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BASIC GUITAR SETUP AND CARE GUITAR SHOP 101 (scroll down)
BASIC GUITAR SETUP AND CARE c Barry Lewis 2007 Stratocaster® -- Adjustment and Care
The following setup procedures and specifications for your Stratocaster were derived using the strings, which come on the instruments as standard equipment from the factory. If you plan to change string gauges, you may need to adjust the specs somewhat to compensate for the changes in string sizes. Modifications of the specifications may also be made, (within limited parameters) to adjust for your individual playing style or application (i.e., how hard you pick, strum, or fret the guitar) Note: These are minimum specifications, which are meant to guide you, and should not to be taken as hard and fast rules, as we realize that every player's subjective requirements may differ somewhat.
Necessary Tools
- Set of automotive feeler gauges (.002 - .025) (0.05 – 1 mm)
- 6" (150 mm) ruler (with 1/32" and 1/64" increments) (0.5 mm increments)
- Light machine oil (3-in-1, toy locomotive, or gun oil)
- Phillips screwdriver
- Electronic tuner
- Wire cutters
- Peg winder
- Polish and cloth
Strings
Lets start with strings. First, in order for strings to stay in tune well, they should be changed on a regular basis. Strings that have lost their integrity (worn where the string is pressed against the fret) or have become oxidized, rusty, and dirty will not return to pitch properly. To check if your strings need changing, run a finger underneath the string and feel for dirt, rust or flat spots. If you find any of these, you should change your strings.
No matter what gauge of strings you use or whether they're pure nickel, nickel-plated steel, or stainless steel; for the best tuning stability we recommend you use Fender® Bullet® strings. The patented bullet-end is specifically designed for all styles of tremolo use, from extreme dives to smooth vibrato passages. The design allows the string to travel freely in the bridge block channel during tremolo use and return afterwards to its original position, seated snugly in the bridge block. This is accomplished by eliminating the extra string wrap, and the ball-end (the ball-end doesn't fit properly into the string channel). The bullet-end has been shaped and sized to match the design of the bridge block channel.
Make sure and stretch your strings properly. After you have installed a new set and have them tuned to pitch, hold the strings at the first fret and hook your fingers under each string (one at a time) and tug lightly, moving your hand from the bridge to the neck. Re-tune and repeat several times.
Tuning Keys
Whether you are using locking, standard, or vintage tuning keys; how you wind the strings onto the pegs is very important. First start by loading all the strings through the bridge and then loading them onto the keys as follows:
Locking tuning keys - Imagine the headcap of the neck is the face of a clock, with the top being at 12 o'clock and the nut at 6 o'clock. Line the six tuning machines so that the 1st string keyhole is set at 1 o'clock, the 2nd at 2 o'clock, the 3rd and 4th at 3 o'clock, the 5th at 4 o'clock, and the 6th at 5 o'clock. Pull the strings through taut, and tighten the thumb wheel locking the string in. Now tune to pitch.
Standard keys - In order to reduce string slippage at the tuning key, we recommend that you use a tie technique. This is accomplished by pulling the string through the keyhole, and pulling the string clockwise underneath itself and bringing it back over the top of itself; creating a knot. You will need to leave a bit of slack for the 1st string, so you have at least 2 to 3 winds around the post. As you progress down the line to the 6th string you will reduce the amount of slack and the amount of winds around the keys.
Vintage keys - For these keys you will want to pre-cut the strings to achieve the proper length and the desired amount of winds. Pull the 6th string to the 4th key and cut it (make sure when you are pulling the strings that you are pulling the string taut). Pull the 5th string to the 3rd key and cut it. Pull the 4th string between the 2nd and 1st keys and cut it. Pull the 3rd string just about to the top of the headcap and cut it. Pull the 2nd string about a 1/2" (13 mm) past the headcap and cut it. Finally pull the 1st string 1 1/2" (38 mm) past the top of the headcap and cut it. Insert into the center hole in the tuning key, bend and crimp to a 90° angle, and wind neatly in a downward pattern (carefully as to prevent overlapping of the strings).
If your tuning keys have a screw on the end of the button, check the tightness of the screw. This controls the tension of the gears inside the tuning keys. DO NOT over-tighten these screws. They should be tightened to "finger-tight." This is very important especially on locking tuners.
Fender Strat Tremolo Setups
Stratocasters can be found with four distinctive types of bridges. The most well known bridge is the vintage style "synchronized" tremolo. The other three are the American Standard bridge, which is a modern-day two-pivot bridge, the non-tremolo hardtail bridge, and the locking tremolo such as the American Deluxe or Floyd Rose® locking tremolos. If you have a non-tremolo "hardtail" bridge, proceed to Intonation (Roughing it out). If you have a locking tremolo bridge click here.
First, remove the tremolo back cover. Check your tuning. Let’s start with a vintage style tremolo bridge. Here’s a great tip to enhance the performance of this bridge: Using your tremolo arm, pull the bridge back flush with the body. Loosen all six screws located at the front edge of the bridge plate. Raise them so that all of the screws measure approximately 1/16" (1.6 mm) above the top of the bridge plate. Finally, tighten the two outside screws back down until they are flush with the top of the bridge plate. The bridge will now pivot on the outside screws, leaving the four inside screws in place for bridge stability. For a two-pivot bridge like the American Standard bridge use your tremolo arm to pull the bridge back flush with the body and adjust the two pivot screws to the point where the tremolo plate sits entirely flush at the body (not lifted at the front or back of the plate).
Allowing the bridge to float freely (no tension on the tremolo arm) using the claw screws in the tremolo cavity, adjust the bridge to your desired angle (Fender spec. is 1/8" (3.2 mm) gap at rear of bridge). You will need to retune periodically to get the right balance between the strings and the springs. If you prefer a flush bridge to body, adjust spring tension to equal string tension, while the bridge rests on body (you may want to put an extra 1/2 turn to each claw screw to ensure that the bridge remains flush to the body during string bends). Caution: Do not over-tighten the springs as it can put unnecessary tension on the arm during tremolo use. Finally, you may wish to apply a small dab of Chapstick® or Vaseline® at the pivot contact points of the bridge for a very smooth operation.
You can pre-set the basic intonation of your guitar, by taking your tape measure and measuring from the inside of the nut to the center of the 12th fret (the wire, not the fingerboard). Double that measurement to find the scale length of your guitar. Adjust the 1st string bridge saddle to this scale length, measuring from the inside of the nut to the center of the bridge saddle. Now, adjust the distance of the 2nd string saddle back from the 1st saddle, using the gauge of the 2nd string as a measurement (Example: If the 2nd string is .011" (0.3 mm) you would move the 2nd string back .011" (0.3 mm) from the 1st saddle). Move the 3rd back from the 2nd saddle, using the gauge of the 3rd string as a measurement. The 4th string saddle should be set parallel with the 2nd string saddle. Proceed with the 5th and 6th in the same method used for strings 2, and 3. Lubrication and String Breakage
Lubricating all of the contact points of a string's travel may be one of the most important elements in ensuring tuning stability during tremolo use, and in reducing string breakage. First, let us explain some of the most common causes for string breakage. The first and foremost contributor to this happening is moisture collection at the point of contact on the bridge saddle. This can be attributed to the moisture and acidity that transfers from your hands or can be a direct effect of humidity in the air. Another factor is metal-to-metal friction and fatigue. The differences in the metal components, over a period of time, react to each other and help breakdown the integrity of the strings. The stronger metal will always attack a softer metal (this is why a stainless-steel string will wear a groove or burr in a vintage-style saddle). Finally, you will also find that different string brands will break at different points of tension, due to the metal make-up and string manufacturing techniques. Since we manufacture our own strings, we are able to design and make our strings perform well during extreme tremolo techniques. Now, one of the best ways to reduce string breakage is to lubricate the string/saddle contact point with a light machine oil (we prefer 3-in-1 oil, because it contains anti-rust and anti-corrosive properties) every time you change your strings. The oil acts as an insulator against the moisture, and reduces the friction and metal fatigue.
Another point of contact that should be lubricated is... the string tree(s). For this point, a small amount of Chapstick, applied with a toothpick, works wonders.
Intonation (Roughing it out)
You can pre-set the basic intonation of your guitar, by taking your tape measure and measuring from the inside of the nut to the center of the 12th fret (the wire, not the fingerboard). Double that measurement to find the scale length of your guitar. Adjust the 1st string bridge saddle to this scale length, measuring from the inside of the nut to the center of the bridge saddle. Now, adjust the distance of the 2nd string saddle back from the 1st saddle, using the gauge of the 2nd string as a measurement (Example: If the 2nd string is .011" (0.3 mm) you would move the 2nd string back .011" (0.3 mm) from the 1st saddle). Move the 3rd back from the 2nd saddle, using the gauge of the 3rd string as a measurement. The 4th string saddle should be set parallel with the 2nd string saddle. Proceed with the 5th and 6th in the same method used for strings 2, and 3.
THIS IS EXTREMELY IMPORTANT FOR YOUR TREMOLO BRIDGE GUITAR'S ABILITY TO BE TUNED PROPERLY, AND STAY IN TUNE! Barry Lewis - March 2007 More in-depth how-to is available in an ebook below:
GUITAR SHOP 101
c2006 Barry Lewis
(sample)
FRET LEVELING
A common request of a repair person is a setup with "low action, no buzz". However, as the action goes lower on any guitar, the buzz increases, so the standard reply could be "which do you want more?". There is a tradeoff for low action, and it is increased buzz. The action goes lower, the buzz increases, and at some point, you cross a line where the buzz becomes problematic, and this line varies from player to player.
The ultimate determiner of how low the action can get before buzz becomes a problem is the degree to which the frets are level. By this we mean level relative to each other, so if you put a straightedge on the neck (positioning it so that it in the "lie" of one of the strings), it would make contact with the top of every fret. (Don't be confused with the issue of forward bow, or relief, here. When leveling, we want no relief, we want level. Relief comes into play subsequently, during setup.)
When the frets are perfectly level, as a string is fretted, it barely clears the adjacent fret. When the frets are not level, as a string is fretted against a fret that is lower than its neighbor, the string no longer clears the neighboring fret, and so it buzzes against it. The buzz may be fairly minimal, so that you can still clearly hear the note, or it may be so severe that the note is completely choked, or it could be anywhere in between. These are often referred to as dead spots.
So it becomes clear that a guitar that has uneven frets will buzz more in some areas of the fretboard than others. On the other hand, on a guitar with level frets, if you lower the action enough so that the guitar becomes buzzy, the buzz will be pretty consistent across all the frets. If your guitar has dead spots, or areas where the buzz is noticeably worse in some areas than others, then you will benefit from a fret level, assuming you have enough height left in the frets to accommodate leveling (more below).
Fret unevenness is caused by poor installation/leveling to begin with, wear, movement of the frets due to dimensional instability of the fretboard (which changes with fluctuations in humidity, assuming you have a wood fretboard), and other reasons.
Fret leveling involves abrading the tops of the frets until they are all level with each other. The idea is to take down all of the high spots until they are even with the lowest spots. This can be done with abrasives or files, but as mentioned, there must be enough fret material left to allow you to remove some and still have enough left after leveling for the guitar to feel good. If there's not enough material for this, then a refret is required.
New frets can usually be leveled once or twice, depending on their height. Some wire, such as Dunlop 6100 or 6105, is very tall, and will accommodate more levelings than shorter wire, such as Dunlop 6130 and 6230.
We level frets with a 24" long piece of 1" x 2" box-section steel that has had the 1" edges surface ground (a very precise method for flattening a surface). One of the edges was then coated with industrial diamond abrasive. Because the bar is long enough to contact all the frets simultaneously, and because the two skinny edges (one plain, one diamond-coated) are extremely flat, leveling is simply a process of marking the tops of all the frets with a marker, and then hogging away with the diamond-coated edge until the marker is removed from the tops of all the frets, indicating that the bar is making contact with every fret.
This is an over-simplification, but is basically accurate. There are additional steps, such as adjusting the truss rod where we want it first (varies depending on the situation), and locking the neck in place to minimize deflection as we are hogging off the fret tops (a crucial step).
One key point in our minds is the use of an abrasive device that is long enough to contact all the frets simultaneously, as opposed to using something shorter like a 10" mill file. The long bar is effectively surface grinding the tops of the frets, a proven technique for getting something flat (like some of the internals in your car's engine).
Anyway, this removal of the high spots results in a neck where the tops of all the frets are level, flat (no longer rounded), and have big scratches on them (a problem); but we are going to talk about the next steps: crowning and polishing in the next section:
“Fret Crowning“.
This is a sample of GUITAR SHOP 101. Buy the complete ebook on our page "ebooks" for $10.95, it is a valuable resource.
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