The setup is at the heart of any repair job. It may be the job itself or the end of another series of jobs but it is the central core of the guitar repair process. the philosophy is that the instrument is a tool to serve the musician and as such must be adjusted to suit the player’s style and sonic intentions.
To adjust an instrument to “factory spec” is to serve the instrument and force the player to come to it. Instead the instrument is asked to move to meet the player. This means the player need answer questions on playing style, tunings, and string gage and type.
Whenever possible, it is best to observe the musician playing. Many players are unaware of subtle things they may do that affect the outcome of a good setup. By knowing the client’s needs, one can better adjust the instrument to suit them. This is often a quick and simple process, perhaps just a brief quiz on preferences, but it serves as a reminder about the players needs when the instrument is on the bench.
The setup begins with how perfect the fretwork is. The fretboard must be flat along it’s length and properly radiused across its width. The frets must seat squarely on the fretboard with no gap between the board and fretwire. The frets must be leveled with each other and then crowned, so that the takeoff point for the string is dead center above the fret slot. The frets must be cleaned and polished, free of abrasion and wear.
The potential for a good setup decreases the farther away from this ideal we move. As such, the setup process can suggest other processes such as a level and dress of fretwire or a complete refret to attain the level of precision a player desires. Our standard setup starts with an evaluation of the fretwork and then a light truing of the fret tops, a fingerboard cleaning and a fret polish.
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If so equipped, the truss rod is tensioned to the amount of pressure required in opposition of string tension to establish a flat neck. That tension is dictated by the condition of the fretwork, the string gage and construction, pitches tuned to, and playing style. After restringing and tuning to pitch, the rod is adjusted for proper straightness or relief. The action height at the bridge and nut dictate in part how stiff or slinky the feel of the play is across the fretboard. String length compensations are required for accurate intonation up and down the neck.
The interaction between the truss rod settings, action height at the bridge and the nut, and string length compensations are all interactive interdependent adjustments that are made with each other in mind. The gestalt of those dimensions merged with the knowledge of the player’s dynamics provide the blueprint for an accurate custom tailored setup.