Guitar Necks-what you didn't know.

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

Ask the Guitar Guy: Let's Talk Pickups!

Ask the Guitar Guy: Let's Talk Pickups!: Let's Talk Pickups. I spoke a bit about pickups in a previous blog, but barely scratched the surface on this incredible 'v...

Let's Talk Pickups!

Let's Talk Pickups.

I spoke a bit about pickups in a previous blog, but barely scratched the surface on this incredible 'vast' subject.

I always admired Fender for their pickups. The original ceramic magnet single coils used to have a sound that was very unique, and because they eventually aged and lost their tone due to the magnets 'fading', I have to say, they still actually gained a tone unlike any other.

Single coil is basically where it all started. Jazz and blues players in the late 40's and early fifties could not be heard over the orchestra, so they incorporated the use of a single coil pickup mounted as close to the neck and fretboard as possible. This gave them the real tone and sound they were looking for and still didn't compromise the dynamics of the orchestra. Though, by today's standards these pickups would have been flat, thin and all mid range, they didn't feed back like the live microphones did, and were a great solution at the time.

Leo Fender dabbled with different pickup configurations until he came up with the ceramic single coil that was used on Fender's lap steel guitars in the day. These were a full rounded single coil, that provided a nice bottom end as well as some mid characteristics, and a superb top end, unlike anything else on the market. Leo was so successful with his lap steel guitars, he basically redesigned them to become the first Telecaster guitar, though it wasn't called that then. It actually went from the Lap Steel, to the Broadcaster, to the Esquire and finally the Telecaster. Most important of all, Leo continued to use his patented Fender pickup in all of these models.

The country crowd raved about the Esquire. One pickup, with a three position tone selector. Basically a three way switch utilizing a different capacitor in each position.

Fender sold a lot of these guitars. There are still a few of them out there, but for some reason, nobody wants to part with them.

The Telecaster was a hybrid Esquire that incorporated a lipstick style DeArmond neck pickup. This made the blues and jazz players happy because they were able to get away from the twang of the Telecaster. The neck pickup just seemed to make all the difference in the world. Again, many were sold. In fact, there were a few years that demand, far outweighed supply. The Fullerton plant was not equipped for the volume of guitars ordered at that time, and one might wait a year or two before you saw your guitar.

The original Telecasters incorporated the same three way switching as the Esquire, but Fender had different switching options than what is standard on the current model Telecasters.

The Stratocaster was a completely different style of guitar than the Telecaster at the time. Originally three pickups, (single coil ceramic) the rear, or bridge pickup staggered slightly to cover all tonal variance coming off the bridge. This was a feature that Fender would again patent, based off of the success of the original lap steels, Esquires and Telecasters designs.

The Stratocaster originally featured only a three way switch, only allowing the pickups to be selected individually. There was no blending of the pickups back then. Fender later changed this to a 5 way selector. This allowed for two pickups to be selected at the same time, though never allowed all of them to be selected at one time. Still, to this day, that is not an option at Fender. I am not sure why, as I personally believe that would be a great option. In the past several years, Fender has started to use 'noiseless' pickups. These are a great bang for the buck. They incorporate a second winding in reverse polarity, still using the same magnet and poles. This 'stacked' single coil also features an Alnico 5 magnet, different pole configuration and height, and slightly smaller frame than the original pickups. This allows for more winding, therefore more tone and a fatter sound, and all of this relatively noise free.

Let's move along to Humbuckers

When you think of this design, you would automatically think of Gibson right? Well, it's true that Gibson does use this style of pickup. They even came up with the name 'Humbucker'. Still, they were not first to use these pickups. Truth be known, like the original design of the Les Paul, this wasn't Gibson. It was Gretsch. At the Gretsch company, they were dabbling with a solid body guitar which used a two coil 'Dyna-sonic' pickup a few years before Gibson came out with the first Les Paul. Gretsch called these guitars the 'Jet' and the 'Corvette'.

The original Dyna-sonic pickup came in a choice of two, single, and twin coil. The original Gretsch designed twin coil was basically two single coils placed side by side and tied together in the pickup cavity.

What Gibson did that was different, was that they tied together the two separate single coils on the same frame, alternating their respective magnets from north-south to south-north, and wound each single coil separately.

There was a lot of 60 cycle hum prevalent in the day from things like lighting ballasts, transformers, toasters, irons, frying pans. Anything that featured a heating element. This factored in with the fact that most facilities were still using knob and tube wiring, where phase reversal was a common occurrence, and there were no grounds on amplified equipment.

So Gibson created their own spin on a pickup that would virtually eliminate this amplified noise. They called it the Patent Applied For, or PAF pickup. Not sure if they ever did get that patent finally.

Nonetheless, this pickup put Gibson on the map.

The first PAF pickups were used by wrapping enamelled wire around 4-6 poles on a magnet, then tied two wrap wires together. One to the switch, the other to ground. Problem was that in the day, Gibson, and Fender found it difficult to properly coat the wrap wire with varnish so as to isolate the wraps. Eventually, they would break down, and this, coupled with the use of ceramic magnets and the fact they would lose their magnetism, would completely change the sound of the instrument in time.

This was either a plus, or a minus, depending on what the instrument was used for. Some would claim these pickups are still desirable, though I am not sure as to why.

Today, the single coils and the PAF's are still in use, though the technology to build them has changed drastically.

The Fender, Gibson, and Gretsch original designed pickups are still being installed in their respective instruments, but they are a better all round pickup. The magnets will take many years to fade, due to the fact they are Alnico 3's and 5's. Man made magnets, far superior to the original rare earth, or ceramic pickups.

Still, one would argue, there is nothing like the sound of a 54 Telecaster or a 56 Gibson Les Paul.

Everybody has a different ear, and everybody is entitled to their own respective opinion about this.

Personally speaking....I am glad we live in the age we do. Technology is a remarkable thing.

More, next time on pickups. We'll discuss Seymour Duncan, DiMarzio, Lace, Fender, Gibson, and much more. We'll also talk about EMG and their 'active' line of pre-amplified pickups.

Until then. Play your best...and be your best!!

Brett McNaueal

Electric Guitar Modifications, are you into it?

I have been away from my blog for a bit. Busy with the Christmas season and a few other things. Still, good to be back.

Today, I would like to talk a bit about modifying electric guitars.

First off, let me just say I have a deep respect for all of the current guitar manufacturers. They wouldn't be around today if they weren't trying to do something different, or stray from the norm. That being said, the Fenders and the Gibson's are still great instruments in their own right, and nothing is built today, the way it was built originally. Some are better......most are worse.

The basic design of a Fender Strat or Tele, if merged with a Gibson Les Paul might be something marketable. Precisely! That is why there are so many companies out there trying to do just that. Maintain some, or all of the characteristics of the mainstream guitars, but adding things to make them even better. Kind of like adding just the right spice to an already great dish. Kind of just makes it come alive!

That's what I do. That is my passion and I believe has given me the reputation I have secured.

Still, as a builder myself, it's important to listen to the needs of those wanting the mod in the first place, then weighing that, along with my years of experience into something that looks, feels, and sounds amazing.

My guitars may look like guitars that have been around a long time, but they definitely don't play, feel, or sound like the others. Hence the name 'Prodigy'. I wanted to seek out a name for my guitars that would indicate exactly what they are. Some of my guitars may look like Fenders, they do not play, feel, nor sound like Fenders. Some may look like others....again their dynamics,and what makes them what they are, were totally different. The best woods, the best necks and electronics. Right down to the type of fret wire I install, unlike any other. Prodigy means 'something truly remarkable'.....and I believe they are. All are individual and unique. All are Prodigies!!

So let's talk about you. What sound, feel, are you looking for? What would you like to see changed on your guitar to make it truly a personal instrument?

Here are the four most important mods you can make to see that you reach your goals.

1. Bridges

Stock may be okay, but look at something truly functional, ergonomic and appealing.

Here are just a few names to look at when you are considering a bridge mod.

Wilkinson, Gotoh, Leo Quan's Badass, Khaler, Schaller, Manmade, or Joe Barden, just to name a few. Some are great, some are better. Usually the price dictates the better. That is simply because of their options, and the time it took to build them. Most high end bridges and components are hand made.

2. Machines (tuning machines)

One of the most important items on any guitar are the machine heads. Again, you get what you pay for. Schaller, Sperzel, Gotoh, Wilkinson, Grover, Waverly are the top of the line, though Ping and Planet Waves make a good tuner as well. Personally for me, I prefer Gotoh and Schaller. The technology is better, and they truly stand behind their product.

3. Pickups and Electronics

Many are chosen.....few deliver, or stand up to their reputation.

DiMarzio, Seymour Duncan, EMG, Joe Barden, TV Jones, Lace brothers, as well as Fender and Gibson are all great manufacturers in their own right, but some of their products are simply better than others. That is when your ear kicks in. Try, before you buy. One might say...how do I do that, when I can't install them and then bring them back, if I don't like the way they sound. That is true, however, I bet you that any reputable retailer will always return you your money, as long as you're just exchanging them for something similar. Just don't cut the leads back unless you are certain they are right for you.

4. Frets

You might think they are all the same. Not true!!

The right fret, made up of the right fret material, can make a huge difference in the tone of your instrument. Too hard, not good, too soft, not good either.

Frets are made up largely of nickel alloy. It is the alloys that give the fret material the proper hardness and strength. Too soft would dull the sound, and would wear out prematurely. This also wears the strings out before their time, as they would develop a fret memory.

There is nothing wrong with changing out your frets to a larger / smaller size if preferred. What you need to maintain is fretboard and fret radius. As long as that is maintained, the rest doesn't matter. A nut can be modified to suit the fret height, as can the neck, and / or the bridge saddles.

As you can see, there are lots of options here for your modification project. Keep a budget in mind, and also remember your personal mod may not be exactly what someone else wants, or likes. So you may find it harder to re-sell the instrument.

Also, hundreds of dollars of modification, may not necessarily be re-couped should one decide to sell the instrument at a later date. Like I mentioned earlier....mods are a personal thing.

Now, all this being said, if you are uncertain about performing any mod yourself, take it to someone who has the know how, and experience to get the job done properly.

Most accessory manufacturers will only extend their warrantee when the mod was performed by someone who retains the above credentials. You might pay a bit more for this, but believe me it's worth it to have that peace of mind. I would even encourage those who want to learn to come in and watch me do the work. Heaven knows we could use a new generation of luthiers and guitar gurus. Us old guys are growing weary.

That's all for now folks. Hope you all have great 2014. God Bless!!