Musicians either hate them or worship them. They can be just
a block of wood and a bunch of wires if you don't take care.
I must warn you. To set up your Tele yourself (You should!)
you need to be a bit of a guitar technician. Learn, ok. Also
be stubborn and stay with it. You may adjust things
many times. Get tech help from your service people where you
bought the guitar if you bought it new. Or just go to a
Fender dealer's tech. Have them look it over and give you
advice and reccomendations.
I have never really had a guitar tech set up a guitar
exactly how I need it on the first try. Not even myself. :o)
Note: These settings below are minimum specifications that
are meant as a guide; they should not to be construed as
hard and fast rules.
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
oxidised, 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, for the best tuning
stability we
recommend using Fender strings, which are designed to provide
superior
performance. 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.
BRIDGE
Telecasters can have two distinctive types of bridges. The
most well-known
type is the vintage-style three-section bridge. The other is
the modern-day
six-section bridge, such as the American Standard Telecaster
bridge. Check your
tuning before proceeding with intonation.
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.
For a vintage three-section bridge, a series of adjustments
must be made to
compensate for the lack of individual string intonation.
Adjust the first bridge
saddle to the scale length, measuring from the inside of the
nut to the center
of the bridge saddle.
Now adjust the distance of the second saddle back from the
first saddle, using the combination of the gauges of the
second and third strings as a measurement. For example,
if the second string is
.011" (0.3 mm) and the third is .013" (0.35 mm), you would
move the
second saddle back .024" (0.65 mm) from the first saddle. Move
the third
saddle back from the second saddle, using the gauge of the
fifth and sixth
strings as a measurement.
For the six-section bridge, you will make adjustments for
each individual
string. Adjust the first-string bridge saddle to the 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 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 for
all playing techniques.
One of the best ways to reduce string breakage is to lubricate
the string/saddle
contact pointwith 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. 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 frets 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.
9.5" to 12"
15" to 17"
.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.
9.5" to 12"
15" to 17"
4/64" (1.6 mm)
4/64" (1.6 mm)
4/64" (1.6 mm)
3/64" (1.2 mm)
..>..>
SHIMMING/MICRO-TILT ADJUSTMENT
Shimming is a procedure used to adjust the
pitch of the neck in relation to
the body. A shim is placed in the neck pocket,
underneath the butt end of the
neck. 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". Retighten 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.
Note:
If you have a three-section-style
bridge, compensate between the
strings to minimize the percentage
that any one string that may be
sharp or flat. Listen for an aurally
pleasing intonation.
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, 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.