Fender USA Telecaster set up - came in with the lowest playing action on the planet скачать в хорошем качестве

Fender USA Telecaster set up - came in with the lowest playing action on the planet

Malcolm's USA Fender Tele was a familiar Corona-made product; great looking and sounding with some annoyances built-in, such as the 'USA / MIM over-sprayed frets' and strings that have settled into a wonky 'default' spread on the brass bridge saddles. What this was slightly unusual for was that it was set to (and being played at) the lowest overall playing action I've ever seen on a guitar coming into the workshop. This was 0.75mm across all strings at the last fret. That's around HALF the height I recommend (and call 'very low' on my set ups)! Did it play... well... yes, if you want a dead flat not very resonant ultra-low action for power chords and you're prepared to avoid bending the high E string and can live with a ton of 'fret slap' on the wound strings. So in this video I start out by keeping that action and seeing whether I can make the guitar play with clean notes, little or no fret slap and all high E bends up the neck playing without choking out. Well, the answer is that I couldn't. And this is no surprise - quite simply because there's a reason that I settled at 1.5mm low E last fret across to 1.25mm high E last fret as the lowest practical action (in conjunction with precision fret levelling). It's because after 3k set ups, that setting reflects reality; namely what works and what doesn't. There are occasionally guitars that let you go to just over 1mm low E last fret and about the same on the high E; these are rare and often feature the letters 'SG' in the guitar's name but certain guitars like Suhrs can be there too. But that's about the limit. So in the end I backed off to 1.5mm low E, 1.25mm high E (as expected) to cut out all the fret slap and to give Malcolm back the high E bends with no choke out. The thumbnail refers to the peculiarity of this kind of saddle - and its susceptibility of an owner ending up - by accident - with a wonky spread of strings as they settle in their 'preferred' positions and carve themselves slight grooves to sit in. In reality this 'resting face' presented by the strings was extremely uneven; so I re-positioned them and although I was loathe to notch the saddles I scored a fine line either side of the strings in their correct spacings so that Malcolm (later) and I (now) could find the correct positions easily on restringing.