Instrumentally Sound

Understanding “Set Ups”

Since the set up is probably the most common procedure in lutherie, I thought I would take a minute to describe the adjustments involved.  Think of a set up as the musical instrument’s equivalent to a tune up for your car.  A properly set up instrument will play easier and sound better.  Even most new guitars require adjustment for optimal performance.  As an older instrument ages or the wood of a newer instrument “settles in”, many changes take place, especially in the dry climate of Colorado.

The primary function of a set up is to adjust the “action”.  This refers to the height of the strings off of the fingerboard and affects the general feel of how the instrument plays.  Many repairmen set all instruments up to the same pre-determined measurements without regard to style of music, skill level of the player, gauge of string being used or characteristics of the instrument itself.  I believe a better result is achieved when a set up is customized to the player, taking into account all of these variables.  A jazz player needs a different set up than a rock and roll play.  A professional player needs a different set up than an 8 year old beginner.  A nylon string guitar used to play classical guitar requires a different set up than if it is to be used to perform flamenco music.  You get the idea.  By asking the customer about these variables, a much more accurate set up is the result.

The optimum action is achieve through a combination of adjustments of the neck.  For most instruments, this is achieved with a truss rod adjustment.  The truss rod is a steel rod running through the length of the neck that allows adjustment of the amount of relief or bow to the neck.  Most classical instruments and some older steel string instruments have no truss rod.  In these cases, more involved techniques are use to achieve the correct amount of relief.  The trick is to find the “sweet spot”.  Too little relief and the strings will buzz on the frets, especially in the lower register.  Too much relief and the instrument will be difficult to play.

A second adjustment is made to the nut, the piece of material, usually made of bone, by the headstock that spaces the strings out.  If the string slots are too high, playing open chords will be difficult and intonation will be compromised.  If they are cut too low, the strings will buzz when played open.

The third adjustment is made at the bridge where the strings are attached to the body.  The saddle height is adjusted to best achieve the desired results.  Again, we are seeking a delicate balance between playability and sound production.  If the saddle is too low, the sound will suffer with fret buzz and low output.  If the saddle is too high, it will be difficult to play.  A subtle combination of these three inter related adjustments will bring the desired result.