Most of us take our instruments for granted. Yes, we very rarely stop to think about what guitar parts do and how we can enhance them for a better performance and sound. Well, that was until today, because this is a one-stop solution to understand your guitar entirely down to its core.
Moreover, understanding guitar parts is not only fascinating but also crucial for maintenance and customization purposes. Knowing how each component works and interacts with others empowers you to troubleshoot issues, make necessary adjustments, and tailor your instrument to your unique style and preferences.
Overhauling your guitar starts right here and right now by comprehending the instrument. Let’s make that guitar of yours the instrument you’ve always dreamed of with proper maintenance and the right aftermarket customizations.
The Guitar Neck
If we were to divide your guitar into two parts, the body and the neck. The neck is the top part, the one that you use your fretting hand on. That thin, long piece of lumber loaded with frets.
The Guitar Neck
Before moving on to other parts of the neck, it’s important to talk about the neck itself. The neck of a guitar has a huge impact on playability and player comfort. Yes, we could virtually say that there’s a guitar neck shape for every guitarist.
Guitar neck shapes:
• C-Shaped Neck – This is the most common shape to find. As its name indicates, the neck shape resembles that of a C. Most guitar players find this shape very comfortable and it’s what you’d find in a Fender American Professional Stratocaster, for example.
• D-Shaped Neck – With a slightly larger shoulder than a C-profile neck, the D profile is great for those who like chunkier necks without dealing with a baseball bat.
• U-Shaped Neck – This is the biggest type of neck you can find in the market. As its name indicates, it has a big shoulder. Some players love these necks but they’re not as common as C-shaped necks. You can find them on vintage reissues from the ‘50s.
• V-Shaped Neck – In the late ‘50s, some necks were finished with a V at the top, next to the headstock. The ’57 reissue Fender Stratocaster, and Eric Johnson, and Eric Clapton’s signature Fender guitars all feature a V-shape neck.
• Vintage 50s Neck – The ‘50s guitar neck in guitars made by Gibson is a neck shape that resembles the D or U-shaped Fender necks. These are thick, chunky guitar necks not suitable for the faint of heart.
• Slim Tapered Neck – Gibson guitars that don’t have a vintage style feature a more modern, ‘60s-like neck named slim taper. This is the neck that you’d find on a Gibson SG or a ‘60s-style Les Paul.
Before wrapping this little neck guide up, let’s talk about guitar neck materials. The material a neck is made of has a big impact on guitar sound. Let’s talk about the most common two.
• Mahogany – The first electric guitars made in the ‘30s, ‘40s, and ‘50s featured mahogany necks, especially Gibson’s. Mahogany is a dark, mellow-sounding wood. You can think of sweet melodies, dark tones, and a big bottom end.
• Maple – Maple was the wood of choice by Leo Fender when he designed his guitars. It’s one of the cheapest most abundant tone woods available. Two of its main characteristics are the percussiveness and the bright top end. You can think of it as the perfect tone to cut through a dense mix with snappy mids and cutting highs.
The Headstock
To begin with, let me tell you that not all guitars have headstocks. Indeed, headless guitars have been around for decades and are now making a serious comeback to the front of the stage.
That said, let’s take care of the headstock, a guitar part present on most.
The headstock is the topmost part of the guitar neck. It fulfills several functions for guitars. The first one is to be the place where tuners are located. Secondly, headstocks usually follow a specific shape that’s particular to their brand.
We could divide them into two big different groups.
• Six-in-line headstocks – This is the typical “Fender style” headstock. The tuners in this case are placed in a single row going from the low E to the high e. It’s important to say that these headstocks are straight, they don’t form an angle with the neck. This feature gives them increased durability.
• Three-per-side headstocks – This is a design that’s even older than Fender’s and it’s the one you’ll find in Gibson-style guitars (including PRSs) and also acoustics like Martins and Taylors. These headstocks form an angle with the guitar’s neck making them more fragile than Fenders since they will snap if your guitar falls to the ground.
These differences are not just about looks; they also affect the instrument’s functionality. On one hand, the shape can affect the overall balance of the guitar (Gibson SGs are famous for nose-diving), and even impact the instrument’s durability.
Finally, some brands like Music Man offer guitars with different combinations like 4+2 or 5+2. That said, in general, those are the two main groups to choose from.
The Tuning Machines
Guitar tuning machines are the most important part of your guitar’s headstock. They come in all sorts of shapes, materials, and designs. Again, talking about headless guitars, you’ll find these little pieces so crucial to your guitar’s performance at the bottom of the guitar, beyond the bridge.
What guitar tuners, tuning machines, or tuning keys do is very simple. You have to tie the guitar’s string to them and then, by rolling the peg in the right direction, you tighten the string’s tension.
As you might know, the consensus around A being at 440Hz makes it possible to play with other instruments. Well, turning the tuning machines until you reach that frequency keeps your guitar in the right pitch.
Tuning machines can be designed for a six-in-line headstock or for a three-per-side headstock. But that’s not all, you can also divide them into two groups.
• Non-locking tuners – These are what you would call a traditional tuner. They feature a very simple technology that’s usually a metal stem with a hole. You put the guitar string through the hole and then wrap it around the stem moving the peg until you reach the desired pitch.
• Locking tuners – These are a more modern iteration of the design above. These tuning keys feature a locking mechanism that keeps the string locked at the perfect pitch. So, once you tune your guitar, you can just lock each tuner and, although it’s not 100% infallible, it will keep the tuning for much longer. Also, they can withstand the use of tremolo and string bending.
If you’re having tuning issues with your guitar or feel that after bending the strings in a solo your guitar goes out of tune, then you should try upgrading your tuners to locking ones. Here's how you can install tuning machines to your guitar.
Furthermore, upgrading the stock tuners on a low-budget guitar, even if they’re not locking, can mean improving your instrument massively.
Finally, you can get both models of tuners (locking and non-locking) in a three-per-side or a six-in-line configuration.
Frets
Although frets might look like just thin metal strips that run perpendicular to the strings on the neck, their invention changed music forever. Yes, before the existence of frets, people played their stringed instruments differently. You can think of a violin or a double bass.
Since frets were introduced into the stringed instruments world, they added much more precision to the music being played. As a fun fact, Fender’s Precision Bass got its name from being the first bass guitar with frets ever made commercially. Since it got frets, it became more precise.
Frets divide the fretboard (more on that in the next section) into semitones. Depending on the pitch of the string and the fret position. You can divide a guitar’s neck into two octaves, one before the 12th fret and one after it.
To fret a note, you need to press the string between the frets. For example, pressing the string between the 2nd and 3rd frets on the 6th string will give you a G if the guitar is tuned to standard pitch.
The spacing between frets follows a mathematical pattern to ensure consistent pitch intervals. This means that as you move up the neck, the distance between each fret becomes smaller.
Frets can be made of different materials and come in different sizes. The taller and wider the frets, the easier they make playing fast. Also, stainless-steel frets will last longer than most alloys.
Finally, if your guitar’s frets are worn out, you can replace them with new ones. This is a task that needs to be done by a qualified technician.
Fretboard
The fretboard (or fingerboard) is the smooth, flat surface on top of the neck. As its name indicates, that’s where all the frets reside.
The material the fretboard is made of will change the guitar sound and your playing experience. But that’s not all, because the radius, which means the fretboard’s curvature is also paramount in determining what you can do with your instrument.
Fretboard materials:
• Rosewood – This is one of the first tone woods used in fretboards and it’s still one of the most used ones today. Rosewood gives a guitar a mellow attack with a tight low-end and tamed highs. You can find rosewood fingerboards in most guitar brands.
• Ebony – Ebony is thought of as a luxurious fretboard. For example, it’s one of the differences between a Les Paul Custom (ebony) and a Les Paul Standard (rosewood). But that’s not all, it also gives the tone a snappy quality in the mids that makes it a mix of maple and rosewood.
• Maple – Maple as a fretboard tone wood offers guitars the most pronounced midrange. It’s also a material that gravitates toward the high end of the frequency spectrum. You can think of country music as the quintessential maple fretboard tone.
Fretboard Radiuses:
• 7.25” – This is the fretboard radius you would find on a Fender Telecaster ‘50s reissue. It’s very comfortable to play chords but it can be an issue if you want to bend the strings beyond the 12th fret. You’ll feel the notes dying before reaching the new pitch.
• 9.5” – As an evolution from the radius above, modern guitars like Fender’s American Professional line offer this radius. It’s comfortable to play chords but it also makes a good, comfortable radius to play after the 12th fret.
• 12” – Gibson Les Paul guitars usually offer 12” radiuses. This makes them great guitars for soloing (adding the mellow element of rosewood or ebony’s aggressiveness) and also good for playing riffs and chords.
• 16” – This is the perfect radius for shredders. The flatter the fretboard (the higher the fretboard radius), the easier it is to play fast and accurately. You’ll find this radius on super Strats and other metal and shredding-oriented guitars.
• Compound Radiuses – If you want the best of both worlds, worry not because many guitars come with compound radiuses. For example, the Jackson Rhoads comes with a compound radius going from 12” to 16”. You can play Jimmy Page-style riffs and Randy’s solos on the same ax.
Now that you know what materials and radiuses mean in terms of playability and sound, go ahead and explore the different options to find the one that resonates with your style.
Truss Rod
Truss rods are the unsung heroes of neck stability. They were invented by Gibson in 1921. What is a truss rod? It’s a simple, long bolt that runs through the neck from the headstock all the way to the body joint.
As you know, strings, when tuned to pitch, apply force over the neck pulling it upward. If a guitar doesn’t have a truss rod, the neck will eventually bend because the wood will give in to the strings’ pull. Well, the truss rod plays a vital role in maintaining the proper curvature of the neck because it applies the exact opposite force on the neck, neutralizing string pull, and thus, giving you a straight neck to play.
Also, it was a great technological advance that allowed for thinner necks since the wood didn’t have to be thick enough to counteract string pull.
So, by giving small, gentle turns to the truss rod, you can adjust the neck relief. Neck relief refers to the slight bow or curvature of the neck, which affects playability and string action. By making proper truss rod adjustments, you can ensure your neck is just right – not too flat, not too bowed – for optimal playability and comfort.
This is very important: if you’ve never done it before, don’t try adjusting the truss rod on your own. You might risk your instrument beyond repair if you tighten it up too much.
Guitar Body
Now that we’re done with the guitar’s neck, it’s time to address the lower part of the guitar, its body. Here’s where much of the magic happens in both, electric and acoustic guitars. That said, here’s where these two types of guitars differ drastically.
Let’s dive right in!
Pickguard
The pickguard is a protective plate on the body of the guitar. Its primary purpose is to guard the body against scratches and dings caused by aggressive strumming or picking. But the pickguard is not just functional; it also adds a touch of style to the guitar's appearance.
Overhauling the pickguard of your guitar can make your instrument more beautiful without changing its sound or playability.
Pickguards can be made from various materials, such as plastic, celluloid, or even metal. They come in different colors, shapes, and designs, allowing you to personalize your instrument. So, go ahead, try a few, and find the one you like the most.
Soundhole
The soundhole is exclusive to acoustic or acoustic-electric guitars. It’s the round opening on the body just below the strings. It plays a vital role in sound projection. It allows the vibrations from the strings to resonate inside the body, creating a fuller, louder, and more balanced sound.
Soundholes come in various shapes and designs, each offering its unique aesthetic and tonal characteristics. You'll find traditional circular soundholes, as well as oval, teardrop, or even custom-shaped ones. Some guitars have multiple soundholes or intricate designs that add to the visual appeal.
That said, remember that soundholes aren’t a decorative part of the guitar, but play a huge part in the way it sounds unplugged. Make sure you try it before buying it for its looks.
Semi-Hollow & Hollow-Body Guitars
The soundhole on an acoustic guitar is a similar thing to the F-holes in hollow and semi-hollow guitars. They’re there to project the sound. That said, these electric guitars produce their sound magnetically (more on this in a bit) and don’t need those holes to sound loud and proud.
On these guitars, you can think of it as the heritage of those old archtop guitars from the ‘20s, before pickups were made popular.
Guitar Pickups
Guitar pickups are the heart and soul of the electric guitar. These little wonders turn the vibrations of the strings into an electric signal. Yes, they consist of magnets and coils that create a magnetic field, which senses the string vibrations and converts them into an electrical signal.
Pickups are typically found on electric guitars and are responsible for capturing the sound and sending it to an amplifier.
We can divide electric guitar pickups into three main groups, single-coils, humbuckers, and active pickups. There are also two sub-groups, P-90s, and minihumbuckers.
• Single-Coil Pickups – Fender-style single-coil pickups are the least powerful ones on this list. They’re basically magnets surrounded by coil wire forming a magnetic field. These pickups are well-known for their percussiveness, glass-like clean tones, and high-end. Also, they generate a 60-cycle hum.
• P-90 Pickups – This is Gibson’s version of a single-coil pickup. The structure is different and, instead of having six individual magnets, it has a large one. This gives P-90s a ferocious midrange usually referred to as “bite”. They’re a tad dirtier than regular single-coil pickups and have more power.
• Humbucker Pickups – As their name implies, humbuckers get rid of the 60-cycle hum. This is achieved by putting two coils together that can cancel each other’s hum. This Seth Lover invention for Gibson is also the most powerful design among passive electric guitar pickups.
• Minihumbuckers – This is a variation from the typical humbuckers that can be found on a few guitars like Gibson Firebirds and Epiphone Coronets or Rivieras. They tend to have less gain and sound clearer and more articulate than their bigger siblings.
• Active pickups – This technology, invented by EMG in the eighties, adds an active preamp (requiring a 9v battery) that amplifies the pickup’s tone before it leaves the guitar. They’re clearer, more powerful, and often referred to as “stale” when compared to the warmer passive electric guitar pickups.
Pickups make a huge difference in the sound of the electric guitar, thus, they’re a great, not-so-expensive tone experiment. Don’t sell that guitar you love the neck of but don’t like how it sounds, try swapping pickups first.
Pickup Selector Switch
The pickup selector switch is a control found on electric guitars that allows you to choose which pickup(s) are active. On a guitar with two pickups (like a Telecaster, a Les Paul, or an SG, for example), you can select the bridge pickup, the neck pickup, or a combination of both, unlocking a universe of sonic possibilities.
For three-pickup guitars (like a Stratocaster, for example), you usually get a 5-way switch. With it, you can choose the bridge, bridge and middle, middle, middle and neck, and neck pickups.
As a fun fact, before the seventies, Stratocasters came with a 3-way switch. Guitar players used to find the in-between positions manually. As soon as Fender realized this, Stratocasters featured a 5-way switch as a factory appointment.
Finally, some guitars offer additional switching options, like coil splitting. This allows you to get the sound of a single-coil pickup from a humbucker.
Volume and Tone Knobs and Pots
The volume knob on your guitar controls the gain of the pickup, and thus, the output level, while the tone knob adjusts the overall tonal quality.
The placement and number of knobs can vary depending on the guitar model. Some guitars have separate volume and tone knobs for each pickup, while others have a master volume and tone control. Knobs can be located on the body of the guitar or on a separate control panel. Some guitars even have push-pull or push-push knobs that offer additional tonal options.
Potentiometers, or pots for short, are the electronic components beneath those volume and tone knobs. They work by adjusting the resistance in the guitar's circuit, allowing you to control the volume and tone levels.
Potentiometers are essential for fine-tuning the electrical signal from the pickups, shaping the sound to your liking. Also, potentiometers come in different types and values, each with its own characteristics.
The most common types are logarithmic (audio) and linear pots. Logarithmic pots are often used for volume control, as they provide a more gradual and natural taper, while linear pots are typically used for tone control.
Finally, the resistance value of the potentiometer also affects the overall response and tonal range. You can learn all about it here.
Output Jack
The output jack is the socket where you connect your guitar cable to send the signal from your guitar to an amplifier or other audio equipment. It's typically located on the lower part of the guitar body, often on the side or front.
Guitar Saddle
This is something found exclusively on acoustic and electro-acoustic guitars.
The saddle is a small piece located on the bridge of the guitar, just in front of the bridge pins. It serves as a contact point for the strings and helps transmit their vibrations to the body of the guitar. The saddle also plays a role in intonation, as its position determines the accurate pitch of each string when fretted at different positions.
Saddles can be made from various materials, such as bone, synthetic materials, or metal alloys. The choice of saddle material can have an impact on the tone of the guitar.
• Bone Saddles – These saddles are known for producing a warm, resonant tone.
• Metal Saddles – These saddles usually add brightness and sustain to the guitar’s tone.
Experimenting with different saddle materials can help you fine-tune the tonal characteristics of your guitar.
Guitar Bridge
The bridge on a guitar is the part where strings are held on the opposite side of the tuners. Yes, we’ve come to the end of the run for guitar parts; we’ve come full circle as they say.
The bridge marks the measure of the guitar’s scale (it goes from the nut to the bridge) and it plays a big part in the guitar’s intonation.
As you might know, different brands and guitar designs work with different scales. The most common three are 24 ¾”, 25”, and 25 ½” for Gibson, PRS, and Fender respectively.
But the bridge can also work as a tremolo unit. As such, it allows you to modify the pitch of the guitar’s strings down or up.
Some guitar bridges are:
• Wraparound – This is the first type of guitar bridge, it works as a simple metal piece to which strings are wrapped around. It has no intonation possibilities and has made a big comeback in brands like PRS.
• Tune-o-matic – This is the evolution of the wraparound bridge, the one you’d find on a Gibson Les Paul. It allows intonation at the bridge while strings are held secure at the stop tailpiece.
• Hardtail – Hardtail bridges can be like those found on Telecasters or hardtail Stratocasters. These are string-through-body designs, maximizing body resonance while allowing intonation.
• Evertune – The Evertune bridge is a modern creation that allows maximum tuning stability. You can literally abuse your guitar for an entire show without tuning moving one inch.
• Synchronized Tremolo – This is the typical tremolo found on Stratocaster guitars. This innovation offers the player the possibility to lower the strings’ pitch and also features intonation capabilities.
• Panorama Tremolo – The Panorama Tremolo is the one you can find on Fender Jazzmasters and Jaguars. It doesn’t require the springs cavity Strats have and features a much smoother operation.
• Bigsby Tremolo – An old ‘50s design still easy to spot on large guitars like Gretsch hollow and semi-hollow guitars. The spring is located under the tremolo bar and strings are wrapped around a moving cylinder right before the bridge.
• Floyd Rose floating Tremolo – An ‘80s invention, this bridge type floats freely in a big cavity on the guitar’s body and features locking mechanisms on both ends of the strings. As a result, you can use it to lower or raise string pitch without getting your guitar out of tune.
Finally, the bridge also allows for adjustments to the string height (action) and intonation, allowing you to achieve optimal playability and accurate pitch across the fretboard.
You can find quality replacements for all the bridge types. Furthermore, upgrading the bridge on your entry-level ax can be a major improvement on the guitar’s tuning stability, sound, sustain, and resonance.
The Bottom End
Now that you know what each part of the guitar does and what you need to overhaul it and change your playing experience, it’s time to embrace your inner technician and experiment.
Remember, most tone experiments can be unmade, so don’t be afraid to try a few things out and transform your current guitar into your dream music machine.
Perhaps, what you need isn’t a new guitar but to pay attention to your current ax and upgrade its weak points to make it flawless and unique; like you.
Happy (overhauled guitar) playing!
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