One question I am often asked by customers is, “I hear from music shops and other repair stores that it is better to adjust a forward or slightly forward warp.” What do you think?
First of all, you should know that “it is dangerous to get information from only one person” as a way to confirm the correct information in the world.
The same thing can be said about my communications, so there is no problem if you look at me with an attitude of skepticism.
I can clearly say that it is important to obtain information, but after inputting the information, be sure to check it (e.g., by trying it out on your own instrument) and actually try it out to confirm it.
Most people don’t have the knowledge because they don’t output the information, and they are easily deceived by the information that comes out.
If you have reached the stage of “I don’t know if it’s true or not” after getting information, the rest is easy, just try it out yourself. It’s that simple.
You continue to be deceived because you have not done such a simple thing.
One of the characteristics of people who provide information on musical instruments is that they often use a dualistic view of right and wrong, saying that “this is right and the other is wrong,” and that “to loosen or not to loosen strings? For example, when it comes to “whether to loosen or not to loosen strings,” they are always saying “don’t loosen the strings,” disregarding all such conditions, despite the fact that it is a task that must be done after checking the condition of the instrument and adjusting it to the actual condition.
As proof, those who say it is fine to leave the strings on cannot give a concrete reason why.
For example, what if the neck is soft and easily warped, or the truss rod is already at its limit? I have never seen anyone other than myself explain in such detail how to store each individual instrument according to its condition.
It is easier to understand if you emphasize only one point and describe it simply as “right and wrong.” To put it clearly, most of the customers are ignorant and gullible, and most of them believe what famous people say just because they say so. This is the consumer’s fault.
First of all, please be aware that the consumer and customer side is at fault.
It’s simple. Try setting up the neck warp in the forward warp state.
If you like it, it’s OK, if not, it’s not.
It’s that simple.
Why are you deciding? I say, “Why are you deciding?
It’s just a matter of taste! is the correct answer.
The reason why many places use this kind of expression is because it is easier for customers to understand, easier for them to be brainwashed, and easier for them to do business with you if you cut out one point and make it look like you are doing it justice.
The logic of those who say that forward bending is better is correct: “Forward bending is better for taking up space for string vibration, considering the range of amplitude of string vibration.
This is correct, but the question “Is this an answer that applies to all guitar bass players?” is completely missing. is completely missing.
Of course, there are those who prefer a very low string height.
Some people may have a weak right hand and the range of string amplitude generated by plucking the strings may be narrow.
This approach completely removes these people from the equation.
Of course, there will be those who prefer forward warp (high string height).
So what is the correct state? It is simple.
The correct answer is to adjust the strings to the person’s preferred state of adjustment. Simple, isn’t it?
The correct adjustment is decided by the player.
If you are not sure, pay money to various stores to experience various adjustment states.
Of course, you need “money” to learn. There are other ways to gain knowledge and try it yourself, but it is faster to pay an expert to do it for you.
In the end, it is all about experience, and each person has their own sense of what is a good state, so you have to find the state that you think is good.
Don’t be passive, and don’t simply ask on the Internet. Check with your own instrument.
Even a slight warp of the neck can make a big difference in playing comfort, and even if it feels good, the sound can be subtle, so you need to know what you like about the balance between playing comfort and sound quality.
If you do not know the standards in this area, you will continue to be deceived by information on the Internet, which emphasizes only some aspects.
If you really want to introduce the correct knowledge, you will have to read a long and complicated article like mine, which will introduce various factors, and you will need knowledge to understand it.
People are creatures that want to be lazy, and the sellers are trying to take advantage of this human psychology.
Is the setup good or bad in the forward warped state? Please try and play it by yourself to confirm whether it is good or bad.
If the strings are bowed forward, the string height will be higher and it will be more difficult to play.
It depends on each person whether it is difficult to play or not, and the degree of warp cannot be expressed in words.
If the neck is straight, the parallelism between the strings and frets will be almost the same all over, so it will feel easy to play no matter where you press the strings.
However, considering the amplitude of the strings, the strings will not fully sound. Many players may wonder if it is necessary to make such adjustments on electric guitars.
I can understand if it is an acoustic guitar, but is it really that important for those who prioritize playability over sound, or for those who want to distort the sound or play fast? The criteria for this differ greatly from one player to another.
In conclusion, players’ answers must be very different when they actually touch it, so it is absolutely impossible for one form of adjustment to be correct.
Those who say so are just position talk, trying to make themselves look good.
If you think about it for a moment, you will see that it is just as I explained above, which is crazy.
Knowledge is always necessary.
At the same time, you need to check and learn for yourself.
To get the right information, not to be deceived.
If you say “cosmetics,” “cosmetics,” and “typa,” you will only become a fool.
The more people who do so, the better for business, so please learn not to be taken advantage of.
You have probably seen the effect of the sound quality change using the Kurumira processed Marinco power plugs on Youtube and on our blog.
This time – a review of its use in audio.
We will use Neutrik stereo plugs with Kurumira processing to create the Mogami 3106 and replace the cables with PC audio cables.
The speaker of the workshop used is Eclipse TD-M1.
First of all, the 3106 is used, but the original cable is a cord company SERSEN + Furutech CF-735SM-N1 cable.
After replacing the cable, it is clear that the overall sound is better than before.
The price of the cable itself is inexpensive, except for the Kurumira processing, and the cost of the parts alone is about 2,000 yen for 3 meters.
The plug made by Cord Company and Furutech costs about 15,000 yen for 2m.
Cables with Kurumira processing simply change the sound quality of high and low frequencies to a grating sound.
I think it is easier to understand how the molecular arrangement of sound improves the sound quality in audio than in musical instruments.
I feel that the sound quality of the left-right difference can be improved.
There is also a terminal to connect a speaker with a plug from one side of the TD-M1 to the other, and when I replaced it with a Neutrik plug that has been treated with Kurumira, the left-right difference in sound quality seemed to have decreased.
I think the sound is different because the foundation on which the speakers are mounted is different, but I still felt that the side to which the speakers are connected (the side without the preamplifier) sounded weaker, but this feeling has disappeared (or more precisely, the difference has become smaller).
The range of the high and low frequency range is clearly different.
The high frequency range is extended well (the sound is not flat), and the high frequency range is not painful to the ear.
The low frequency range is not too strong (soft), and the sound is not boomy but pleasant.
TD-M1 is said to have “no low frequency,” but it may be because the original low frequency is clear, not because it does not have low frequency.
Compared to other speakers, there is no distortion in the sound from the original and the bass is clear, so there is less clutter, which is why people who are used to distorted sound usually hear the bass as sharpened.
If you are used to distorted sound, you may hear the bass sound reduced.
I don’t feel that using multiple Kurumilla-processed power plugs has much of an effect. I don’t feel that using more than one Kurumira-processed power plug is very effective.
I thought 2 or 3 plugs were enough.
I wrote about the details of my previous experiments with modified power outlets in my blog, but since they are silver-plated, I had the impression that using too many of them would increase the silver-plating effect and change the sound (for better or worse), apart from the effect of the Kurumira processing, so it would not be good to connect too many of them.
This time, I did not feel that the sound became worse due to too much connection, partly because it is non-plating, and I think that if you connect too much, you will not feel the effect from a certain degree.
The effect on the PC itself is still the same (same as the previous review), and I think the Kurumira plug has a large effect on the side that plays the music.
This is similar to what was shown on “Tiger of 2025.
On May 1, there was a segment on selling speakers on “Tiger of 2025,” and it was quite informative.
I think that improving the sound through the structure of the speaker will have a similar effect to the Kurumilla effect.
Speakers also require a lot of research to make a good sounding body, and a lot of time and effort is put into making a really good speaker.
The Kurumilla plugs that have been processed to produce the sound of a speaker with a good sound are a great effect because they give the same effect as a single part.
In the case of speakers, the waveform of the sound itself is adjusted and made richer by the parts and internal structure, but in the case of Kurumilla, the electron grains are adjusted and the sound is made richer, so I thought the sound that came out was similar to the effect in a different form.
I need to listen to the speakers introduced in the video myself to be precise, but I learned a lot from the video, which was similar to my impression from my own experimentation.
At the end of the day
From these experiments, I thought it would be easier to understand the changes in audio than in musical instruments.
As with musical instruments, the sound of audio equipment is a matter of taste, but in the case of audio equipment, I could not find any obvious defects, so if the purpose is to improve the original sound, the use of Kurumira processed parts will certainly improve the sound.
Next, since the Mogami 2497 cable itself has been ordered with Kurumira processing, the use of a Kurumira-processed plug + Kurumira-processed cable will improve the sound even more.
However, in the case of the cable, it is not possible to adsorb Kurumira processing inside (in the already completed state), so I am not sure if adding Kurumira processing to the outer surface of the cable will have any effect. I am not sure until I receive the cable, but they are going to try it as an experiment first, so I will try it as soon as I receive it and post a review again, so please look forward to it.
Will sound quality improve if Kurumira processed parts are incorporated? This is the power plug version of the experiment.
I think you may have noticed that the experimental video of the modified outlet on Youtube actually gives a big change to the sound, but this time, instead of connecting a new device, Kurumira processing is performed on the parts that are currently attached, giving a change to the sound quality.
I will perform Kurumira processing on my standard power plug “Marinco 8215” and compare the sound before and after processing.
You can also compare it with a modified outlet.
The equipment actually used will be divided into clean and distorted, and the sound will be compared by replacing the power plugs at three locations: the power transformer, the self-made power supply, and the amplifier itself.
Amplifier side replacement
Compared to the modified outlet…Marinco is non-plated, and the sound quality is very different compared to the sound quality change when the modified outlet is connected. I think that the fact that the modified outlet is silver plated has an influence, but it changes to the sound that is clear and the miscellaneous taste is reduced greatly, but in the case of Marinco, the clear feeling and the miscellaneous taste were reduced without changing the tone greatly.
However, in the case of Marinco, it did not change the tone significantly, but reduced the clarity and the tininess.
Some people may say that the modified outlet has a better sound because sound is just a matter of taste. If you want to make the sound different, you can use a modified outlet.
What happens if the number of units is changed? The second place also changes the sound better as well because the sound of Marinco changes well-balanced on average as described above, so the change of each piece seems small.
I think the modified outlet tended to become too clear from the second outlet, but in the case of Marinco, such a dramatic change does not occur even with two outlets.
However, when three outlets are used, the sound quality will have both good and bad parts, even in the case of the Marinko.
Too much clean sound is not a good tendency.
As with the clean, just adding one unit does not make a big difference, but it is well-balanced.
The sound tends to be dry and each note becomes more powerful, so the sound separation of each string improves.
Even when playing chords, the separation is good and the sound is easy to see.
Even if you change the plugs at two different places, the trend remains the same. It has a good balance between the two, but depending on the PU position, there are some good points and some bad points.
This is not only due to the Kurmilla effect, but also due to the characteristics of the guitar and the PU attached to it.
I feel that the third part is like a borderline state where the good and bad parts change and the sound changes from the second one.
I think that the power plugs tend to give too much effect to the sound with less equipment, so you need to adjust the number of plugs to your liking and the Kurumilla effect may vary depending on the equipment.
When adding 2497 using a Kurumira plug (FP-703 made by Furutech), I found another effect (the bandwidth that changes between the cable and the power supply is different) when used at the same time with the power plug because this one adds a sense of clarity and tonality as if the sound were compressor-loaded.
As a result, the sound itself is changed, but I have the impression that the strong effect is different between the cable and the power plug.
The reformed outlet changes so strongly that it was difficult to see the difference, but the cable has a strong effect of changing the sound itself, and the power plug has an effect of improving the overall sound with good balance, although the change sounds subdued, perhaps because it is non-plated.
The reformed outlet may have a change by destroying the balance of the sound, and the sound changes very safely with the MARINKO plug processed by Kurumira.
Because FP-703 processed Kurumira is positioned like a weak version of the reformed outlet as a tendency, I thought that it would be more effective to increase use of FP-703 processed Kurumira rather than to change the power supply plug to the thing processed Kurumira more than one if I want to give the effect that the sound changes with a gusto like the reformed outlet. I thought it would be more effective than changing multiple Kurumira-processed power supply plugs.
This is very powerful.
I wrote the review article of the modified outlet when I used it for audio before in the blog, but the effect that the Marinko plug processed by Kurumira changes the sound well balanced comes alive strongly in the audio use.
The point that the effect changes greatly by the place where the modified outlet is attached in the audio side, and the good and bad parts are quite conspicuous impression, but it does not occur in the Marinko plug.
Simply by attaching it, the separation of each instrument improves, and both high and low frequency range change to a good cohesion without losing balance.
The sound also comes out dry and cloudless, and the expression of the sound becomes easy to see, and I think that I can say that all the elements have become a passable result in the audio aspect.
In terms of sound, the “sense of balance” is a very important element in making changes to the sound, and it is more easily understood in the sound.
The change of “somewhere better, somewhere worse” is an element that disrupts the balance in the sound, so the performance of the MARINKO plug is better than the modified outlet in terms of the audio aspect.
In summary, although sound is only a matter of taste, I think that the Marinco power plug with the Kurumira process is a very good part that improves the separation of the noise and sound with little change in sound quality.
The sound is well-balanced and cohesive, so the effect may sound subdued because there is nothing outstanding, but this sense of balance is excellent in the sense that it changes the sound without producing any negative effects.
I think it will be used in such a way that only the bad parts are eliminated without changing the sound significantly.
The modification outlet is a change that is easier to understand if it is expressed that the sound changes to “hi-fi type” and “clear type” in words, and the sound will be suitable for those who want to erase the messy taste with gusto and make the sound tight and clear.
It is such a change in a musical instrument, but the benefit effect of the MARINKO plug processed by Kurumira is stronger when it is used for audio, so it is necessary to control the place to attach it by yourself while listening to the sound when it is used for a musical instrument.
I think many people are looking forward to this terrific project.
As introduced on Youtube in the past, we have found that the sound improves when a modified outlet with the Kurumira effect is used, and we were able to connect with Mr. Ouchi, the developer, through the transmission of that video, which led to this experiment.
As an experimental project this time, we asked ourselves, “Can we make parts that improve the sound by processing Kurumira? This time, we experimented with guitar shield cable plugs, power cable plugs (with grounding), and earphone plugs (for audio applications) under the concept of “Can Kurumira processing be used to make parts that improve sound?
This time, we used Furutech’s FP-703 with Kurumira processing to see how it would affect the sound. The Kurumira process is used for plugs, cases, and earphone plugs (for audio applications).
Kurumira processing was applied to the plug, case, and all parts. Since the case and fixture are also Kurumilla-processed, the Kurumilla effect is added to the entire plug.
We tested the same length of Mogami 2497, which is used for all cables in our workshop, with different plugs.
One of the 2497 cables was used for a long time, but it is difficult to imagine any significant wear and tear on the 2497 cable when used indoors, so we do not believe that there is a significant difference in wear and tear.
As you can see in the Youtube movie, it is amazing that the sound quality can be changed so much only by the plugs.
In terms of sound quality, the sound has a beautifully balanced feeling as if a compressor is applied, and the chords are beautifully arranged, and the sound is easy to understand without any tininess.
However, in the case of a clean sound, it can be said that “a tinny and inaudible sound is like a musical instrument,” so there will be a difference in taste.
Especially, single notes have a texture similar to the grain of a vintage instrument.
When used in a distorted state, the effect of making the sound sound sound clean becomes especially large, and the sound is output without being crushed.
The Kurmilla effect strengthens the original signal, making it harder to distort the sound, but it also makes it easier to control the sound.
This will give you more options for effects, and you will be able to add more equipment more easily.
Although this experiment is not in a state where it can be said to be 100% good, if it can be changed so much with only two plugs, we can have high expectations for future experiments.
Although the effect is weak compared to the modified outlet, it is useful when you don’t want to change the sound too much.
In addition, because I think that the Kurumira effect is also weak with only two plugs, I think that the loss is prevented by relaying the parts to which the Kurumira effect is added on the way because the signal becomes dirty and collapses as usual if there are more devices to be connected.
I think that the number of plugs will also change the sound, so I think that plugs with the Kurumilla effect will be very effective in environments with many devices, digital devices such as multi-effectors, and deep distortion.
This is an explanation of how to make power cables.
Power cables are parts that influence the sound, and there is a wide range of them from low-priced ones to expensive ones.
However, the production itself is very easy and flexible, so you can customize them to your own liking.
It is easy to think that making power cables is a difficult task, but it is not so unexpectedly.
When making a power cable, there is only one important thing to do: simply reconnect the power cable to the currently connected point.
When replacing only the plug, simply check the original power cable with a tester to note where the current is flowing, and replace the plug.
The plug is also just screwed on with a screwdriver, so all you have to do is use a wire stripper to face the wires and screw them back on.
When making power cables instead of replacing plugs, the price is through the roof, so basically anything will do depending on your budget, but the important minimum is “Are the cables shielded?” The minimum requirement is “Is it a cable with shielding effect?
Some cables have noise shielding and some do not, so choose power cables that are wrapped with aluminum or copper tape.
It is easily completed by stripping the wires and screwing them to the connector.
After this, if the power is restored to the same state as before, there is no problem.
Power cables are easy to make, so enjoy changing the sound by changing the plug or the cable itself.
It is known that the plating of the power plug has an effect on the sound.
Non-plated plugs tend to be treated as better, but sound is just a matter of taste, and non-plated plugs are good parts in the sense that they do not affect the sound, neither better nor worse.
Silver plating tends to lean toward the high frequencies, and the low frequencies are cut off and the sound becomes more sparkling, which disturbs the balance of the sound. If you like this sound, there is no problem, but many cables are marketed as “clearer sound” with this, so many brands are making money by fooling children.
Some inexpensive power cables are unplated on the equipment side and have aluminum tape wrapped around the cable, so simply replacing the outlet side with an unplated cable will improve the sound.
The important thing is to make sure that the grounding functions properly.
This is more important than improving the sound with power cables, and it is important to be able to ground the system.
This requires grounding of the building itself, which is not expensive and can be done for about 20,000 to 30,000 yen if you ask an electrician.
Alternatively, it is recommended to replace the wall outlet with a grounded 3-pin type, and connect it to the grounding wire near the refrigerator or washing machine.
First of all, it is amazing that the sound quality can be changed so much just by processing Kurumira plugs alone.
It is true that the impact may be low, but the level of change shown in the video can be achieved with only two plugs, so if the number of plugs is increased, the effect will be significant.
The effect of adding Kurumilla-processed parts to instruments and equipment gives the impression of “strengthening the original sound.
This makes the signal from the guitar clearer and stronger, and makes it harder to be defeated by the distortion effects of the effects pedals and amp (the sound is less mangled), resulting in a lower distortion level.
We have not changed the settings of the amp or effectors, so you can better understand this area in the explanation.
The benefit of the Kurumilla processed parts is a guess at this point, but I think “the more equipment you have, the more effective it will be.
The more equipment you have, the weaker the guitar’s signal becomes, the more vulnerable it is to noise, and the more messed up the sound becomes, so in the end you will either have to control it better or reduce the number of equipment.
This is not a problem, and since the original sound is strong, it will be easier to add to the original sound, and it will be easier to add to the original sound.
It is difficult to cover the entire range with only two plugs processed with Kurumira, so it should be possible to send a strong signal to the amplifier without loss by increasing the number of plugs depending on the equipment to be used.
For example, if a cable with a Kurumilla-processed plug is connected from a guitar to an effector, and if there are about 6 effectors in use, the Kurumilla effect alone will probably destroy the signal around the end.
If you add cables with Kurumira processed plugs from around 3 effectors, or use cables with Kurumira processed plugs from the effector outlet to the amplifier, you can reduce signal loss by adding Kurumira processed parts at the points where the loss is compensated for.
Kurumira processed parts will be useful for players who use many effectors and digital devices such as multi-effectors to prevent sound quality degradation.
The controversy still rages to this day, “Should I loosen the strings? Should I leave the strings taut?” I don’t know how long it will continue.
I don’t know how long it will continue, but things like this, where the answer is not clear, can be said and deceived as much as possible, and the business model of deceiving people comes in.
In the end, it is the people with weak information who are deceived, so the only way to protect yourself is to study and defend yourself.
In Japan, the media brainwashing is particularly strong, and people take for granted that whatever a famous person or a big company says is right, no matter who says it.
To put it bluntly, we are all idiots, and until that is cured, bad companies will not disappear.
It is better to fix their attitude of blaming others when something happens, putting the blame on others and never growing up.
The people are to blame for everything. They need to study and have the ability to recognize what is wrong and have an attitude of not following what is wrong.
If everyone could act on this, bad companies would not survive and would perish. And only the truly good companies will remain in our society.
～The answer is already out there.
As I have been saying for a long time, all the places involved in musical instruments should disclose the facts about what is happening in repair stores.
Perhaps I am the only one.
The reason for this is simple: many repair stores are not willing to say what is inconvenient for their business partners, so they keep quiet.
Also, because they have been making ignorant statements for a long time and cannot say “I was wrong” now.
The answer came out around the 80’s when modulus was introduced and carbon necks were adopted.
Carbon necks are harder than wood and have excellent stability against moisture and drying due to man-made materials. When modulus came out, it was assumed that carbon necks would not warp, and no truss rod was put in at first, but as a result, a truss rod was put in.
This is already the answer.
The tension of the strings is so strong that the neck is not structured to withstand the force, so the neck bends under the tension of the strings.
The strings must be loosened, and the reason for this is that the instrument is physically beyond the range of load it can withstand.
This is because the structure cannot withstand the great load of string tension for many years, and also because I have seen many instruments in poor condition.
If it were okay to leave the strings in place, there would be few instruments in bad condition, but the majority of the world’s instruments are in bad condition.
If you are in the field dealing with such instruments, you will understand this story even more, and there are only two choices: either you know it and don’t say it, or you know it but are an amateur who doesn’t understand it.
Loosening the strings or not? I have talked about this in past blog posts and on Youtube, so please refer to those for more details.
It would be tedious to repeat the same story I have told in the past here, so you should study it by yourself.
If the amount of excess is large or close to 100%, you can say that the strings should be left taut because you will be in trouble if they warp backwards (in the case of a 1-way truss rod), but it is rare to find an instrument in such a good condition.
Most instruments have a truss rod that is closer to the limit of its tension than it is to the limit of its looseness.
Adjust the amount of loosening by looking at the amount of excess.
If you cannot say that the truss rod should be left taut or loosened after checking the amount of excess in these operations, it is no good.
If you do this for many instruments, you will not see instruments with truss rods with nearly 100% excess, so the percentage of “strings should be loosened” is much higher.
The basic premise for storing items related to wood is to keep the humidity above a certain level to prevent them from drying out.
～Example
Truss rod limit → Loosen the strings to a dull dull state where no tension is generated, and you will be lucky if the truss rod warps the strings backwards.
If you want to increase the amount of truss-rod excess, you should lower it by 1 1/2 to 2 1/2 notes. If you want to increase the amount of excess at this time, you should make the truss rod as dull as above and be lucky if it warps backwards, or you can keep it half to one note lower when the amount of excess increases.
If you want to increase the amount of excess in this case, you are lucky if it is inverted, but if you want to increase the amount of excess in this case, you should keep the strings taut. (ideal condition for an instrument, but in reality there is very little)
~ Why am I so picky about the amount of extra truss rod? ~ Why am I so picky about the amount of truss rod excess?
The amount of truss rod left over is very important because it directly affects the “life” of the instrument.
Basically, an instrument can be made to last a lifetime.
The reason why this is not possible is because of severe forward warping.
If there is an excess amount of truss rod, the warp can be corrected and the instrument can be used as usual, but the range in which this truss rod can be used is “finite. It does not mean that it can be used indefinitely.
In other words, if you want to use the instrument for a lifetime, it is very important to keep the neck from warping. It is very important to keep the neck from warping.
Of course, you may be asking yourself, “Can’t I just replace the truss rod? Do not ask the silly question, “Can’t I just replace the truss rod?
As long as the truss rod is left over and the neck is not warped, the instrument can be used for a lifetime.
You can replace nuts, frets, and other consumables, and you can adjust the adjustment mechanism in any way you like, but truss rod adjustment is finite, and the life of the instrument is to keep the truss rod from bowing out.
The amount of truss rod left over = the life of the instrument.
Do you understand how bad it is to sell a new instrument with a small amount of truss rod left over or at the limit of the amount of truss rod left over because the wood has become soft in recent years?
In other words, even expensive products are sold in a condition where they will not last long and cannot be used for many years in the future because they are in such a bad condition from the beginning.
That is why you have to make sure that you check the condition of the product before you buy it.
Of course, we don’t know what the future holds for new products, but we can predict that they will not have a future by looking at their initial condition.
For example, if you buy a 2000 instrument in 2025 and it has a lot of truss rod left over, you can be sure that the instrument has survived 25 years in good condition and will continue to be used for 25 years.
But I have been giving this information for a long time, and it is common sense to say the least.
I think it is a delicate range to complain if the instrument you bought is in poor condition or otherwise damaged.
It is the customer’s fault for trusting a music shop that does not disclose the condition of the instrument, even if it is a new one, without questioning it.
Therefore, the customer should be angry at the store and say, “Make a detailed description of the condition of the instrument! The customer should be angry with the shop.
The reason why our society has become the way it is today is because we don’t do that, we don’t try to change the current situation, and we don’t take action.
~ The important thing is wood strength~.
Many idiots who say that “strings should be left taut” reason that “the force of the truss rod balances out the warping,” but this is completely ludicrous.
For example, the modulus mentioned above has a model without a truss rod, and there is a reason why there is a manufacturer “Vigier” that does not have a truss rod in their current products, and there are also acoustic guitars (Martin, etc.) that reproduce old models that do not have a truss rod.
I would like to hear how you explain these.
The important thing is not the strength of the truss rod, but the “strength” of the wood itself.
If you take it to the extreme and make the neck so thick that it cannot be gripped, the strings will remain taut and the neck will not warp. The reason is that the neck has enough strength to withstand the tension of the strings.
If the neck does not have that strength, it will warp.
If it warps even when this strength is very high, then moisture, dryness, or lack of seasoning is the cause.
In the case of a guitar, if you tune from the 6th string to the 1st string, and when you return to the 6th string at the end of the 1st string, it will have dropped at least half a note.
The reason for this is that the neck is losing tension on the strings and the neck is bowing forward, loosening the sixth string that was tuned first.
You can also see that the neck is losing tension on the strings.
~Truss rod details~.
The point of this issue.
Is the power of the truss rod, “balanced by the power of the truss rod,” such a versatile and convenient function? The answer is no.
The truss rod is a very simple mechanism: a bent steel rod is simply placed inside the wood.
The image is adapted from a Google search.
The 1-way truss rod has a bent steel rod, while the 2-way truss rod does not need to be bent, so a straight groove is simply dug and installed.
When the nut on the truss rod is turned, the bent rod is pulled up and generates a force inside the truss rod to straighten it.
This force causes the neck to deform in a reverse warp direction.
However, when the rod is straightened, it can no longer generate the force to push up the neck, so it can no longer be warped backwards.
In the case of a 2-way, the two truss rods move either up or down, respectively, to accommodate forward or reverse warping.
~ Can the truss rod force really balance the string tension in the first place? ~This is a very important question.
As a point of reference, the area where the truss rod has the strongest reverse warping force is “where the amount of deflection is greatest.
This is easy for anyone to understand. The point where the truss rod is most effective depends on the position of the truss rod, the length of the truss rod itself, and the amount of deflection, but generally it is in the middle of the neck.
Most music shops and repairmen stop their knowledge at this point, and the word “balanced” may sound right if they are referring only to the point where the truss rod works best, but if you consider the entire neck, it doesn’t work that way.
If you look at the neck as a whole, the forces are actually as follows.
The force of reverse warping decreases from the middle, where the truss rod is most effective, to the ends.
This is because the amount of deflection of the truss rod decreases.
This is because “more deflection = greater range of movement of the truss rod,” and this range decreases as you move toward the ends.
An easy example of where it is not good to “leave it taut” is in the “high rise” situation.
The high incidence of bending occurs at the heel of the neck, where there is little or no force applied to reverse the truss rod.
This is because the part where the neck is screwed on is almost square and strong, while the part where the neck is held by the hand is suddenly cut away by the neck grip and its shape changes, causing an extreme reduction in strength and making it the weakest part of the neck.
In fact, the neck warp does not bend cleanly. It bends and deforms starting from the weak point.
This “bending at the weak point” is the key point, so please keep this in mind.
If the neck is not specially manufactured (without reinforcement or using high-strength wood), this action will work in the neck.
This is a phenomenon that occurs when the neck is not strong enough to support the strings, but it is always present if the strings are left taut, and there is no excuse for warping due to moisture and dryness.
This is something that any repairman will understand.
Repairmen who say, “Just leave the tension on,” wonder why they ignore the high tension. Or, why do they ignore the fact that the weakest part of the neck can warp? I wonder why he is ignoring the high rise and why he is ignoring the warping of weak points in the neck.
They are in the business of giving people wrong information so that they will break their own products and spend money on repairs and replacements.
ESP and other makers have reinforcing material inside the neck, and also have additional guarantee material on the high position side to prevent high tension.
It is a matter of course, but since string tension is that strong, it is “natural” to take countermeasures.
It would be strange if there were no countermeasures.
Many manufacturers are skipping the obvious, and if they are not doing so, the buyer must be aware that he or she is buying something that will deteriorate with continued use.
The customer who buys the product cannot be the victim.
Reinforcing wood literally means reinforcement, but this has a different meaning.
As the old saying goes, wood is not uniform in strength from one end to the other.
In other words, there are soft and hard areas in the neck, and when string tension is applied to these areas, the wood will not warp nicely, but will ripple.
This is because, as I wanted you to remember above, “the weakest point is the point of bending.
Unless the wood is strong and stable, most of the necks will be wavy to be exact.
In order to correct this strength imbalance, artificial reinforcement is placed inside the neck, which adjusts the strength variation of the entire neck, allowing the neck to bend beautifully and the truss rod to work beautifully.
This benefit is most noticeable when making adjustments, and since the neck warp can be straightened out beautifully, it is easier to bring the instrument to a state where it is easy to play without being scared, even if the string height is low.
The common complaints such as “this instrument has a lot of vibrations even though the string height should be the same” are largely due to the accuracy of the straightness of the neck.
It is difficult to achieve a good adjustment unless the neck itself is strong or the entire neck is physically reinforced like ESP’s and the warp is well balanced.
The “weak” and “strong” values are given appropriately, but there may be a neck with a strength balance like this.
This may sound extreme, but as an example, when the string tension is generated and the truss rod is applied to some extent, if we explain from the head side, the string tension in the low position warps the strings forward and the string height around the 1st and 2nd frets becomes high (feels like the nut height is high), and the truss rod is applied most effectively. The low position side near the middle is not strong enough, so the reverse warping is greater only in this area, and the joint area is weak, so it is high up, etc.
This is just an extreme example, but since wood has variations in strength, similar factors are bound to occur even if not as extreme as this.
In other words, the wood must be processed to adjust for this strength variation (reinforcement as described above) to maintain constant strength, or the entire neck must be subjected to the strong force of the truss rod.
It is impossible, but only as an example, for the truss rod force to truly balance the neck, it is impossible unless the truss rod force is equally applied to the entire neck, which is the strongest force that will have the greatest effect.
To begin with, it is impossible to generate this phenomenon with the normal truss rod force alone.
If this force can be generated throughout the entire neck, then it will be possible to balance the variations in the strength of the wood and the weak areas to some extent, if the truss rod force can offset them and generate a repulsive force throughout the neck that will not be defeated by the string tension without any bias.
To be more precise, the force of the truss rod should work on the weak areas and not on the strong areas, but this is impossible.
I don’t know the name of this toy, but can you give me an example of an ideal truss rod?
To be precise, you need a truss rod that has a structure that generates a strong overall force in the middle of the truss rod as mentioned above, and a truss rod that has many places to generate that strong force and many nuts to adjust it is ideal.
If you really want to balance a truss rod, you need a truss rod mechanism that allows you to adjust only the warped part at your will and straighten out the whole truss rod.
Well, that would be impossible. When you get to this point, you can finally say that the string tension is balanced by the truss rod’s force.
To put it simply, the truss rod works only in the middle of the neck, and the rest of the neck is only deformed by the force of the truss rod.
When the strength of the wood is added to these areas, the weak areas have a high deformation rate and the hard areas have a low deformation rate, which can cause problems when straightening the wood (the cause of rippling).
It is impossible to balance the tension of the strings with the force of the truss rod used in the current instruments alone, and in order to come close to balancing it, we should at least try to use artificial materials instead of wood, which has unstable strength, or reinforce the entire instrument to adjust the strength variation, or use a new truss rod that allows the force of the truss rod, which is mentioned above, to be applied to the entire neck. Or use a new truss rod that allows fine adjustment of the truss rod force to the entire neck as mentioned above? The answer to this question will be “yes.
As you can see, the basic importance is the strength of the neck itself, and unless a truss rod adjustment system with a high degree of freedom for the entire neck is added to it, it is impossible to say that the neck is in balance.
In fact, it is better to think that “it just looks balanced right now.
As I have said many times before, if it were really okay, there would be almost no instruments in bad condition in the world.
As I have been saying for a long time, the most important thing is the strength of the neck itself.
Even though I have explained everything so carefully, there will always be people who will come out later and say, “My instrument doesn’t warp,” but I don’t know your instrument.
If you have left your instrument stretched for many years and it has not deteriorated, you either happen to have a good, strong, stable piece of wood, or you are an amateur who does not notice that the condition of the instrument has deteriorated.
I am talking about the present. I don’t know what it was like in the past.
It is just old people who are not in the industry saying such things.
All instruments are not in the same condition or state. Don’t you think or try to understand that level?
It’s like saying, “Shohei Ohtani is a professional baseball player, so you can do it too, right? It is like saying, “Shohei Otani can play professionally, so you can too.
The current repair scene is a miserable one, where I have to tell customers that their expensive, famous instruments that they bought new have warped so much that there is little room for the truss rod to be adjusted, and that there seems to be no way for them to last much longer.
The shocked look on the customer’s face is nothing but stress.
If a music shop had inspected the instrument, they would have returned it to the manufacturer, wouldn’t they? I’m like, “No, I didn’t inspect the product.
In fact, they don’t inspect their products, and since they are all black-owned companies with no proper staff, you can’t tell if a product is in good or bad condition. If you are going to buy from a place like this, you have to be able to question everything and check everything with your own eyes before you make a purchase.
