Electric Guitar Setup Workshop

Terms we’ll be using

RELIEF

The term used to describe how much bow is in the neck of the guitar. We don’t want a dead-straight neck – we want a little bit of a bow downward in the centre. Think bow and arrow. The bow is bent away from the strings.

To check relief we choose a string, typically the 1st and 6th, and test them in turn. Select your 6th string, and fret it at the 1st fret and the 14th fret. Between the top of the 7th fret and the bottom of the string there should be a very small gap. You can check this by tapping the string to the fret. Select your other string and repeat the process. Sometimes this shows similar condition to the first, but if your neck has a twist or warp to it, it could look very different.

Many guitars are able to be adjusted by very standard allen keys found at the hardware store. Some guitars require socket-style truss rod tools, which can be bought from luthier supply shops if they didn’t come with the instrument.

ACTION

The term used to describe the amount of space between the top of the frets to the bottom of the strings. On some guitars, this value is individually adjustable by each individual saddle. I like to set the action for the outside strings, and the remainder of the strings should follow a steady radius that matches the fretboard.

To check action, we select a string, fret it at the 1st fret (to isolate the nut from the equation), and measure from the top of the 12th fret to the bottom of that string.

Action is typically adjusted by small set screws, and a set of allen keys can get you through, or sometimes a fine, slotted screwdriver will be necessary.

INTONATION

Also called string length compensation, intonation is the term we use to describe the string’s proper voicing length. The longer the string, the lower the note, and in the little increments we’re talking about, this can mean adjusting a string to play a little more flat or sharp.

To adjust intonation, we tune a string to play the right pitch in open position. Then, we play the same string, fretted at the 12th fret. We adjust the saddle location backward (away from the nut) if we need to flatten the note, or forward (toward the nut) if we need to sharpen the note. This process will be repeated until the string plays the right note when played open and fretted. Repeat for each string.

Intonation is often adjusted by a Phillips head screw that pulls the saddle back by “tightening” the fixed screw, or by pushing the saddle away, by “loosening” the screw.

Going through the setup 

Assess what radius the fingerboard is. We do this by sliding an under string radius gauge through the strings and placing it on top of the fretboard. I like to check around frets 5 and 15 to find an average. If you have to choose one, go with the flatter radius. If there’s a gap between the gauge and your fingerboard in the middle, choose a larger radius. If there’s a gap on the ends, choose a gauge with a smaller radius. Write down your answer. We’ll need this later.

Tune guitar to pitch (*)

Adjust truss rod to produce desired relief in neck

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Take measurements of the outside strings (1 & 6). Detune these strings a couple turns and, one at a time, adjust string saddles to achieve a nice nominal action on outside strings (roughly 4/64 for 1st, and 5/64 for 6th string)

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Check heights of 1 and 6. Adjust if necessary.

Detune strings 2-5 a couple turns, and adjust saddles 2-5 to achieve desired radius for all 6 strings.

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Recheck relief and action

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Check nut slot heights by fretting each string at the 3rd fret and observe the space between the 1st fret and the bottom of the string. If there is a lot of space, this can throw off intonation when playing up next to the nut.

Filing nut slots takes a little bit of time and precision, and specialty tools. If you need to file your nut slots, that might be a good time to call a luthier.

Set intonation for each string.

Conclusion of setup

Remove old strings.

Tighten all hardware.

Oil fingerboard.

Clean guitar.

Restring guitar.

Check that, when tuned to pitch, relief, action, and intonation are still bang on, and make adjustments if necessary.

Conclusion of workshop

Thank you very much for coming. I hope you found this workshop valuable. Please keep an eye out for an email survey following this event. Your responses will steer my future workshops.

Please leave all tools and station as you found them when you arrived.