Tuning a Gibson Acoustic Guitar

Everybody deserves to have a guitar that plays well, stays in tune, and is in tune with itself. This is not just the privilege of globetrotting superstars, but everyone who owns a decent instrument.

Before I go any further, let me give you the proviso that I am not a guitar tech, set-up guy, or luthier. I’ve been playing for almost 4 decades and I’ve picked up a lot of valuable information along the way. What I do know is when to go to an experienced guitar technician / luthier to get problems solved. The whole purpose of this column is to inform those of you who were curious about some of these things but were afraid to ask or just plain didn’t know. You experienced guys and gals – Eddie Van Halen and Django Reinhardt: who’s better? Discuss.

New Eastwood Wandre Deluxe Electric Guitar

New Guitars

In preparation for our upcoming cross-Canada tour this summer as a member of The Bachman Cummings Band, I decided to take my 2005 G&L ASAT Deluxe to my friend Brian Mascarin, a very in-demand luthier and guitar technician in Toronto, to have him dress the frets for me. Now you would think that the frets on a $2,500 guitar like a G&L would be set-up to perfection. Not so.

Consider the journey that guitar took to get to me: it was made in California in a very temperate climate, traveled across the continent in a truck, possibly in freezing weather, and arrived in Toronto where it hung in a music store for the better part of two years by its neck! And with the same set of strings!

I detected an annoying buzz under the D string that I couldn’t get rid of so I took it to Brian. He said it is not uncommon for some guitarists to come directly from the music store with a brand new Gibson, Fender, or Paul Reed Smith to his shop where he sets up the instrument to its new owners specs and tweaks any minor flaws that the factory may have overlooked. Keep in mind that with the worldwide explosion in popularity of the guitar, these manufacturers have to pump out literally hundreds (thousands?) of guitars every month. It is not realistic to assume that these instruments are 100% ready to go in every way for every player’s needs.

The need for a set-up by a qualified expert is even more crucial in the case of instruments made offshore: drastically different manufacturing climates, month-long trans-oceanic journeys with varying degrees of temperature and humidity, and high volume factory output are factors that have to be considered. No one can dispute the very high levels of quality and workmanship that goes into guitars made in Asia but keep in mind the changes and the journey your instrument has undergone before it got to you. No wonder it needs a bit of tweaking and TLC!

Guitar Strings on the Wall

Strings

Quite often I hear of guitar owners complain that their newly purchased axe just doesn’t play the same as it did when it was purchased (Hey! It was in tune when I bought it!).

Did you change the strings? Of course you did. You took off the now tarnished and oxidized strings that the factory installed and put on a fresh set of your favourite brand with your favourite gauge – you know the super slinky .008’s with the .056 E string! Or the good guys at the store or e-store threw in a set of strings for you. Now the neck has a bow in it and the strings are an inch off the neck.

Why? Because you changed the geometry of the instrument. Here’s a real nugget for you – a guitar’s playability is affected by the gauge of string you use! A set of strings exerts hundreds of pounds of tension on a guitar’s neck. When you change the gauge or thickness of those strings, the tension on the neck changes. Your guitar was set up with a certain gauge of string at the factory. Unless you replace the strings with exactly the same brand (string characteristics in the same gauge vary from brand to brand owing to different manufacturing techniques and different metals used), your guitar will play differently. The only way to accurately determine the gauge of a string is with a micrometer and not many music stores have one of those under the counter.

What to do? Pick a brand and a gauge of string, get your guitar set-up for that string and stick with that string. When you experiment with different brands or gauges (and you should!), get the guitar setup again for that particular string.

Guitar Neck Truss Rod Diagram

Truss Rods

The truss rod is what is adjusted to add or reduce – relief – or bow in the neck. As I said in the opening, I am not a repair guy and I’m not going to tell you how to adjust your truss rod. I personally don’t think you should because the potential for permanent damage is huge. This is when you should go to an experienced technician.

Tune-o-Matic Guitar Bridge

Intonation

Ever wonder why some chords play in tune and others don’t? That’s intonation – the guitar’s ability to be “in tune” with itself. Without going into a long boring treatise on the tempered tuning system developed in the 16th century or whenever it was, suffice to say that your electric guitar, thanks to Mr.McCarty and the engineers at Gibson in the 50’s, has a bridge with little moveable saddles on it called a “tune-o-matic” bridge.

These little saddles adjust the string “length” relative to the 12th fret, which theoretically is the midpoint of the note. There are many resources on the net to get more details on the theory, but the idea here is to let you know that if you have a decent electronic tuner, a small screwdriver and a bit of patience, you can intonate your guitar so that it plays more in tune with itself.

Here’s how you do it:

1. Plug your guitar into your tuner.
2. Tune the strings to pitch.
3. Pluck the harmonic of the 6th string (pluck the string with your finger directly over the 12th fret without fretting the note).
4. Fret the note at the 12th fret and compare it to the plucked harmonic.
5. If the fretted note is sharp, move the saddle back (or to your right looking down on the guitar). If it is flat, do the opposite. Make small adjustments until the pitch of the harmonic and the fretted note is the same. Do this for all 6 strings.
6. If you’re confused, go see your friendly neighbourhood guitar technician or luthier. A set-up with new strings, truss rod adjustment and intonation costs around $20 – $50 but it is well worth it.

Resources

Please visit David’s Website and don’t miss the Bachman Cummings tour this summer!

Here are the names of three very qualified technicians / luthiers in the Greater Toronto Area:

• Musicality, Brian Mascarin (416) 787-1531 Toronto
• The Peghead, Mike Spicer (905) 972-9400 Hamilton
• The Guitar Shop, John Bride (905) 274-5555 Mississauga

Guitar Tuning & Set-Up Tips of the Stars! from MyRareGuitars.com

Slinky: Link Wray & the Wraymen

Link learned the guitar at the age of nine from a carnie named Hambone, in town with the Barnum and Bailey Circus. They began their friendship when Hambone noticed Link strumming an old acoustic on his parents’ front porch. As an army brat, Link was used to a nomadic lifestyle. By the age of fifteen he was paying twenty dollars a night to sit in with country-great Tex Ritter, so he could continue to learn his craft.

Lacking the technical know-how of the jazz luminaries of the day, TalFarlow and Django Reinhardt being his favorites, and unable to sing due to the loss of a lung to childhood tuberculosis, Link began to experiment with his sound. He tried such original ideas as poking holes in his amplifier speakers to get a new kind of distortion. Teaming with his brother Doug and first cousin Shorty, The Wraymenwere born. Prestigious venues and Top 20 success followed in 1958, when Rumble (actually titled Oddball by Link) made the Charts.

Link Wray

This ushered in the era of the guitar instrumental, and Link stayed ahead of the pack by using unique guitars and the electronics of the day, creating probably one of the first home studios. He called it the Three Track Shack because it was housed in a shed and had only one three-track tape recorder, ;state of the art for the time. By merging chugging blues, surf twang, and psychedelia into a sound that was soulful, irreverent, and individual, Link Wray created a new music. Some people call it Rock and Roll.

A friend of mine had every Link Wray album. My education began by playing each of these albums over and over. So when Link came to town, it was the show I had been waiting. We plotted and planned, bought tickets and then lost them, bought them again. Two nights later we were ready to go. I slicked up my shoes and slimed up my hair in true Rockabilly fashion, donning a western shirt embossed with tigers. My friend was dressed to dazzle in a late 50s ruby red velvet dress and a pair of knee-high stiletto boots.

Link Wray with a Supro Dual Tone Guitar

We arrived as Link roared into Rumble. The thrust and the volume of the song was even more powerful live. Link stood firm and anchored the band with ultra-fuzz arpeggio riffs, keeping the trio in tow. With his lanky lumbering frame, a fierce ponytail, and motorcycle jacket, he hunched into his guitar. It was incredible that the man producing this wall of brute sonic strength was in his seventies. As he roared along, I realized that this timeless music has never been more alive. After Jack the Ripper, Rawhide, and Ace of Spades (some were played twice during the evening), he launched into one of his more way-out songs. He cranked it all the way up and I realized this was probably the last song of the night.

Link Wray concert ticket (October 2000)

My friend and I rushed forward to witness the rollicking rave-up. We slid in next to the stage, and with a wail of his guitar he seemed to play off of us alone, looking our way with an expression of childlike wonder. I figured he had his eye on my lady friend. Then something remarkable occurred. He walked over to face me, continuing to play. As the eyes of a shaman stared into mine, he strummed with his right hand and motioned for me to play the neck. And there I was, dear reader, simultaneously reaping the riffage with the legend himself. As tom toms rolled and cymbals crashed and the electric bass pounded to a climax, Link looked directly at me and nodded as though we had shared an intimate secret. In the next moment he was center stage again, commanding the final surge of power and sound to ecstatic applause. My friend also reveled in the moment, a firsthand witness to a dream come true.

Link Wray on stage

All the greats have come across Link at one point in their musical development. He didn’t live to be inducted into the Rock and Roll Hall of Fame, but was inducted into its Rockabilly counterpart. Bob Dylan, hearing of Link’s death, covered Rumble last week. Neil Young once said, if he could see any band in the world, he would chose Link Wray and The Wraymen. Simply put, the king is gone, but he is not forgotten.

Post by: Devin Patrick

The Night I Played Link Wray’s Guitar from MyRareGuitars.com