Neck relief

Boneless

Boneless

Jan 2, 2007
891
1,053
6,176
Monopoli (Bari), Italy
#1
So, basically all manufacturers recommend a neck relief between 0.3mm and 0.35mm (measured at the 8th fret when depressing strings at first and last fret). I never set my basses this way, it's always considerably higher. Like 0.45mm. 0.4mm on my "flattest" neck. I know they are just general recommendations, but I'm wondering whether I'm doing something wrong. If I follow manufacturer recommendations, I get fret buzz way to soon, especially with a pick (my way to set up basses is so as to get some fret buzz when hitting the string hard, and with flats, as little fret buzz as I can). Fingerstyle, I can play with a flatter neck. I know Jerzy Drozd actually recommends much higher reliefs, but still.
 
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#2
I think it's different for each bass and for each player. I adjust it to where it feels good to me and only measure to keep a mental note.
How hard or softly we play figures into it. I know I tend to get more buzz with a pick.
Set to where it feels "right" to you and take the manufacturer recs as a suggestion.
 
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#6
I normally adjust by feel (fret at 1st and last, check for string travel at 12th), but I usually go for a low action and relief - on anything except classical guitar, which by design has got high action but zero relief.
Rickenbacker seems to recommend lower relief than most. Their dual truss rod system could take care of tiny neck twists, so you don't risk a tiny backbow on one side if you get zero relief on the other one. It needs a higher nut to function, though.
 
#9
I mostly agree, in the sense that I'm never happy with setups done by guitar techs or luthiers and I always tinker with them myself. But what I learned to do over the span of 20 years may well be inefficient, and I might get a playable setup with more comfortable action? Not that I complain, my action is fine for me and I feel that lower actions don't sound as "tight" (probably psychological), but still.
 
#10
Most manufacturers use a 'factory' spec for setup trying to appeal to the broadest range of players to feel more or less 'right' hanging in the store (!).

Some guys can play with enough room under the strings to pass a cigarette under the strings, some guys want it down to THERE, and everything in between. In other words, it's subjective to what feels right for YOU, so whatever feels right is the right answer for you.

BUT: Be sure you do setup in this order only:

Relief
Action (i.e., height unfretted over last fret)
Intonation (the string length at the bridge saddles, closer/further to the neck to play in tune)
Pickup clearance
Any other random problems (nut slot, fret problems, whatever)

And doing this routine with new strings is helpful (and actually vital to set intonation, played-out strings will LIE like a rug to your tuner).

And these operations interact with each other. Big relief changes without double checking action changes may be a problem. Setting intonation with worn strings can introduce tuning problems. 'Spaghetti' string installation on the keys is a mistake. And on and on. These things all interact to be the total of your setup, how it feels and plays.
 
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#12
J Wilson said:
Most manufacturers use a 'factory' spec for setup trying to appeal to the broadest range of players to feel more or less 'right' hanging in the store (!).

Some guys can play with enough room under the strings to pass a cigarette under the strings, some guys want it down to THERE, and everything in between. In other words, it's subjective to what feels right for YOU, so whatever feels right is the right answer for you.

BUT: Be sure you do setup in this order only:

Relief
Action (i.e., height unfretted over last fret)
Intonation (the string length at the bridge saddles, closer/further to the neck to play in tune)
Pickup clearance
Any other random problems (nut slot, fret problems, whatever)

And doing this routing with new strings is helpful (and actually vital to set intonation, played-out strings will LIE like a rug to your tuner).

And these operations interact with each other. Big relief changes without double checking action changes may be a problem. Setting intonation with worn strings can introduce tuning problems. 'Spaghetti' string installation on the keys is a mistake. And on and on. These things all interact to be the total of your setup, how it feels and plays.
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This is good advice. I’ll add that because the settings interact with each other, it’s good to experiment a bit (more or less relief, lower or higher saddles). For me, the key to a good setup is to find the best combination of neck relief and saddle height, and finding it is an iterative process.

Also, the intonation (horizontal position of the saddles) can influence how low can set the saddle height: if you move the saddle forward, you can lower the saddle a bit, if you move the saddle back, your may have to raise it a bit. It’s subtle, but noticeable. Because of this, I revisit the saddle height after I make significant changes to the intonation, and then set the intonation again.
 
#15
Boneless said:
So, basically all manufacturers recommend a neck relief between 0.3mm and 0.35mm (measured at the 8th fret when depressing strings at first and last fret). I never set my basses this way, it's always considerably higher. Like 0.45mm. 0.4mm on my "flattest" neck. I know they are just general recommendations, but I'm wondering whether I'm doing something wrong. If I follow manufacturer recommendations, I get fret buzz way to soon, especially with a pick (my way to set up basses is so as to get some fret buzz when hitting the string hard, and with flats, as little fret buzz as I can). Fingerstyle, I can play with a flatter neck. I know Jerzy Drozd actually recommends much higher reliefs, but still.
Click to expand...
String tension is a major factor, as I'm sure others have said. And different gauges and tunings affect tension, so unless you're using the same gauge strings as the manufacturer fits at the factory, their numbers are meaningless.

I use a technique I learned while working in London's Charing Cross Road back in the early 80s. With right hand index finger, hold down the lowest (thickest) string around the 15th-18th fret. With the left hand index finger, hold the same string down around the 2nd-4th fret, then tap the string with your pinky finger. The string forms a perfect straight edge, and tapping it reveals the amount of gap between the string and the fret. Moving the left hand up and down the scale, and from string to string, you can map out the precise curve of the fingerboard. Don't forget, you need more relief on the bass side than the treble, so you might need to grind or file the frets...
 
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#16
well, the harder you're picking (and the more flexible the strings), the higher action you'll need, both on neck relief and bridge height. it's normal.

I usually set my neck almost straight and then add some relief to balance the first and sixth/seventh fret, I also double-check with an open string.

if you think, you have too much relief, try playing on last frets and see if you have buzz there. if not -- you're good. if yes -- you can raise the saddles and reduce the neck relief a bit, this will give you the same action, but more even across the neck.
 
#17
Setups are such a personal thing. I prefer barely any relief at all, and string height around 5/64ths on 15th fret E & A and 4/64th on D & G. Roughly just at or under 2mm on the 12th fret from top of fret to bottom of the E string, or when pressing the first fret around 1.5mm.

I usually start there and adjust as needed. The main objective being as low as possible without any fret buzz except when really digging in.
 
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