mn eit oy maintain, and repair electrics and acous- tics Updated & expanded second edition by Dan Erlewine PhenixPublished by Bockboat Books (fomety Miler Freeman Books) 600 Harrison Steet San Francisco, CA9A107 ‘wn bactbectbooks com Emol: books@musicployer.com ‘Ao isi of Musi Player Newark United Entertainment Medio, Ie © 1994, 1990 by R Danial Elewine Alright exewved. No par of hie Book covered by copjrighs hereon may be ‘epreduced or copied in any manner ‘whateoever without writen permission, except inthe ease o bie quctatons embodied in orcs and eviews For information contct he publisher. Disibuted tthe book trode inthe U.S. and Conard by Publishers Group Wee! P.O. Box BaA3 Emeryille, CA 94662 Disitwedo he music wade nthe US cond Corado by Hal leonard Publishing, .0. Box 13819, Miwaukos, WI 53213 Library of Congress Catalog Card Number: 93.80493 ISBN 087930.201-7, Printed in he United Sates of America (03 04 Wiz Dedication Dedicated toJoan, Meredith, and Kale-wih lov. ‘Also thos Tom Elewine Designthe book looks great David Vinopal ond on Loomis~for helping me over my writing hurdles Jas Obsec, the greatest edior a guy ever had anda patient amigo. Bryon Gallup's Guitar Hospital in ig Rapide, Michigan, where many of the photos wero taken. Ando all my customers: hanks fr bxeaking your gui! Edo Jos Obrech ond Jon Loomis Daxign/llsraio/Phtos: Tom Elewine Photo Credis ‘We woul Ike fo thank Brian Blowser of Akens, Ohio fe hie patos kom ‘00d tips with Don fo check cut the guitars of he sors, Thanks ao ‘Al Blo of An Aber, Michigan for his photos on pages 53 ond 219. Thanks othe following companies fr providing the insturent shown ofthe ston of each chop: Page 1: Klin Cusiom Guitars Poge 3: Rober Sinegger Page 23: Fender Musical Insuments Page 43: Erlewine Guitars Poge 79: Gretsch Guitars Poge 115: Santo Cruz Guitars Poge 129: Poul Reed Smith Guitars Poge 137: Fender Musca Insument. Poge 191- Gioson Guitars /EietlyIsiumants Poge 193: CF Marin Guitars Poge 219: ESP Guitars Page 233: Rickenbocker Guitars Page 261: MY Pedilla Guile Cover: Paul Reed Smith coutesy of Darel MarvaSET-UP & MAINTENANCE GETTING STARTED ‘Cleaning the finish Cleaning your fingerboard leaning and de-rustng metal bridge saddles Install stings correctly, and they'l stay in tune Neck evaluation and truss rox! adjustment Setting intonation ACTION ADJUSTMENT (SETUPS) What isa setup? Gibson electric guitar factory setup specifications Fender electric guitar factory setup specifications Electric bass setup Fender guitar neck profiles Fender bass neck profiles, Acoustic guitar setup sing factory specs PRO SETUPS:TALKING WITH ‘THE KINGS OF THE BLUES Low action and the blues Stevie Ray and Jeff Beck Setting up for slide: the Mooney innovations. Albert Colin: talking ‘guitar with the Heeman Buddy Guy: my guitar is almost like my love BB. King: talking about Lucille Get ready for the blues. ELECTRIC ADJUSTMENTS AND MINOR REPAIRS iting and replacing Gibson ‘Tune-O-Matic saddles Bolton necks 39 52 63 C) B ‘TUNERS AND TREMOLOS ‘Tuner basics ‘Tuner installation Shrunken heads Removing broken headstock screws Damage caused by over-ciled tuners Insaling the Floyd Rose tremolo Setting up the Floyd Rose Kahler installation and setup, Fine tuning 2 Strat ternolo ‘Tightening a loose Stat tremolo arm {A Strat trem mocification ‘The Trem Setter Altematives to the locking nut String benders ACOUSTIC ADJUSTMENTS ‘Troubleshooting bridge problems before setup Fitting Flattop Bridge pins Refiting and replacing bridge saddles Evaluating acoustic action -Arch-top bridges Setting up a classical guitar. NUT WORK & FRET WORK ‘Twelve steps to replacing a nut Cutting string slots and finishing up FRET DRESSING Loose frets Fret-dressing basics Fretwire types & sizes Fretwire hardness Files used for fret dressing Dressing the frets REFRETTING Introduction to refreting Fretboard preparation Selecting a fretwire ‘The hammer-in method 2D 82 83 93 98 103 103 104 108 10 15 116 18 120 121 12 131 1B 157 158 163 164© Compression fretting ' A typical Manin ‘-ret installation 2 Martin barstyle freting 1 The glue-in method © Bound fingerboards 1 Freting vintage fender necks = Scalloped fingerboards ‘The neck jig © Summing up fretwork PART 3 REPAIRS & MODIFICATIONS ACOUSTIC REPAIRS f Dealing with humility ' Flat-op bridge and brace problems 1 Regluing bridges, clamping cracks and Loose braces 1 Bridge replacement techniques 8 Winter cracks 1 Clamping loose braces. 1 The bridge pac: repairing wom and jagged bridge pin holes Neck reset. ‘11 OTHER IMPORTANT REPAIRS 2 The last thity years of guitar repair. 1 Super glue repairs and touch-ups w Albert Kings Lucy fs Shrinking Strat pickgaurds 1 Broken headstocks 1 Loose binding 1 Fixing a guitar case 1 How to ship a guitar. 12 GUITAR ELECTRONICS 1 The basic tools. & Wire, shielding & capacitors... ® Troubleshooting with a multimeter ® Soldering techniques 8 Mini switches Installing a replacement pickup 1 Safety measures... 195 194 198 199 202 212 215, 29 221 22 24 205 228 29 21 233 235 1238 239, 245 & How piezo transducers work, and how they're installed 245, ‘© Other acoustic amplification solutions...252 1 Sarat pickup quits 253, Soap bar pickups . 253, 1» A pickup forthe Blues. 254 1 Modifying a 3-pickup Les Paul Custom 255 Strat switch modification 237 § Semi-hollowbody witing 258 PART 4 FINISHES 19 FINISH PREP & APPLICATION ® A basic finishing schedule 263 = Spraying necks and bodies 27 w Advanced finishes & sunbursts 5 16 A Dref introduction to finish rep ....279 ' Touching-up “dings” chips, dents & scratches 280 1 Supplies for repairing clear finish topcoats 280 1 Fixing chips using drop-flls 281 fixing wood and finish dents...0.00.284 1 Scratches. 285 f= Touching-up color 286 f Very important safety information ....288 PART 5 SUPPLIES & SOURCES 15 TOOLS § Tools, too}, tools 291 1s Tools of the trade soon 292 1 Lutherie suppliers ono 298 1 Manufacturers. 299 1 Recommended reading. 300 © Onganizations 308 Schock for gtr ep and buing..303 Vintage deale on 308Foreword ‘Among material objects on this earth, few possess the mysterioso voodoo of the guitar From the moment we frst pick it up, there's something about its feel, its look, its hef, that ‘whispers—or screams—to us. Before long this intriguing stranger becomes a friend, even an extension of ourselves, and we feel the urge to nurture ito take care of i, 10 caress i ‘Or maybe to rip out its pickups, bolt a whammy bar on there, and spray it with metalflake green enamel We can't keep our hands off the guitar. we're not playing it, we're polishing i, adjusting it, altering it, or wondering about it, Why does it buzz when | bend a sting? ‘Would it get more sustain with a brass nut? How come it doesnt play in tune anymore? Whether you want simply to maintain your guitar in performance-teady shape or hot-tod it into a radical new incamation, Dan Erlewine isthe ideal guide, guru, and ‘godiather. He's a player, he's an extraordinary repairman, and he gets to the point Flewine’s credentials run deep. He was co-founder of Erlewine Instruments and proprietor of Dan Erlewine's Guitar Hospital in Big Rapids, Michigan, and is currently the author of Guitar Player's popular Repaits & Modifications column, as well as Director of ‘Technical Operations for Stewar-MacDonald’s Guitar Shop Supply in Athens, Ohio. He's also procluced numerous acclaimed how-to videos. ‘Ths is Dan's personal edit of his Guitar Player columns—addling in new stuff and removing outdated information, And far more than that, to: it’s the product of thousands of hours spent hunkered over wounded guitars, a smoking soldering jon in hand. Its the product of experimentation and improvisation, endless hours poring over books an ‘manuals, consultations with top repairmen, and countless weekend seminars, tade shows, and luthetie conventions. In short, it’s the life work of a talented craftsman who loves his ‘work. You'l find the good advice that all guitar owners need to know, plus loads of up-to- ‘minute tips o new-generation whammies, finishes, acoustic pickups, and a whole lot more. ‘Over the years Dan's clients have included gifted, demanding players like Mike Bloomfield, Clarence White, Otis Rush, Johnny Shines, and Ted Nugent. Jenry Garcia owns one of his Strat style elects, and Albert King was pictured on the cover of Guitar Player with Lucy, the V-shaped electric blues machine that Dan custom-built for him. Dan Erlewine has helped all these players and| many more to get the most out of their guitars. Now it’s your tum, em ahenlor_ Tom Wheeler Editor Guitar Player MagazineIntroduction Every guitarist wants an axe that plays easly stays in tune, looks and sounds good, and is set-up correctly, right? And when things go wrong, important repair decisions must be made. Who'll ix your guitar? Should you get a second opinion? Since 1985, my Guitar Player column Repairs & Modifications has looked at guitar repair and set-up from many angles ‘This book updates those columns for the "90s, condensing and organizing them into a manual for guitar players and repairmen. It teaches do-it-yourselfers to fix guitars, helps players keep their axes sharp, and gives advice that will help you choose a good repair shop when the chips are down, ‘The Set-Up and Maintenance section is for players ofall levels. Beginners suspect that leaming to play is easier on a well-set-up guitar, and they're right, Professionals discover that by personally setting up their own guitars, they finally realize every inch ofits potential—but only after making such fine adjustments as setting the intonation and adjusting the “action” themselves. The Acoustic and Electric Guitar Repair section is for everyone—take what you need. Fellow repairmen are sure to find new tricks of the trade, and players: just knowing about guitar repair may keep you from the hearthreak of seeing your guitar ruined by inexperienced hands, Que dCleaning the finish Imagine that you've just bought a great used guitar. It's fithy and out of adjustment, but undemeath the crud you know isin excellent condition. Pve come across many such guitars ‘over the years, and to get them in shape I always follow the steps outlined in this chapter. First clean the finish, to start out fresh and see ‘what you've got, Then, before installing a new set of strings, clean the fretboard and any dirty ornusted metal parts (most often the bridge). String it up ancl adjust the neck, If the bridge is adjustable, set the intonation. At this point, if your new axe plays great and satisfies your needs, you'te done! fit doesn't play great, you ‘may have uncovered a numberof problems during the basic maintenance stage. The rest of thisbook will help you take care of those problems. Good luck! Cleaning and polishing guitar isthe most basic maintenance task ofall, and every player should know how to go about it. Maintaining a ‘new instruments clean good looks is simple if you keep itup from the beginning. But the lucky player who “discovers” a vintage piece that’s perfec except fora finish that's been dulled by years of sweat, din, and exposure to barroom smoke and the elements may need the helpful information in these pages. Guitar finishes become dity and hazy be- cause dit particles come to rest on the finish which always has. thin film of oi on ito ‘matter how often you clean it, Some of these oils come from your body, while others be- ‘come suspended in the ar rom cooking, manu- facturing, pollution, etc. The oil and dit ereatea “build” on the finish, which hardens in time and is quite tough to remove, When you remove the dln, because ofits abrasive qualities, you could be removing the finish too! That's why using the right cleaning technique is important ‘The tools needed for cleaning and polishing new or used guitars are few, simple, inexpen- sive, and easy to use, Clean soft rags re the most important tool, and depending on the situation, you may also need any of the following: naphtha, liquid guitar polish, “swirl GETTING STARTEDGETTING ‘STARTED Hf you would rather net use chomicals to Remember: Don’t rob your guitar down too mech, even with just a rag. Polishes are mere gentle than cleaners, and be very careful when working on old finishes! mark remover,’ liquid abrasive cleaner, warm ‘water, and elbow grease, First, describe each cleaner ancl explain why its used, and then follow witha few cleaning tips. As youl see, Jemon oil and silicone products are to be avoided. EVERYTHING YOU'LL NEEI 1 Clean, soft rags head the lst, With several rags and plenty of time, you can clean the diiest guitar without polishes or cleaners, although polishes and cleaners help you doa faster, better job. The three best cleaning rags are; used, well-cleaned baby diapers, cotton T- shits, and 100% cotton flannel, The soft rags that many manufacturers imprint with theic company logo and include with a new instr ‘ment are made from flannel, You can also buy a yard of flannel at any fabric store for $3.00. Most ‘ther rags nel fabrics are too coarse for delicate guitar finishes. 1 Naphtha (lighter fui) isa great, all- around guitar cleaner. I's a de-greaser for Finishes, pickguards, fingerboards, bridges, tailpieoes, and metal pans ofall kinds, Used lightly on a rag (more dry than wet itwon't hharma delicate lacquer finish, and certainly not polyurethane or polyester finishes, Naphtha leaves flat, cry haze on finish, but it’s gen- erally used first in the cleaning process, so guitar polish ora dry’rag brings the sheen right back. 18 Guitar polish. The creamy stuff in the lite plastic sprit jars isa cleanerbecause i's a liquid with an extremely fine abrasive. The liquid washes, and the abrasive lis dirt. t'sa ‘polis because there's wax init that protects and shines, The right polish won' scratch a finish, Martin makes a good polish/cleaner, and ‘you can tus them to recommend! something safe for high-quality guitar finishes, especially Jacquet. 1B Swirl-mark removers similar to liquid polish, but without the was; its actually a leaner with an extremely mild abrasive. Switl- mark removers used in the auto industry for the final polish of newly-sprayed finishes. A ‘good bran is Mror Glaze #9 —it'sa delicate, excellent cleaner that even without wax leaves nice shine, Ihave Found that #9 does not give good results on water-base finishes. It may dull them—not the desired effect 1 Liquid cleaners are ight duty butfing compounds made with a mill abrasive but no ‘wax. Cleaners are best for der finishes, since the absence of war allows unlimited cleaning time without the wax drying (along with the dit) at every polish-stroke. The abrasive is coarser than swirl: mark remover or guitar polish, sit doesa good job of removing heavy dit buildup. Cleaners won't leave scratches, but assoon asthe dit ifs, switch toa milder polish Cor swil-mark remover—you don't want to nub away more finish than needed! Two good cleaner brands are Mirror Glaze #7 and Martin Seynour's Buff-cez 26355. 18 Lemon oil, while not on the is, is highly touted by some asa polish for guitar finishes, but avoid it because it feels as though I'm ‘wiping kerosene onto the finish, I believe that Jemon oil works its way into and under the finish, especially on older vintage instruments, with a lovely checked patina. This could cause the finish to lift and the wood to become saturated with oil—possibly dampening tone. Lemon Pledge should not be used on guitars! I Silicone is definitely not on the list, but its added to some polishes and cleaners, Polishes ‘orcleaners with silicone should be avoided! ArmorAll, which has silicone, i used by many music stores to keep guitar cases looking spiffy, but they should avoid it. Lacquer, glue, stain, and all sons of guitar repair items just dont get along with the slippery aftermath of silicone, and subsequent repairs to an instrument ‘exposed to silicone will be a hassle 18 Warm water, used sparingly (your cleaning rag should be slightly damp—not sopping ‘wet!), works wonders, Don't force water into checked, dry, or weathered finishes. Saliva isan excellent cleaner, 00 (Seriously) —but only if you're working on your own guitar. Elbow grease needs no introduction, sole’s get on with the work. Polishing is what you do toa guitar that isnt really dirty, and the process doesnt have to involve polish atall. A clean, dry rag may be all you need to keep a new guitar’ finish in shape by wiping off sweat and oil before they getachance to build up and oxidize. Occasionally use the liquid guitar polish for its protective ‘wax coating —but only on newer finishes which aren't weather-checked. Before polishing or cleaning, be sure to wipe, vacuum, or blow any rity particles from your finish; otherwise youTl =muted note)tension ofthe Aand Btunings. So only se G ‘on four or ive songs night. Luse specilic gts for specific songs, because they sound andl play liferent in different keys. Ifyou play in five tunings and only have one or two guitars, youll be tuning up all night. Besides, a guitar properly set up for open tuning wont play just right if you drop it to open G. And the tring ‘gauges area litle different for each tuning.” John uses bronze-wound D'Addario mediums ‘or HS Boomers. For open-Guuning, his gauges are 016, 018, 024 (plain), 034, 046, 059. For open Aor open E, he uses 016, 018, 024 (plain), 032, 04,058. Guitars tuned standard are strung 013, 016, 019 oF 020, 030,044,058. Allof John’s guitars have a ridge saddle radius that’s quite fat (ranging from 14°10 209, even on the 7 vintage raciused Strats. To get good contact rom one string to another with the slide (especially on the treble strings), he flattens the radius on the treble stings by puting the high-Bstring at almost the same heightas the G string and the high F as tall as the B, so it’s not as round asthe fretboard radius would dictate. He flatens the bass side a litle {00, “The National ste! has fany fat fret- board radius—about a 16'—and that's what Tm used to So setting the high-E’ and Bssrings a litle higher than the radius cals for kts me hit them really hard and get better tone. And using a.016 for an E, you can really lay into some stuff. [think Bob Brozman uses an 018% ‘The 016 works good for me. Even on my standard guitars, Iset the high B up a bit because I hit itso hard,” Mooney’s fretboard’ bridge radius combinations on the National arch-tops are 10" board, 14" bridge. On the Fender Strats, i's 7/° board, 12" bridge. The Artex have 416" board, 20" bridge All of John’s necks have some relief, and he sets up his standard-tuned guitars litle lower than the sliders: “When you tune upto Aor E tuning with fairly heavy tings," he points out, “the truss rod really has to work to keep the neck straight. In time, a neck can even take a ‘set from the string pressure—they all pull up into at least.010" of relief, an sometimes as much as 018", That extra up-bow gives good

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