Tune Up

Discussion in 'Tonefreaks' started by onehippie, Aug 23, 2010.

  1. onehippie

    onehippie Senior Member

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    get to know your friend

    to Gibson
    " Necessary Tools:
    # Nut driver, 1/4" or 5/16". You'll probably need one specially made for guitar truss rods.
    # Metal ruler or straight edge, 20-25" long # Small ruler with 1/16" increments

    1. Strings: String action (height), fret buzz and intonation will vary with different string gauges and from old to new strings.
    You want to do your setup under actual playing conditions, so string your guitar with the gauge of strings that you're going to play.

    If you're replacing strings on a new Gibson, most solidbody electrics (Les Pauls, ES-335s, Nighthawks, Flying V's, SG's) come from the factory with light gauge strings, beginning with .009.
    The Chet Atkins SSTs and hollowbody electrics (ES-175) come with .((010s)). Most flat tops are strung at the factory with medium gauge, beginning with .013.

    2. Tuning: Again, your guitar needs to be in playing condition, so tune up to standard pitch (or whatever tuning you'll be using).

    3. Neck Relief: Use a straight edge to determine if a truss rod adjustment is needed. If the neck is bowed, there will be a space under the middle of the straight edge where the neck does not touch the straight edge. If the neck is "backbowed," the frets will touch in the middle of the straight edge. NOTE: A slightly bowed neck is ideal for most playing styles.
    A perfectly straight neck generally requires higher string action than a slightly bowed neck in order to minimize string buzz at the higher frets.

    Repairmen describe this as giving the neck some "relief" to allow for string vibration. The amount of relief necessary varies with playing styles, however. A perfectly straight neck may be fine for a very light picking style.

    If your neck has only a slight bow, you may not want to make any adjustments to the truss rod. I like to start with a perfectly straight neck. If I can't get the neck straight, then that indicates other possible problems, such as high frets (frets being pushed out of their slots), low or worn frets, or variations in the fretboard itself, Many older guitars have a "bump" in the fingerboard over the neck block, for example.
    All of these problems are fixable, but require an advanced level of repair experience.recommend Jonesy

    4. Truss Rod: (if necessary). First remove the truss rod cover. If the neck has too much of a bow, then the truss rod should be tightened with a clockwise turn of the nut. For a clockwise turn, the arm of the nut driver should start on the treble side of the fingerboard and move toward the bass side. Don't turn the nut more than a quarter of a turn at a time.

    For a backbowed neck, the truss rod should be loosened with a counterclockwise turn of the nut. When the neck is as straight as you can get it, then back off about a quarter of a turn for "relief."

    5. String Height. With the small ruler on top of the fret, measure the distance to the bottom of the string.
    (You can also use a feeler gauge for these measurments.)
    The string height at the 1st fret will determine if the nut slots have been cut to the proper depth. If the nut slots need to be deepened or filled in, that's a job for proper tools. The string height at the 12th fret will determine whether the saddle should be raised or lowered.

    String Heights: 1st fret- treble side - 1/64" 1st fret- bass side - 2/64" 12th fret- treble side - 3/64" 12th fret - bass side - 5/64"

    6. Saddle Height: On an electric guitar with a tune-o-matic bridge, or on an archtop guitar with a height-adjustable bridge, the thumbwheels will raise or lower the bridge. You may have to loosen the strings a bit to get the bridge to raise easily. On an acoustic, the bottom edge of the saddle will have to be shaved or sanded off to lower the action, or shimmed or replaced to raise the action.

    You'll have to loosen the strings to remove the saddle, then file it down on a flat file -- just a little at a time -- and then replace the saddle and tune up again. Don't try to file the top of the saddle, since it's rounded to match the radius of the fingerboard. And make sure the bottom remains flat or the bridge will want to rock in its slot and not make good contact with the top of the guitar. If you are unable to bring the strings to a comfortable height for playing, you may need a neck set.

    Another option is to remove the bridge and either shave it down or replace it with a higher one.
    The optimum height for a wood bridge on a flat top guitar (just the bridge, not including the saddle) is 3/8", so if you're going to have to go much above or below that, the neck set is the better solution. Either way, it's a job for a pro.

    7. Nut Slots: Special nut files are required that are available from guitar shop supply sources. Set nut slot depths to specs listed above for first fret.

    8. Fret Buzz:. Using a medium pick or light finger touch, check all fretted notes for string buzz. If correct, move up the next step. If not, some fret leveling may be required.
    This is another procedure for a pro mentioned above with the right tools.

    9. Intonation (Standard Bridge): At the 12th fret, play a "chime tone" by touching the string without pressing it to the fret. Release your finger from the string as you pluck it. You should hear the octave overtone. Now press the string to the 12th fret and play. If the tones match, then the intonation is correct. Notice that the 12th fret tone may vary according to how hard you press the string down.

    10. Intonation (Tune-o-matic Bridge): On an electric guitar with a tune-o-matic bridge, the length of each individual string is adjustable. If the 12th fret tone is higher than the string's natural octave overtone, then lengthen the string by moving the saddle toward the tailpiece of the guitar.
    If the 12th fret tone is lower than the octave overtone, then move the saddle toward the neck.

    On an electric guitar with a wraparound tailpiece, the tailpiece can be adjusted only at the treble end and bass end. It is usually not possible to achieve perfect intonation for every string with a wraparound tailpiece. If an individual string is out of tune, you may be able to compensate by replacing that string with a higher or lower gauge string. On an acoustic archtop guitar, you can only adjust string length

    by moving the entire bridge.
    Loosen the strings so that bridge will move freely without scratching the top of the guitar Truss Rod Nut Driver: Many Gibsons came with a wrench-type nut drive, with a small arm mounted at a 90-degree angle from the truss rod. The pros use a nut driver with a 6-inch shaft that ends in a T-bar. You can order either style "

    just in case

    to Fender
    " These are minimum specifications that are meant as a guide; they should not be construed as hard and fast rules, as we realize that every player's subjective requirements often differ. TOOLS NEEDED *
    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 For strings to stay in tune, they should be changed regularly.

    Strings that have lost their integrity (worn where 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, Make sure to stretch your strings properly. After you've installed and tuned a new set, 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 How you wind the strings onto the pegs is very important, whether you're using locking, standard or vintage tuning keys.

    Start by loading all the strings through the bridge and then loading them onto the keys as follows: Locking tuning keys. Picture the headcap of the neck as the face of a clock, with the top being 12:00 and the nut being 6:00. Line the six tuning machines so that the first string keyhole is set at 1:00, the second at 2:00, the third and fourth at 3:00, the fifth at 4:00, and the sixth at 5:00.
    Pull the strings through tautly and tighten the thumb wheel, locking the string in.

    Now tune to pitch. Standard keys. To reduce string slippage at the tuning key, we recommend using a tie technique.
    This is done by pulling the string through the keyhole and then pulling it clockwise underneath and back over itself; creating a knot. You'll need to leave a bit of slack for the first string so you have at least two or three winds around the post. As you progress to the sixth string, you'll reduce the amount
    of slack and the number of winds around the keys. Vintage keys.

    For these, you'll want to pre-cut the strings to achieve the proper length and desired amount of winds. Pull the sixth string (tautly, remember) to the fourth key and cut it. Pull the fifth string to the third key and cut it. Pull the fourth string between the second and first keys and cut it. Pull the third string nearly to the top of the headcap and cut it.

    Pull the second string about a 1/2" (13 mm) past the headcap and cut it. Finally, pull the first 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-degree angle, and wind neatly in a downward pattern, being carefull 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 "finger-tight." This is very important, especially on locking tuners.

    TREMOLO Stratocaster guitars can have four distinctive types of bridges. The most well-known bridge is the vintage-style "synchronized" tremolo. The other three are the American Series bridge, which is a modern-day two-pivot bridge; the non-tremolo hardtail bridge; and a 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. For a vintage-style tremolo bridge, a great way to enhance its performance is to pull the bridge back flush with the body using the tremolo arm. Then loosen all six screws located at the front edge of the bridge plate, raising them so that they all measure approximately 1/16" (1.6 mm) above the top of the bridge plate.

    Then tighten the two outside screws back down until they're 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 model such as the American Series 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 a 1/8" (3.2 mm) gap at rear of bridge. You'll need to retune periodically to get the right balance between the strings and the springs.

    If you prefer a bridge flush to the body, adjust spring tension to equal string tension, while the bridge rests on the 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 this 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 very smooth operation. INTONATION (ROUGHING IT OUT) You can preset the basic intonation of your guitar by taking a tape measure and measuring from the inside of the nut to the center of the 12th fret (the fret wire itself; not the fingerboard). Double that measurement to find the scale length of your guitar.

    Adjust the first-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 second-string saddle back from the first saddle, using the gauge of the second string as a measurement. For example, If the second string is .011" (0.3 mm), you would move the second-string saddle back .011" (0.3 mm) from the first saddle. Move the third saddle back from the second saddle using the gauge of the third string as a measurement.

    The fourth-string saddle should be set parallel with the second-string saddle. Proceed with the fifth and sixth saddles with the same method used for strings two and three. 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.

    The main cause of string breakage 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 it can be a direct effect of humidity in the air.

    Another factor is metal-to-metal friction and fatigue. Metal components react to each other over time because of their differences and help break down string integrity. A 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). You'll also find that different string brands break at different points of tension because of the metal makeup and string manufacturing techniques.

    Since Fender manufactures its own strings, they are designed to perform well during extreme tremolo techniques. 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 strings.

    The oil insulates against moisture and reduces friction and metal fatigue. String trees are another point of contact and should also be lubricated; a small amount of lip balm applied with a toothpick works well.

    TRUSS ROD There are two different styles of truss rod found on Fender instruments—"standard" and "bi-flex" truss rods.
    Most Fender guitars and basses are equipped with a standard truss rod (of which there are in turn two types: one that adjusts at the neck heel and one that adjusts at the headstock; both operate on the same principle).

    The standard truss rod can counteract concave curvature in a neck that has too much relief, for example, by generating a force in the neck opposite to that caused by excessive string tension. Fender also uses a unique bi-flex truss rod system on some instruments. Unlike standard truss rods, which can only correct a neck that is too concave (under-bowed), the bi-flex truss rod can compensate concave or convex (over-bowed) curvature by generating a correcting force in either direction as needed. First, check your tuning.

    Optional if nut is properly built(Affix a capo at the first fret and depress the sixth string at the last fret). With a feeler gauge, check the gap between the bottom of the string and the top of the 8th fret—see the spec chart below for the proper gap.

    Adjustment at headstock (allen wrench): Sight down the edge of the fingerboard from behind the headstock, looking toward the body of the instrument. If the neck is too concave (action too high), turn the truss rod nut clockwise to remove excess relief.

    If the neck is too convex (strings too close to the fingerboard), turn the truss rod nut counter-clockwise to allow the string tension to pull more relief into the neck.

    Check your tuning, then re-check the gap with the feeler gauge and re-adjust as needed. Adjustment at neck joint (phillips screwdriver): Sight down the edge of the fingerboard from behind the body, looking up toward the headstock of the instrument.

    If the neck is too concave (action too high), turn the truss rod nut clockwise to remove excess relief. If the neck is too convex (strings too close to the fingerboard), turn the truss rod nut counter-clockwise to allow the string tension to pull more relief into the neck. Check your tuning, then re-check the gap with the feeler gauge and re-adjust as needed.

    Note: In either case, if you meet excessive resistance when adjusting the truss rod, if your instrument needs constant adjustment, if adjusting the truss rod has no effect on the neck, or if you're simply not comfortable making this type of adjustment yourself, take your instrument to your local Fender Authorized Dealer.

    Neck Radius 7.25" 9.5" to 12" 15" to 17" Relief .012" (0.3 mm) .010" (0.25 mm) .008" (0.2 mm) ACTION Players with a light touch can get away with lower action; others need higher action to avoid rattles. First, check tuning. Using a 6" (150 mm) ruler, measure the distance between bottom of strings and top of the 17th fret.

    Adjust bridge saddles to the height according to the chart, then re-tune. Experiment with the height until the desired sound and feel is achieved.
    Note: For locking tremolo systems, the individual string height is preset.

    Use the two pivot adjustment screws to achieve the desired overall string height. Neck Radius String Height Bass Side Treble Side 7.25" 9.5" to 12" 15" to 17" 5/64" (2 mm) 4/64" (1.6 mm) 4/64" (1.6 mm) 4/64" (1.6 mm) 4/64" (1.6 mm) 3/64" (1.2 mm) On many American series guitars, a Micro-Tilt adjustment is offered. It replaces the need for a shim by using a hex screw against a plate installed in the butt end of the neck.

    The need to adjust the pitch (raising the butt end of the neck in the pocket, thereby pitching the neck back) of the neck occurs in situations where the string height is high and the action adjustment is as low as the adjustment will allow. To properly shim a neck, the neck must be removed from the neck pocket of the body.

    A shim approximately 1/4" (6.4 mm) wide by 1 3/4" (44.5 mm) long by .010" (0.25 mm) thick will allow you to raise the action approximately 1/32" (0.8 mm). For guitars with the Micro-Tilt adjustment, loosen the two neck screws on both sides of the adjustment access hole on the neckplate by at least four full turns.

    Tightening the hex adjustment screw with an 1/8" hex wrench approximately 1/4 turn will allow you to raise the action approximately 1/32". Re-tighten the neck screws when the adjustment is complete. The pitch of the neck on your guitar has been preset at the factory and in most cases will not need to be adjusted.

    Note: If you feel that this adjustment needs to be made and you're not comfortable doing it yourself, take your guitar to your local Fender Authorized Dealer.
    PickUpS Set too high, pickups can cause myriad inexplicable phenomena. Depress all the strings at the last fret. Using a 6" (150 mm) ruler, measure the distance from the bottom of the first and sixth strings to the top of the pole piece.

    A good rule of thumb is that the distance should be greatest at the sixth-string neck pickup position, and closest at the first-string bridge pickup position. Follow the measurement guidelines in the chart below as starting points.

    The distance will vary according to the amount of magnetic pull from the pickup. Bass Side Treble Side Texas Specials 8/64" (3.6 mm) 6/64" (2.4 mm) Vintage style 6/64" (2.4 mm) 5/64" (2 mm) Noiseless™ Series 8/64" (3.6 mm) 6/64" (2.4 mm) Standard Single-Coil 5/64" (2 mm) 4/64" (1.6 mm) Humbuckers 4/64" (1.6 mm) 4/64" (1.6 mm) Lace Sensors As close as desired (allowing for string vibration) INTONATION (FINE TUNING) Adjustments should be made after all of the above have been accomplished.

    Set the pickup selector switch in the middle position, and turn the volume and tone controls to their maximum settings. Check tuning.
    Check each string at the 12th fret, harmonic to fretted note (make sure you are depressing the string evenly to the fret, not the fingerboard).

    If sharp, lengthen the string by adjusting the saddle back. If flat, shorten the string by moving the saddle forward. Remember, guitars are tempered instruments! Re-tune, play and make further adjustments as needed.

    ADDITIONAL HINTS There are a few other things that you can do to optimize your tuning stability that have more to do with playing and tuning habits. Each time you play your guitar, before you do your final tuning, play for a few minutes to allow the strings to warm up.
    Metal expands when warm and contracts when cool. After you've played a few riffs and done a few dive-bombs, you can then do your final tuning.

    Remember—with most tuning keys, it's preferable to tune up to pitch. However, with locking tuners, go past the note and tune down to pitch. Finally, wipe the strings, neck and bridge with a lint-free cloth after playing. When transporting or storing your guitar, even for short periods, avoid leaving it anyplace you wouldn't feel comfortable yourself. "


    before getting new pickups try a rewire from Jonesy
     
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  2. Gg2

    Gg2 Member

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    I think that this can be a good Sticky! :thumb:
     
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  3. AngryHatter

    AngryHatter Senior Member

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    Or...
    Bring it to your tech!
     
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  4. R8R6Ben

    R8R6Ben Senior Member

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    great post man... full of good info
     
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  5. onehippie

    onehippie Senior Member

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    thanks guys hope its helpful

    here is some bass fun

    to bass
    " First, choose the gauge of bass strings you plan to use. Different string gauges have different amounts of tension. When you change gauges, you may have to readjust your bass guitar. So find a gauge you like and stick with it.

    Make sure you’ve installed your strings correctly.
    Tune your bass strings accurately to your preferred tuning. You want the string tension to be the same as when you play.

    You’ll want to get your bass neck as straight as possible before the point where the strings start buzzing. This will depend on how hard you play the strings. There’s not one right answer.

    Find the truss rod nut. Typically, it will be a hexagonal nut on one end of your bass neck. It may be covered by a plate on the headstock. Or, it may be hidden by your pickguard.

    On some basses you may be required to remove the neck, adjust it, put it back on and then tune the strings up again. If it’s not right, you’ll have to do it all over again.

    Using a pencil, make a mark on the truss rod nut so you know where you started and as a general reference point.

    It doesn’t take much turning of the truss rod to adjust the neck. Never force anything! Expect to maybe do a quarter-turn or a half-turn.

    Use the correct size hex key so you don’t strip the truss rod nut. Your bass may have come with the hex key you need.

    To avoid breaking the truss rod, first loosen it by turning it to the left (lefty-loosey).

    Now, start tightening the truss rod by turning it to the right (righty-tighty). You may find the strings to be in the way of turning the truss rod. If they are, detune/loosen them and move them out of the way while you turn the truss rod. Tune the string(s) back to pitch to check the straightness of the neck.

    You can check the straightness with a straight edge of some sort. Or, you can use your bass strings as a straight edge. Fret the 1st fret and the 15th fret of your lowest string. You should be able to see how much relief is in your neck by checking the space between the bottom of the string and the tops of the frets. You’ll probably need just a tiny bit of relief.

    Don’t be surprised if it takes several days for your adjustments to settle in. You may have it perfect one day only to find it has moved the next day!

    Once you’ve adjusted your neck relief, you can raise or lower each string’s height with their saddles.

    Depending on your playing style, you may want the strings higher or lower. Experiment.

    Adjust the height of your lowest string so you don’t get any string buzz. Check the open string and all the frets up and down the neck for buzz.

    A little string buzz is normal.

    Use a radius gauge to identify the radius of your fretboard. If you don’t want to remove your strings, cut notches out of the radius gauge where your strings fall. Then you can set it on the fretboard without removing the strings.

    Once you know your fretboard radius, set the radius gauge on top of your saddles and adjust the heights of the other strings to match the fretboard radius.

    You can also attempt to just eyeball the radius. Make it feel right and balanced.

    Setting Intonation

    To set the intonation of your bass guitar, you must lengthen or shorten the string by moving the string’s saddle backward or forward. You do this by tightening or loosening the intonation screws at the back of the bridge.

    How to Set Your Intonation:

    Using an electronic tuner, tune all the open strings to their correct pitches.

    Starting with your lowest string, fret the string at the 12th fret. Make sure you press the string straight down. You want this fretted note to be in tune. It should be the same note as the open string.

    Check the electronic bass tuner to see if you are flat (too low) or sharp (too high).

    If you are flat, you need to shorten the string by moving the saddle forward.

    If you are sharp, you need to add length to the string by moving the saddle backward.

    After you adjust the saddle, double check the open string is still in tune.

    Do the same for each string.

    You will discover that it is impossible to get every single fret perfectly in tune. This is normal. Fretted instruments have a natural flaw where they can’t be perfectly intonated. You can just get really close. If you’re interested in why, look up “equal temperament” or “just intonation” in a music dictionary.

    (or a search here on the MLPF)

    You can set the height of your bass pickups by tightening or loosening the screws around the outside of the pickup.

    Some brands of basses put foam underneath to push the pickups upward. If the foam is breaking down, you can put some springs under the pickup on the shaft of the screws to push them up instead.

    Keep in mind you can set the pickups at an angle. They don’t have to be level. If you want more output from the treble side, raise that side of the pickup.

    On some basses you can raise or lower the pole pieces individually. The pole pieces are the round, magnetic poles under the strings. On some pickups they are exposed; on others they are covered. "
     
  6. Hotspur

    Hotspur Senior Member

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    Why is this?

    I understand why you tune up with normal tuning posts, but I can't understand why tuning down is an advantage with locking tuners.
     
  7. onehippie

    onehippie Senior Member

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    .i figured it was a Tremelo equipped guitar situation
    standard tuners for me there are many members who can clear it up for you
     
  8. axslinger

    axslinger Senior Member

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    When setting your intonation using this method, you are in theory only in tune at the 12th fret. This is the nature of equal temperament. Another method, which spreads the error over the fretboard, is to tune at two different points. I use the 3rd and 15th fret.

    First tune to pitch at the 3rd fret, then tune at the 15th fret. The same principals apply. If it is sharp at the 12th fret then move the saddle back, if flat then move it forward.

    When finished, tune the guitar normally. This method spreads the error all over the fretboard making more "in tune" regardless of where you're playing.

    I use a Peterson StroboStomp2.
     
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  9. onehippie

    onehippie Senior Member

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    "You will discover that it is impossible to get every single fret perfectly in tune. This is normal. Fretted instruments have a natural flaw where they can’t be perfectly intonated. You can just get really close. If you’re interested in why, look up “equal temperament” or “just intonation” in a music dictionary.
    (or a search here on the MLPF)"

    from my earlier post on setup

    Thank you
    i knew experienced MLPF members would stop by and clear that up
    your contribution is very much appreciated
    very important
     
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  10. jonesy

    jonesy GLOBAL WIRING GURU MLP Vendor

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    Lot's of good information in this thread :thumb:

    I have found that intonation and a proper set-up can be affected by several other factors besides having the saddles adjusted to the correct length and checking it mid point at the 12th fret etc.

    If the nut is setting to high it will cause the notes on the first few frets to go sharp. I have seen many guitars come like this from the factory, and no amount of neck or saddle adjust will correct that. The only way to remedy that problem is to file the nut done to the proper height so it does not pull the strings out of tune.

    Also if the neck has to much relief (excessive bow) you can have the intonation dialed in open and at the 12th but when you fret notes at the 7th fret it may pull them sharp.

    I have done a lot of set-up work in that past 30 years, and in my experience every guitar is a little different and a lot of things have to be taken into consideration to get them playing up to there full potential.

    A good level crown and polish is also essential to getting nice low action without any fret buzz. Then you can really get the intonation dialed in spot on without any of the other issues I have mentioned. ;)

     
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  11. fjabjr

    fjabjr Senior Member

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    Intonation question: I understand that a tuner like a Peterson Strobostomp would pobably be fine, but would you trust a Boss TU-2 or a Boss TU-12s?
     
  12. jonesy

    jonesy GLOBAL WIRING GURU MLP Vendor

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    Most of the newer digital tuners are more accurate than your hearing is. I use the Korg GA-30 and Korg CA-30 for a lot of set-up work and they work just fine. It's also the person using the tuner that is probably the most important factor IMO.
     
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  13. fjabjr

    fjabjr Senior Member

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    Thanks Jonesy. :thumb:
     
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  14. jonesy

    jonesy GLOBAL WIRING GURU MLP Vendor

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    Anytime Sir ;)
     
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  15. onehippie

    onehippie Senior Member

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    looks like i need to get a GA-30 for the bass restore setup
     
  16. jonesy

    jonesy GLOBAL WIRING GURU MLP Vendor

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    Go for the KORG CA-30 it's Chromatic and reads half steps ;)
     
  17. fjabjr

    fjabjr Senior Member

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    Looks like the GA-30 is discontinued.
     
  18. jonesy

    jonesy GLOBAL WIRING GURU MLP Vendor

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    Still plenty available. I used to buy those all the time for my students. Reliable and easy to use. Batteries last like a year in those tuners.
    .

    korg ga 30 - Google Product Search
     
  19. jonesy

    jonesy GLOBAL WIRING GURU MLP Vendor

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  20. onehippie

    onehippie Senior Member

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    thought these might be useful
    [ame]http://www.youtube.com/watch?v=GcD9-yQjDfM&NR=1[/ame]

    [ame]http://www.youtube.com/watch?v=obLFWa5TxzA&feature=related[/ame]
     

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