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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

"How To Tune The Guitar To Perfection"

The following is a reprint of THE GUILD OF AMERICAN LUTHIERS data sheet #45.

"Many guitarists are frustrated because of their attempts to tune the guitar to pure chords (free of beats). These particular players have very sensitive ears that prefer pure intervals and reject the mandatory equal temperament. They tune their guitar beautifully pure on one chord only to discover that the next chord form is unacceptable. In too many instances they assume that there must be a flaw in the workmanship on the fingerboard. Their problem is not in the construction of the guitar. It is one of pure tuning verses equal temperament.

You must accept this compromise because the guitar is an instrument of fixed pitch and the strings must be tuned to tempered intervals, not pure. Equal temperament is the name given to a system of dividing the chromatic scale into 12 equal half steps. Guitarists who have been trying to tune to one or another pure chord form must learn to understand and accept equal temperament. (They might be interested to know that to approximate pure chords on all forms would require about three dozen frets within the octave.) The system of equal temperament reduces the number to twelve, thereby making manageable all instruments of fixed pitch.

Here is what all of this means to the guitarist: You must not, at any time, use harmonic tones at the 7th fret as a point of reference (skilled piano tuners could use them because they know how many beats to introduce between 4th and 5th). Harmonic tones at the 7th fret are pure 5ths, while in equal temperament each 5th must be lowered slightly. To tune by harmonics at the 7th fret (as occasionally ill-advised) will make the guitar sound entirely unacceptable on some chord forms.

On the other hand, all harmonics at the 12th and 5th frets, being one and two octaves above the open strings, are immediately useful as explained below. All octaves and unisons are pure on all instruments of fixed pitch. Therefore, you may use harmonics at 12th and 5th as reference tones in the following tuning instructions.

Actually this discussion and the following suggestions are for those players who have been tuning to pure intervals. When the steps have been followed correctly the guitar will be as perfectly tuned as it could be in the hands of a professional. Nevertheless, when you have finished, your sensitive ear may notice that on each major chord form there is always one tone slightly high. If you start adjusting a particular string on a certain chord form, you only compound the problem because then the next chord form will be completely objectionable. Tune the guitar as instructed below and let it stand. How to help your ear accept equal temperament: It is easier to face a problem if we are prepared in advance and expect it. If you are one of those persons who is sensitive to pure intervals, here is what you are going to notice on an absolutely perfectly tuned guitar in equal temperament: Play an open E major chord. Listen to G# on the third string and you most likely will want to lower it very slightly. Don't do it. Ignore it. Enjoy the overall beauty and resonance of chord just as does the pianist.

That troublesome second string: Play an open position A major chord. Listen to the C# on the second string and you may want to lower it slightly. Play a first position C chord and listen to the E on the first string and fourth string at 2. These tones are slightly higher than your ear would like.

Now play an open position G chord. Listen to B on the second string. Yes, it would sound a little better if lowered ever so slightly. Why not try it? Slack off the second string a couple of vibrations and notice what beautiful G chord results. Now play the C chord and with that lowered second string, and you are going to dislike the rough C and E a lot more than before. Take the open B, second string back up to equal temperament so that it will be equally acceptable on all forms. Learn to expect and accept the slight sharpness of the major third in each chord (and oppositely, the flatness of the minor third in each minor chord). Train your ear to accept tempered intervals and you will be much happier with your guitar.


Tuning the 1st and 6th strings: The E, open 1st string, must be in pure unison with the harmonic of the E, 6th string at the fifth fret. When these two strings have been properly tuned with each other, continue as follows. Tuning the 4th string: Play a harmonic on the (in tune) 6th string at twelve, and as this harmonic sounds, adjust the 4th string until the tone E on the second fret is in pure unison. Now you have the E, open 1st string, 1st on the 4th string at two, and E, open 6th string tuned pure (permissible because they are octaves).

Tuning the 2nd string: Play a harmonic on the (in tune) 4th string at twelve. As this sounds, adjust the 2nd string until D at the third fret is in pure unison. As you have used two fretted tones for references and as the frets are positioned for tempered intervals, you now have the open 1st, 2nd 4th and 6th strings in tempered tuning.

Tuning the 3rd string: As it is easier to adjust a string while listening to a continuous reference tone, you may first try the following: Play a harmonic on the (in tune) 4th string at twelve and as this sounds, adjust the 3rd string until D at the 7th fret is in pure unison.

Double check: Now make this check to see if you have been accurate or if the instrument plays tune when fretted at seven. Play a harmonic on the (now tuned) G string at twelve, and as this tone sounds, play G on the 1st string at three. The two tones should be in pure unison. If they are not, either you are at fault or the instrument doesn't fret tune at seven. Go back to the beginning and carefully check each step up to this point. If the tones are still faulty, then readjust the 3rd string until the harmonic at twelve is in unison with the 1st at three. Do not tamper with the 1st and 4th strings because it is the 3rd string you are trying to bring in tune. When you have the 1st, 6th, 4th, 2nd and 3rd strings in tune, in that order, continue with the remaining 5th string.

Tuning the 5th string: Play the tone A on the (in tune) 3rd string, at the second fret. Listen to this pitch carefully and now adjust the 5th string until the harmonic at twelve is in pure unison. When the foregoing steps are followed correctly, the strings will be tuned perfectly to equal temperament. No further tuning adjustments are permissible."

Thanks to Judge Vasco for the heads up on article
You should submit this to the "articles" section of the website.

Quote by Robchappers
You are epic my friend ;-)
Quote by RU Experienced?
At this point I'd be more surprised if you found me a Christian children's entertainer that didn't sodomize and eat kids.
This is all very nice, but it's nothing more than copied information from the manufacturer's websites. I wouldn't submit it, because it's not original.

Why not just post the links for us, instead of copying the info on the websites?
There's a setup sticky that covers these topics, and copying and pasting easily accessible information isn't really useful. I'm not sure why this is here.