Been
away from blogging for a bit. Sorry about that. Just been extremely
busy. Guess that's a good thing.
Today's
blog is going to be about guitar necks. That means everything from
the machine heads to the material the frets are made up of. Ready??
Okay, here we go:
The most
important part of any guitar is the neck. I will repeat that. The
most important part of any guitar is the neck. So let's talk about
acoustic necks for a bit.
The neck
is responsible for a lot of the tone the instrument produces. How
does that happen?
Well, it
actually starts in the headstock area of the instrument, right at and
after the machine heads. (tuners)
When a
guitar is strung and the strings are pulled to tension by the
machines, there is a lot of tension produced, transferred though the
machines and into the headstock. This is coupled with the tension
produced at the nut and makes it's way down the neck where again it
is coupled with the fret transfer, into the fretboard and then
channelled into the dovetail block, or however your guitar neck is
fastened to the instrument.
Newer
acoustic guitars can also be bolt on necks, where the neck is
fastened into a mortise and tenon joint by the means of two machine
bolts. Inserts are installed into the neck. These align with holes in
the dovetail block, usually 5/16” or 6 mm and two allen head cap
screws are countersunk into the block to fasten the neck to the
guitar via the neck inserts. This provides a nice tight joint and I
believe to be as good as any dovetail joint on the market. The nice
thing about this type of joint is that it can be easily dis-assembled
so as to reset the neck, or service or change frets without the work
required to steam off a dovetailed neck.
The old
standard is the dovetail. Gibson, and Martin still use this means of
attaching the neck to the instrument. Whereas newcomers like Josh
House, Richard Paxton, and most of the Godin line of instruments as
well as many others prefer to use the bolt on method.
So why
the dovetail? Tradition, basically. Martin have not changed their
basic guitar design in over a hundred years. For that matter, Gibson
is right behind them. Even though most guitar necks, electric and
acoustics are CNC milled these days, there is still a preference by
the aforementioned to maintain consistency in their original design.
Hence, the dovetail joint. Even the Blueridge guitars, a direct copy
of a Martin dreadnaught still utilizes the dovetail. It just works!.
Some would argue one over the other, to me I am more preferential to
the bolt on. I don't believe there is much difference in tone. If
there is any, it is negligible.
If one
has ever had to try and remove a dovetailed neck on a guitar in order
to do a neck reset, I believe you would agree with me, bolt on is
better.
Remember,
the more contact with the body, the better the tone.
So how
does this change the sound of the guitar?
Well, we
talked about how the sound gets to the dovetail block on the guitar.
This block is part of the front of the guitar and is what the neck
attaches to. Some are larger than others. Some are made of rosewood,
while others are birch, maple or just plain spruce. The sound, and
mechanics that are transferred into, and through this block, make
their way to the sidewalls and soundboards on the instrument. It is
this combination of wood, as well as the neck, that give the guitar
it's distinct tone.
Remember,
tone and volume are two very different
entities when you are talking acoustic sound.
Volume
is basically what comes out the sound hole, it is what is produced
through the bridges plates being sandwiched onto the soundboard. Much
like the volume knob on your stereo. You want it louder, you strum
louder. Just like turning up the volume.
Tone
however is a bit different. Tone encompasses all of the other things
I just spoke about, the machine heads, type of neck material, type of
nut material, fretboard material, (rosewood, ebony, ???) fret
material and makeup. Dovetail attachment, bolt on? Dovetail block
material, sidewall material, rear soundboard material, top soundboard
material, type of bridge plate material, sub plate material, saddle
material, bridge pin material, thickness of the soundboard. This is
like the graphic equalizer on your home stereo. It's what makes the
bass exactly what bass should sound like and the mid range and high
end stand out and take notice as well.
When the
tone is married with the volume of the instrument, it is really
something beautiful.
The
other thing to mention about tone is that as a guitar's tonewoods
mature, it only appreciates in tone and in most cases, value as well.
There were only three Martin D-45's built in 1933. The first year
they were introduced to the market. Why do you think a guitar that
was probably built for one hundred dollars back in 1933 would be
worth in excess of $500,000.00 now. They still build the D-45. Sure,
it's a rare guitar, but why do you think everyone would want to have
this instrument? It's the tone!!
On the
subject of guitar necks, there are builders who believe a three or
four piece laminated neck is as good as a solid one piece.
Well,
there's a good argument. I am all for saving the planet and cutting
back on waste when it comes to being more resourceful on acoustic
building, but I personally believe whenever possible, choose the one
piece neck. Again, it's a matter of tonal preference, and it's what
your ear hears. Still, I don't believe that when you glue a bunch of
pieces of would together, there could possibly be the same tonal
frequencies, vibration and transfer as there can be using a one piece
neck.
Most
neck materials are consistent, and with acoustics the choice is
usually select mahogany for the neck and headstock, and rosewood for
the fretboard. Why these woods? Tone! Straight and simple. It works,
and everybody uses it. Now differing builders of late offer a myriad
of differing tonewoods for both neck and fretboards. Personally, I am
with Martin and Gibson on this one. If it ain't broke.....
You want
to be very cautious using exotic woods for fret boards. Most do not
stand up and can't even come close to the old standards. I have seen
in my shop, brand new instruments with fret divots and fret wear, and
only on their first set of strings. And we are talking some high end
instruments here. Stick to what works.
What
about an ebony fretboard? Actually, I love ebony. I love the play and
feel of it, and seldom do you have a problem with frets popping due
to inconsistency with humidity, or dryness. Ebony is a great choice.
It wears better than rosewood, requires less maintenance and works
well with the frets. The only thing about ebony is, if you are a
luthier like me, and you have done a lot of fret jobs, ebony is not
the best wood to be working with. It is like glass, and must be
treated accordingly. Hard to remove frets without 'galling' and slot
damage. In most cases, frets have to be glued back into place because
they simply won't hold in the slots. Ebony, not a good friend of
guitar builders.
Some
necks are finished with either a light wipe on polyurethane,
nitro-cellulose, varnish and sometimes paint, and all...you guessed
it, affect the tone and playability. I often wondered why some
builders would spend so much time building a neck, and then cover it
up with paint and clear coat. What are they trying to hide?
What
else affects tone? How about the truss rod? The truss rod is an
important part of any guitar neck, and it also affects the tone of
the instrument based on what it is made out of. Anything that
transfers sound and vibration on the instrument, affects tone.
Martin
did not even install a truss rod in their guitars before the mid
eighties. Now why do you think that is? Well, if you don't have a
truss rod, and it's a basic steel re-enforced neck, there would be
more room for wood. And more tone. Martin was onto something. Problem
was, they couldn't be as selective about their neck woods and the
cure factor when their guitars were in such demand. They had to start
using woods that were kiln dried and not air seasoned, like they were
famous for this wood, though not totally dry, twisted and caused
Martin to have to come up with a workable solution to a problem that
Gibson was very familiar with. So Martin, like Gibson, started to
install truss rods in their guitar necks, so that when a neck
adjustment was required, it could be easily made, with little or no
consequence to the sound of the guitar.
Now
let's move onto two other important neck and tonal variables. #1,
nuts. What is the best nut material out there today? Well, there are
all kinds of differing materials. There is plastic, steel, brass,
TusQ (man made bone) graph tech plastic, porcelain, ebony and other
exotic woods, and finally 'bone'. Usually beef shin bone, but I have
had great experiences with moose and deer shin bone as well.
Again,
there is personal preference here. I would have to say that my
favorite is still bone. I am more preferential to composites for some
bridge saddles, but I have used bone there as well many times. Just a
personal preference. It's easy to work with, consistent and always
provides great tone, if you can get past the smell.
#2, Fret
Material / size. Gibson uses a jumbo fret on their electrics and has
used this same fret on some of their acoustics as well. Fret width,
height, tang depth, as well as the material blend makes a big
difference in the sound of your instrument. Frets are usually made up
of a high grade of stainless steel at gr. 316 or better, but what
matters in making them last longer and have increased tone and
harmonics, is the alloys that mix with the stainless that provide
consistency and long life. Carbide,(carbon) tungsten, bronze and
others are just some of those additives.
Still,
frets cannot be that hard that they can't wear at all. If they were,
your strings would be breaking all the time because of the fret
memory on them. Eventually wearing through and breaking the string.
Some companies, like MusicMan use a 100% stainless fret, and when
coupled with their ebony fret boards, and Ernie Ball 'Cobalt'
strings, work very well together. Actually, one of the best
combinations I have ever worked with.
So, I
guess that will be it for this round. Next time we'll talk about
electric guitar necks.
So long
for now.
Remember,
it's all about the tone baby!!
Brett
McNaueal / Luthier
Brett's
Guitar Works / Trenton, Ontario / Canada