Let's talk necks, yontu?  The first question might be, "Why necks?"  If you play the guitar, and especially if you play it well, the neck is your most important part.  That's where you do your most difficult work, the part you need to study and practice more than any other.  First, let's get some misconceptions about necks out of the way.  The best neck is not always a thin, narrow neck - we'll call them skinny necks.  I've heard them called "speed necks," or "fast necks."  That's bullshit . . . unless you've got little hands.  If anything, a skinny neck can be a nuisance to someone who really plays fast and loose.  The same is true when considering thick and wide necks - or fat necks.  I've heard them called "baseball bat necks," and the like, but that just means fat.  If you've got big hands (long fingers), that might be your kind of neck.

I started making guitars partly because I found it difficult to find a neck that suited me.  I have big hands, but I don't have long fingers.  My fingers are fat and short and not at all conducive to making some chords on a guitar neck.  In fact, some chords are damn near impossible for me, and I have to improvise a lot.  The skinny neck will not work for me because the strings are so close together that I can't make chords without muting out some of them.  If I go to a wide neck, I can't make the stretch it takes to get some chords played properly.  I go for something in the middle . . . a medium neck that fairly wide but not too wide.  And I like my neck being fairly thin, just under medium in thickness.  I get along well with most necks on 12 fret, center wound headstock guitars like the Martin D-28S.

Which brings us to another misconception, that playing the 12 fret neck is a handicap.  My response to that is that it might be for some highly accomplished player, but it sure won't dampen the skills of a normal player.  A 12 fret neck offers an almost unlimited number of possibilities to start with, so why ask for more?  Besides, the length of the neck changes the size of the guitar body itself.  A 12 fret neck guitar usually has a body that's slightly longer than that of a 14 fret guitar . . . and its shouldlers are more rounded.  Some folks, like me, think that constitutes a better proportioned guitar, but some think it makes the instrument look stunted and too stocky.

And then there's the headstock, whether to go with the posted headstock or the center wound kind.  I like both but will freely admit that the posted headstock is more user friendly - meaning it's easier to string up.  Some argue the sound is better with a center wound headstock for the simple reason that the post is grounded at both ends, thereby giving in more support.  Makes sense, but I think the sound gained would be marginal.  If you've got a marginal ear, go for it. 

Another misconception about necks is that the dovetail method of joining it to the body is the best.  My thinking on that is that it all depends on what kind of guitar you're building and what you're looking for in sound.  My neck sets are pretty much all dovetail, but I've employed other sets with success.  The screw on or bolt on neck is fine on most guitars.  I think Taylor has sure proved that point.  Back some years ago, luthier David Young wrote a book about guitar building - one I go back and read from time to time.  His style back the was to just glue then neck straight to the body . . . or rather epoxy it.  His reasoning is that modern epoxy is good enough to hold it, and I think he's right in that assumption . . . if you get a good set.  I've only tried that method once, and the guitar neck is still on and functioning.

Myself, I like a firm set because I think it provides a more ringy sound.  Some builders call it a "hard set" versus a "loose set," which supposedly gives the guitar a mellow tone.  I call that a mushy tone and don't care for it, but I'm an old blue grass guy who appreciates the more ringy sound.   But I'm also a finger picker, so I like a guitar with a more mellow tone.  Trying to find one that give you a little of both is a chore.  If you actually come up with something in the middle, then you've more than likely displeased the ringy tone bunch and the mellow sound group.  I must be easy to please because I like the down the middle sound quite well.

I've spent a lot of time watching professionals play guitars, and some of them are apparently dumbasses when it comes to appreciation of a fine instrument.  In fact, I find that many professional guitarists aren't really all that knowledeable about guitars. All they know is what they want, not what's possible with the instrument.  Like with all things, the guitar has its limits, and some people don't seem to know that.  I'm talking about acoustic guitars, of course.  When you go electric, you alter many things, but I don't want to get into that argument.  It's like arguing whether or not there's really a God - nobody wins.  Besides, I can't argue the point (as to whether the electric guitar offers more than the acoustic) because I don't know enough about electrics.  I know about the guitar itself, it's the pickups and all that confuse the crap out of me.  

I'll address one last misconception about necks, then let go of this discussion for a while.  People seem to think that a neck can be set up for comfort in fretting and playing and still retain all the sound its supposed to have.  What I means is that some people insist on having the strings low, close to the fretboard and therefore the frets themselves.  And they want to play with ultra light steel strings that won't hurt their fingers.  I used to put up with these people, but not these days.  In fact, I don't do neck resets at all anymore, and I sure as hell won't lower strings for them unless they're way out of bounds.  My opinion is that when you give up string size, like going from medium to ultra lights, you give up sound . . . maybe not a lot, but some.  And you're going to get buzzing from time to time if you lower strings too much.  Humidity changes things with a guitar, and the lower the strings, the greater the chance of tempting Mother Nature to cause buzzing.  I try to encourage people to learn to play a guitar with a fairly normal set-up - medium strings, medium height off the frets, medium neck, etc.  

Here's a term I detest - tweeking.  What the hell is that?  Must be techie talk for electric enthusiasts.  I don't tweek anything . . . well, at least nothing you can find on a guitar.  I thought Tweek was a charater on South Park.   But I understand that it means fine adjustment.  Well, I might do some of that because some instruments just won't let you have it (sound) in moderation.  Like with people, they all seem to develop personalities, and sometimes you develop a clash with one that's not going to work out.  It's an instrument, so you can't hurt its feelings.  Get rid of it and find one you can get along with.  That way you won't have to tweek it.  And . . . I also suggest to players now and then that they need to quit being a wimp and a pansy-ass.  Having sore hands is part of the process of learning to play.  Get used to it and don't blame it on the guitar.  Do what adjustments are necessary, then play the damn thing.

Yeah, I'm an old fart grouch . . . but when it comes to guitars, I'm right most of the time.


D. Paz,  10/14/07