .011” sets you might also consider swapping out the bridge for those found on Fender Mustang guitars, which have a single, deep groove for each string. Or, you could go for the ultimate upgrade, the Mastery Bridge, but I’d make that recommendation to anyone regardless of string gauge. The Mastery Bridge is hands-down the best upgrade you can make to your Fender Offset guitar in my opinion. With it, you may still need a bit of a neck angle adjustment, but your strings will definitely stay on their saddles.

Next time, we’ll take a brief look behind the bridge and how to work with the vibrato unit for greater tuning stability and control. Wanna go wild and return to pitch? We’ve got you covered!

Mastery on a '58. Yessir.

Mastery on a ’58. Yessir.

*CAUTION: Never, ever use the red Loc-Tite on guitar parts unless you want them permanently frozen in place. The blue variety is meant for a non-permanent bond, allowing the user to make adjustments down the line. I think they’ve just come out with a green formula as well that’s not as strong, but I haven’t used it. Also, that stuff dries clear, so don’t freak out when you put blue goop all over your shiny new guitar. It’s cool. Simmer down.

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Mike & Mike’s Guitar Guards: Vinyl Record Pickguards for Your Instrument!

IMG_2925-imp

After lots of hard work and determination, we’re ready to officially announce Mike & Mike’s Guitar Guards! These pickguards made from recycled vinyl records are produced entirely by hand in Seattle, WA and are made to fit many of the most popular guitar models: Fender Telecaster, Esquire, Telemaster, Nashville Tele, Mustang, Jaguar, Jag-Stang, Jazz Bass, G&L ASAT and ASAT Special, Gibson SG, Gretsch and pretty much any other guard that fits within the boundaries of a 12″ LP. Over the coming months we’ll be looking to add even more models to the party. Pretty snazzy, don’t you think?

We’re proud to offer these custom-fit replacement pickguards in three distinct collections:

IMG_2911-impAssorted – $45: Pre-cut, semi-random guards for popular models with a choice of overall label color to match your instrument. This series could include popular artists, not-so-popular ‘joke’ artists, self-hypnosis records, blooper reels, etc.*

Custom – $60: Custom-cut guards with full artist/album options (even soundtracks and off-the-beaten-path releases) as well as accommodation for non-standard pickup configuarations. We’ll send a list of options or you can make a request, which we’ll do our best to fill. These guards will also ship in their original album sleeve whenever possible!*

Premium – $75: All of the above in limited edition colored vinyl releases. Ships in original album sleeve!*

You’re also welcome to send us your own records for us to cut into the shape of your choosing!**

Each guard is hand-cut and lovingly shaped for a true-to-spec fit. Edges are sanded smooth, lightly beveled and polished to a 1950’s Bakelite sheen, and great care is taken to ensure a perfect, tight fit with all components. As an added bonus, we also laquer each label individually to ensure that it weathers even aggressive picking technique with aplomb. This also has the effect of making the label stand out a bit more, with a slight increase in hue saturation and contrast.

IMG_2950-impInterestingly enough, this is one of the only upgrades you can make to your guitar or bass that already has music in it. Each and every one of our Mike & Mike’s Guitar Guards contains a purposely-recorded performance, a snapshot of the hard work, dedication and careers of living, breathing musicians who sought to make a life for themselves. Every guard is an archive of the human spirit!

It’s also immensely important to us that our product is environmentally conscious, so helping to recycle old, worn-out and discarded vinyl albums is a huge part of what we do. We search high and low for great materials, and we do our best to use only records that have a bad side or songs that won’t play. No sense wasting a perfectly good record!

Now you can play on your favorite record! Mike & Mike’s Guitar Guards are the perfect addition to a well-loved instrument, adding a touch of mid-century class the moment it’s mounted. These guards can be found at Thunder Road Guitars in West Seattle, and on certain new Fastback Custom Guitars.

Interested in one of these fine accessories? Email us to get started!

Special thanks goes to all of those who have helped and encouraged us to pursue this little dream of ours: Charissa Adams, Chelsea Young, Dana and Vivian Huff, Alex Lathum, Chris Graffmiller, Michael Plotke, Scott Paul Johnson and Wallingford Guitars, Wesley William Wood and Rural Nyce Custom Guitars, Frank Gross and Thunder Road Guitars, Mark Naron and Fastback Custom Guitars.

IMG_3014-imp*There is an additional $10 fee for shielded guards. Please have Make and Model info ready when ordering.
**As can be expected, vinyl records tend to be fragile and it’s not uncommon for lighter-grade pieces to become damaged during the initial shaping and cutting process. While we take the greatest care in preparing our materials, this can’t always be avoided; it’s best to have a back-up choice when ordering.
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Raise Your Action: A Plea

Finding the balance: low action = easy playability, higher action = great tone.

I know this is going to sound counter-cultural to those in tune with the guitar world at large, but here goes: raise your action.

*Deep breath*

I’m as much a fan of low, slinky action as the next guy, so far be it from me to make judgements and decrees like I’m the de facto leader of the free musical world. It’s just a friendly suggestion, one that I’ll detail below before anyone can throw wah pedals at my head.

Depending on your playing style, low action could be the order of the day. For example, playing fast licks in a metal band is usually well-served by having the lowest action possible on your axe. Most of us like our guitars to play like ‘butter’, as easy as it possibly can be so nothing gets in the way of our fingers. I’m that way, too.

Many of us look for low action as the sign of a good set up, but we so easily forget that strings need room to vibrate in order to make sound. The strings on our guitars vibrate much more wildly than we can see with the naked eye. Because of this, raising your action even slightly will allow notes to ring out with more body and fullness, and you might also find that sustain has increased. The benefits don’t stop there!

In the case of acoustic instruments, the bigger payoff might also be the increase in volume that comes from higher action. If you follow this blog (and I hope that you do) you’ll know that I was recently cast in a theatrical production of a show called This Land, a play not so much about the great Woody Guthrie as much as it is about what he saw and wrote about. In my humble and slightly biased opinion, it’s a beautiful show, and one in which I’m extremely proud to play a part.

The show is performed entirely acoustically, meaning there are no mics around to reinforce the sound we’re making on stage. This was initially vexing for me as my poor Gibson J-45, once crushed during an overseas flight, was having trouble keeping up. Since the accident, the guitar didn’t sound as good as it used to, with spongy response and terrible intonation. And, because the guitar suffered cracks and loose braces, the top had bowled up, making it nearly impossible to play comfortably unless the saddle was bottomed-out. Without that downward pressure on the saddle, the guitar sounded anemic and quiet.

During the first week of rehearsals, Music Director Edd Key asked me to take a solo in the song “This Land”. I played my heart out, but no one heard it over the banjo and other guitars playing along. This bummed me out to no end, and so I finally found the reason I’d been looking for to perform a neck reset on the guitar. I had been putting off the procedure for some time, but this was the only way to achieve playable action whilst retaining a tall saddle, which is key for projection and good tone.

Even though I’ve done this many times, there was still an “Oh, shit!” moment waiting for me once I had the neck off of my guitar.

Weeks later, when the neck reset was complete, I cut a new bone saddle for the guitar but made certain to keep it as high as I could without making the guitar unplayable. Even before I had chosen a final saddle height, strumming an open E chord yielded a huge increase in projection and dynamics, with all of the midrange fullness I had been missing.

I experimented for days looking for the perfect string height, taking the guitar home between performances to shave down the saddle, and once grafting on a tiny sliver of bone to the bottom of the saddle when I accidentally went a little too far. Now, where my guitar once was splashy and lacking detail, it’s loud and authoritative, with note definition and that low-mids thump I associate with great Gibson acoustic guitars. My guitar sounds livelier, more present, and now I’m happy to report that I have the opposite problem of perhaps having too much volume. I’m only using the guitar on three songs in the show now because I’m afraid of overpowering vocals or other instruments!

I’ve settled on an action that’s higher, but not too high. My low E is around .110″ above the 12th fret, and the high E is just a bit lower at .090″. This is just a bit higher than recommended by Gibson’s factory specs, and a huge difference from the .065″/.050″ E-e split I had going on before. When I was plugging in most of the time, I didn’t really notice the acoustic tone I was getting, so that worked out fine for me. I don’t mind a touch of buzz and I’m hard on the guitar, so I thought nothing of it.

The increase in action did give me some trouble initially with regards to playability. It took some time for my hands to get used to this stiffer action, but after a week of rehearsals (this is a 4-5 hour affair each night) I thought nothing of it. I’m getting around just as easily as before, but now I’m actually being heard! And it’s had a wonderful impact on my electric skills as well, enabling me to be a bit quicker and more precise. That’s a tune we can all dance to!

I told you this story to illustrate some of the benefits of higher action on acoustic guitars, but the same truths apply to electrics as well. The action on my electric guitars is considerably lower than on my acoustics, but even a half-turn of the thumb wheel on a TOM bridge can have a huge impact on tone, feel and sustain. Ever feel like your guitar doesn’t have enough punch in the lower register? Try raising your action by .010″ and see if it doesn’t help. Also, dialing in a bit of relief in the neck can help there as well.

Of course, string height also alters your setup, and if you stick with it you may want to adjust intonation and pickup height to taste. For now, give it a shot as-is, and see what you think. For me, this little change makes a huge difference. Once the show’s over I’ll likely take the action back down a tad, but for now the balance of playability and projection is top-notch for my needs, and I’m having a lot more fun with the guitar than I used to.

Maybe raising your action isn’t for you, but try to think outside of the low action=good guitar bias we all live with. You may find that tone you’ve always heard in your head waiting for you on the other side!

-Michael James Adams

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