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Now that we have all of the strings back on the guitar and have tuned it to standard tuning E A D G B E , our next step is to intonate the guitar. Intonation means that the instrument is in tune with itself and all the open strings and every note on the fretboard rings at the correct pitch. If you have ever tuned your guitar and noticed when you play a chord it sounds out of tune it probably means that your intonation is off. Guitars can be affected by the elements of weather which can affect the intonation requiring periodic intonation.
To intonate your guitar, we need to first start with tuning it to pitch, preferably with a strobe tuner. If the pitch matches open to the 12th fret, then you can move on to the next string. Remember, less is more with small quarter turns. Repeat these steps on each string until the guitar is fully intoned. If you own a Floyd Rose, this can be a much more difficult setup so please have a professional tech or luthier perform this action for you. Now that we have completed the setup on the guitar, the last step is to buff the guitar using a high quality micro fiber cloth and a guitar polish and conditioner.
Spray your polish on several spots of the guitar and use your cloth to buff out any smudge or finger marks. I tend to polish the entire guitar, front and back and after a set up the guitar should look as good as new. We do offer re-string and setup services here at Bananas At Large so please feel free to contact us for more information. Please leave any questions in the comments below and we will get back to you as soon as possible!
Subscribe to be the first to hear about our exclusive offers, new arrivals, what's on sale and upcoming events! We're always looking to improve Tell us what you love or what we need to fix. Leave Feedback. Buy Online, Pick up In-Store. View cart. Play every note on every string. This gives you a feel for the current state of play and can let you know if there are any pre-existing problems. Measure current action and neck relief before making any changes.
Note this and any other issues. Before you make any other adjustments, get the neck right first. Assess the truss rod operation and set relief where you want it. Play every note again.
See if all is playing cleanly. For most trem-equipped guitars, get the balance where you want it now. It might be necessary to come back and rebalance after the next step but your trem needs to be floating in the right position before you set the action.
Some Gibson-style guitars will benefit from tailpiece adjustments. Do it now. Set the action where you want it to be for the player. Measure the fingerboard radius and set the height of the remaining saddles so that they match this radius.
This gives you a consistent action across all strings. Its usually necessary to cut and shape the saddle to get the string height and radius correct. The string break-angle over the saddle should be assessed. Actually, this should ideally be done before making those irreversible changes to the saddle. If the saddle will become too low for a good break-angle, the bridge may have to be modified a little or another more involved solution found. As the nut will have been assessed for any obvious problems slots too low or too wide before starting, each string should be lowered to its optimum height by filing the nut.
Depending on the instrument, some additional work to the slot can help with tuning and breakage issues. Set the pickups to their appropriate distance from the strings.
Balance the volume so switching pickups gives an even output level and balance the string-to-string volume of each individual pickup.
Pickup output and string-to-string balance for instruments with under-saddle pickups most of them has to be done in conjunction with the saddle adjustments mentioned above. This is a personal thing but I like to get the intonation pretty much where I want it now. Tune the guitar to pitch. There is no reason to detune if the neck is good and you have a properly functioning truss rod. Another important thing to keep in mind is to always check the straightness of your neck in the playing position.
Now check the amount of relief you have. Place a capo at the first fret or hold the string down with your finger, and fret again around the body joint where the neck starts to thicken, this is usually around the 12th to14th fret.
Then note the gap between the string and the top of the fret in the middle of these two points. Moving the string up and down over this fret will make it a little clearer, and this is easier if you are using a capo at the first fret instead of tying up both hands.
You will need to check both E strings as the amount of curve can vary from one side of the neck to the other. The best way to judge relief is with a straight edge, and a straight edge will make it easier for you to determine if you have a back bow. You can find inexpensive edges on Amazon but I find the ones available from Stewmac to be of excellent quality and worth the money.
When using a straight edge I also check between the D and G strings to get an average between the two extremes. If the first fret is high or low it can throw off the reading and this is will verify what you saw. The reading at the first fret and second should look about the same. If the gap is smaller, your first fret may be high. TIP: As stated earlier, do all this checking in the playing position, and placing a light below you will help to illuminate the gap for clearer reading.
Even if the neck already has relief, it is a good idea to loosen the rod a little first to see how tight the nut is and to verify it is working properly.
I also prefer to straighten a bowed neck rather than bow an overly straight one. If this happens, bow the neck and then bring it back to straight. Keep in mind you may not be able to get the neck straight, or perfectly straight, everywhere. In this case, just go with as close as you can get with no back bow anywhere.
Remember…we are getting the neck as straight as possible in this step, we may add some relief later on. This will be an interim step and we will come back to actually adjusting the nut slots later.
For now, we are essentially going to eliminate the nut and set it to zero. You will need a capo, and for repair purposes, I prefer the Kyser click here to check price on Amazon. With an electric, you will be able to make your adjustments simply with a wrench, but when dealing with an acoustic saddle you will need to add or remove material. TIP: Doing this step properly requires some tools. These are included individually or in the StewMac setup kit, and also easily available on Amazon.
I will break this step into two sections to make it easier to follow and better illustrate what tools you will need. There are many different types of bridges all with different saddle adjustments. You will need to determine what yours is, and if you have a Gibson style Tune-o-Matic bridge you will need a set of nut files to match each string. A tremolo will also make this step trickier because you might need to deal with balancing the bridge by adjusting the tremolo claw that anchors the springs to the guitar.
It is important to understand that as you tune the guitar the amount of tension on the bridge changes and will cause it to move, and conversely, as you adjust the tremolo your tuning will change. When tuning a guitar with a tremolo, I always tune back and forth to bring up the tension on the tremolo evenly: E to E, A to B, D to G. Because the tremolo is rising as you tune-up in pitch, you will likely find you are flat when you are done. So you will have to repeat that process until you are in tune and the bridge finds its balance.
You will need to adjust the screws of the claw in to pull the bridge back or let them out to allow the bridge to rise. Do not move the claw the full amount all in one adjustment.
Remember that as you change the position of the claw you are also changing the tuning of the guitar and will need to re-tune, which in turn will change where your bridge sits. TIP: You are trying to achieve equilibrium.
So make small adjustments to the claw, re-tune and check again until you find the point that the trem levels when you are in tune. Check the radius of your fretboard.
This applies to both electric and acoustic. You need to know what the fretboard radius is so that you can set the underside of your strings with the saddles to match. Now set the height of the two E strings, and just like the truss rod adjustment, check these measurements in the playing position. These measurements are approximate and we will likely go back and readjust them later based on how the guitar feels.
Once the E strings are set, use the under-string radius gauge to set the saddles to the fretboard measurement you took. It is easiest to raise the 4 middle strings up high until the gauge is only touching the E strings and then lower them down to the gauge. If you have a tune-o-matic bridge you will need to use nut files for this, and if the middle strings sit below the radius you will need to use the thumbwheels to raise the E strings up higher and then lower them to the 3 and 2 measurements with the files in order to set the radius of the middle strings.
Angle the file with the approach of the string from the tailpiece, and use a file of the same gauge as each string. Remove small amounts at a time until you get where you need to be. Use some fine sandpaper to remove any sharp edges in the saddle when you are done. The best saddle material is bone. If yours is plastic or some type of synthetic material and you want the best tone possible, have it replaced with bone. In particular, guitars that are poorly maintained rarely professionally serviced often need more work than a well maintained guitar.
The following is a quick view of the main parts of a guitar setup. The first thing most shops will do is give your guitar a visual and mechanical check to identify problems. This could be as simple as noticing missing screws, corrosion, body damage, hardware malfunctions, or neck problems.
A setup should include checks to confirm controls, pickups, jack and other items all work properly. The best guitar techs make written notes on these issues as they do your setup.
These notes are especially useful as a reference on subsequent setups when items previously noted as potential issues have become real problems. Except for really low-end acoustic guitars a guitar will have a truss rod. A truss rod is basically a metal rod inside of the neck which has a truss rod nut to make adjustments.
Adjusting the truss rod tension changes the curvature add or decrease bowing of your neck. The primary purpose of adjusting the truss rod is to maintain an ideal string action. Proper adjustment gives you the lowest possible string action without fret buzz. Ideally your neck will be relatively straight with just a slight amount of relief. Your guitar tech can use any of several ways to assess or measure relief when doing your setup.
Before the work is done you should let your guitar tech know if you have and personal preferences on string action, i. If you have a guitar with a floating bridge and tremolo it may require some adjustment as part of your setup. The tension on the bridge must be balanced to hold the bridge in a position that is parallell with the body. The string tension pulls the bridge up and away from the body. The trem claw position and springs pull the bridge down and against the body.
The string tension is what it is , so the adjustment is done in the trem cavity. Sometimes moving the claw springs in or out can achieve balance. Some times you may need to add or remove trem springs, or even change to new trem springs with more or less tension strength. Ideally you will choose new strings that are the size of what was originally installed on your guitar.
You may want to explore the types of guitar strings and learn how they affect palyability and tone. The string slots need to fit the string size to mitigate problems with tuning or buzzing. The fretboard on your guitar or bass may look flat but it actually has a slight crown which curves down to each side. In order to have proper playability the overall radius of your strings should closely match the fretboard radius.
Adjusting the radius is done via saddle heights and measured with tools made specifically for this task. Adjusting your string radius can sometimes be a bit tricky. The details of setting string action are described in an article by Sweetwater. This distance plays a key role in your setup because it determines the ease in which your guitar can be played. Action determines how much pressure and distance is required for the string to make full contact with each fret.
If you prefer it higher or lower you need to ask for this before the work is done. This is because changing the string action also changes the intonation and you would otherwise cause the shop to have to redo their work. Factory settings provide for good playability with some leeway to mitigate the odds of fret buzz.
Your playing style is the top reason you may want to go for something different than factory string heights. Lower String Action requires less effort to fret a note and is ideal for fast playing styles such as metal. Higher String Action requires you to be more deliberate and press down harder to fret notes.
It can enhance slower playing styles where you want notes to ring longer. With higher string action you have the least chance of fret buzz. The distance relationship between the strings and the poles of a pickup have a noticeable affect on tone. When pickups are closer they pick up more sound vibrations, and inversely pick up less if they are too low. Pickup heights are set after the stricng action has been established. You may have noticed that pickups are not level.
This is by design to compensate for string tones. An article by Lindy Fralin covers how to set properly set pickup heights including angled orientation of pickups. Your bass strings have more mass and will disturb the magnetic field more than treble strings.
Obviously, the condition of your frets has a significant impact on playability. During a guitar setup, especially if there are buzzing issues, your tech may discover fret problems. These problems can range from high spots or rough, protruding ends to a fretboard with significant height disparity among all frets unlevel frets.
Fret work is not included in the cost of a guitar setup and prices vary depending on the anount of work required. Common terms and ways to fix fret problems include fret dressing, spot leveling, crowning, full level and fret replacement.
Your luthier will advise you of fret repair options and costs.
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