Guild_Acoustic_Guitars_Manual 电路图.pdf

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1、Owners Manual Warranty OWNERS MANUAL WARRANTY Contents Page Contents1 Introduction2 Guilds Commitment to Craftsmanship3 Moisture Content and Humidity4 Protection from Temperature and Humidity4 Cracks in the Wood6 Finish-Checking6 General Maintenance7 Tuning Machines8 Tuning 6-String Guitars9 Tuning

2、12-String Guitars10 Changing Strings11 Re-Stringing Guitars12 Truss Rod Adjustment14 Adjustment of Action16 Traveling with Your Guitar17 Guild Warranty18 Servicing Your Guitar22 1 RadioFans.CN 收音机爱 好者资料库 Introduction Thank you for choosing a Guild. We believe this new instrument will give you many y

3、ears of pleasure. Please take a few moments to read through this booklet. In it you will find answers to many of your questions and other invaluable information about care and maintenance for your guitar. For detailed specifications of Guild instruments, please visit our Guild website at: 2 Guilds C

4、ommitment to Craftsmanship Guild was established in 1952 by Alfred Dronge. The first guitars from his small workshop were handmade with expensive rare woods, costly lacquers, hand-wound pickups for the electrics, and the attention to detail that only an experienced musician could give. The workshop

5、was located in New York City where most of the top jazz, studio and touring guitarists were frequently seen. Their suggestions were always listened to carefully. The Guild name is derived from the Master Craft Guilds of the Middle Ages. During that period, only the craftsmen who had achieved the hig

6、hest skills were permitted to join these Guilds. Our policy today is much like that of yesteryear. The name Guild expresses the highest standards in the art of wood craftsmanship and guitar making. Even today, the woods used in Guild guitars are selected by hand. Our buyers travel the world extensiv

7、ely, directly to the sources of the many different woods we use. There, they carefully select from opened logs and purchase only the highest- grade woods for creating Guild guitars. Guild guitars are handmade in Corona, California, in an environment where quality, innovation and service are the ulti

8、mate goals of the entire Guild staff. Our highly skilled artisans take extreme pride in every guitar we produce. A pride that restores meaning to the words “American Made”. We are confident you will share this pride in the ownership of your new guitar. 3 RadioFans.CN 收音机爱 好者资料库 Moisture Content and

9、Humidity Wood is a porous, organic material, and is affected dimensionally by changes in the amounts of moisture it contains. Fine guitars made from solid woods, are without a doubt, more susceptible to the effects of changes in humidity than laminated instruments, and therefore require ongoing atte

10、ntion to their condition. The moisture content of wood is determined by the relative humidity and temperature of the surrounding atmosphere. Relative humidity is expressed as a percentage of airs capability to hold moisture. For example, 30% relative humidity means that the air is holding 30% of the

11、 moisture it could possibly hold at a given temperature. The moisture content for wood and the relative humidity for air are measured quite differently. In wood, a 6% moisture content is present at 30% relative humidity and 72 degrees F temperature, (about 22.2 degrees C). Protection from Temperatur

12、e and Humidity The greatest threats to a fine wood guitar, are extremes of, and rapid changes in, temperature and humidity. High humidity can cause softening of the glues used in the construction of the instrument. Also, as the woods absorb moisture from the air, it can cause the top and back, espec

13、ially on flat-top and classical guitars, to expand and rise - making string action high. 4 Conversely, if you live in or travel with your guitar to a drier climate, (either hot or cold), there is another danger. In areas of low humidity, the evaporation of moisture in the wood can cause shrinkage an

14、d cracking, no matter how long the wood may have been previously aged. It also can cause the top and back to shrink, making the string action low. The collective experience of all of the major guitar manufacturers today, has demonstrated that the ideal temperature to preserve the integrity of solid

15、wood acoustic guitars is room temperature, which is about 70 degrees F (20.5 C). The ideal humidity is about 40% to 50%. In the winter, the forced air systems used to heat most homes, can drive temperatures up and humidity levels dangerously low for guitars. A good measure of protection against dryi

16、ng out your guitar is to use a room humidifier. When the instrument is not in use, we recommend that you keep it in its case and use one of the small guitar humidifiers such as Dampit, available from many instrument dealers. Do not leave the guitar out for long periods near a heating vent, radiator

17、or in direct sunlight near a window. Do not leave your guitar in the trunk of a car for long periods and keep it away from excessive heat and cold. Please note: Damage caused to the guitar as the result of exposure to temperature or humidity changes will not be covered under the Guild warranty. 5 Ra

18、dioFans.CN 收音机爱 好者资料库 Cracks in the Wood Cracks in the wood are typically caused by changes in temperature and humidity. While a crack may initially be alarming, if it is taken care of promptly it shouldnt be a cause for undue concern. Cracks may easily be repaired without compromising structural or

19、 tonal integrity. If the crack is in the top, near the bridge, loosen all the strings to reduce tension, (which could potentially exacerbate the problem), and have the crack repaired as soon as you can. Please note: Cracks in the wood, which occur as the result of exposure to temperature or humidity

20、 changes will not be covered under the Guild warranty. Finish Checking Finish checking, (very small splits in the finish), usually occurs in winter and is typically the result of suddenly exposing a cold instrument to the shock of warmer temperatures. All of the materials that make up a guitar expan

21、d and contract with changes in temperature and humidity. Wood expands as it warms, and it does so faster than the finish. When this happens, the finish may split and fracture in little lines over the wood. Although it does not affect the tone of the instrument, finish checking mars its appearance. B

22、y avoiding sudden temperature and humidity changes, you should not have any finish checking problems. When an instrument has been brought into a building after it has been out in the cold, allow plenty of time for it to become acclimated to the new temperature before you open the case. Please note:

23、Finish checks, which occur as the result of exposure to temperature or humidity changes will not be covered under the Guild warranty. 6 General Maintenance Clean the instrument after each use, making sure to wipe the fingerboard and strings, as well as any of the plated parts, i.e. machine heads, pi

24、ckups, etc. with a soft dry cloth. For gloss finishes, use a non-silicone based guitar polish. For satin finishes, use only a soft dry polishing cloth. For hand-rubbed finishes, use a soft, slightly damp cloth and follow with a dry cloth. When not playing the instrument, keep it tuned to pitch and i

25、n its case. However, if you plan to store the instrument for long periods of time, loosen the strings a bit to relieve the tension, but do not remove them. The natural oils in Rosewood and Ebony fingerboards may dry out over time. Rough, exposed fret edges are evidence of dry, shrunken wood. It is a

26、 good idea to give your fretboard a drink of raw linseed oil periodically to preserve its integrity and natural beauty. Remove the strings first; then apply the oil to a clean lint free cloth. Rub into the wood, let it soak in, and then wipe to dry any excess oil. Be careful when using vinyl, plasti

27、c or synthetic leather guitar straps, guitar stands and wall hangers using surgical rubber tubing, as these materials may react with the finish of your instrument. Please note: Damage caused to the instrument by the use of non-Guild-approved polishes, cleaning materials or accessories, will not be c

28、overed under the Guild warranty. 7 Tuning Machines Guild uses only the finest tuning machines. These machines are pre-lubricated, die-cast, sealed tuners, which do not require periodic oiling for smooth operation. A small tension adjustment screw is located at the end of each tuners button that also

29、 holds the button in place. If the tension is too loose, the machine may slip and go out of tune easily. If it is too tight, the button may become very difficult to turn. Make sure that the adjustment is firm, but not too tight. The Chrome and Gold plating on Guild tuning machines may become degrade

30、d from the acids and oils in finger sweat. Wipe the machines off with a soft dry cloth after each use to preserve their appearance and function. Strings that have not been secured properly to the tuning machine post may easily slip and go out of tune. This problem is commonly misdiagnosed as an issu

31、e with the tuners. Check your string installation carefully. See illustrations 1, 2, and 3. 8 Tuning 6-String Guitars There are a couple of different methods for tuning a guitar, depending on whether your guitar is acoustic, electric or an acoustic with a pickup. If you dont own an electronic chroma

32、tic tuner with a reference tone, you may want to purchase one. It will dramatically simplify tuning your acoustic or electric guitar. Always tune from below pitch, up to the correct pitch instead of down from a higher pitch. This will help eliminate string slack from the tuning machine and decrease

33、the possibility of slippage and tuning changes as you play. The strings should be tuned as follows, starting from the thickest string to the thinnest: E, A, D, G, B, E. If you have an acoustic guitar use the A-440 reference tone on your tuner, a guitar pitch pipe, an A-440 tuning fork or other pitch

34、 reference, and tune the second string, A to pitch. Then, depress the second, or A string at the 5th fret, to produce a D, and tune the D string to that same pitch. Next, depress the D string at the 5th fret, to produce a G, and tune the G string until the pitches match. Next, depress the G string a

35、t the 4th fret, to produce a B, and tune the B string until the two pitches match. Next, depress the B string at the 5th fret, to produce an E and tune the thinnest string to a matching E. Finally, go back and play the thickest E string and tune it until the pitch at the 5th fret, an A, matches the

36、A on the adjacent string. If using an electronic tuner on your electric or acoustic/electric, simply plug in your guitar, turn the volume up and tune from low strings to high as noted on the tuner: E, A, D, G, B, E. 9 Tuning 12-String Guitars Due to the tremendous amount of tension exerted on the ne

37、ck by the 12 strings, we suggest that you use a light gauge string set, such as the Guild XL-1000 or L-1250 on your 12-string guitar. In standard 12-string tuning, the second string in each pair is tuned to the same pitches, E, A, D, G, B, E, and using the same methods as the six string guitar on th

38、e previous page. For the E, A, D, and G strings, the first smaller string in each pair is tuned to the same note, but an octave higher in pitch than its partner. For the B and E strings, the first string in each pair is tuned in unison, (exactly the same pitch), as its partner string. Many players f

39、ind it difficult to press the strings down on a 12-string, due to the high tension caused by the extra strings. A remedy that some players choose is to tune the entire guitar to a lower relative pitch, such as E-flat or D; thereby reducing the string tension. You may then use a capo on the first or

40、second fret, to bring it back up to where it plays at standard pitch. The guitar will certainly be easier to play, and the reduced tension will put less stress on the neck over time, but bear in mind that it will also sacrifice a bit of the tone projection of the instrument. All Guild 12-strings fea

41、ture a double truss rod system for superior strength and improved accuracy with the adjustments, however, a 12-string tuned at standard pitch, should be monitored regularly for the possible need of truss rod adjustments. A guitar in need of an adjustment that is ignored may develop permanent problem

42、s. (See page 14.) Please Note: Warpage of the neck, caused by the neglect of necessary adjustments will not be covered under the Guild warranty. 10 Changing Strings A new set of strings can breathe renewed life into your instrument. That is why many tone-conscious touring professionals change their

43、strings before every performance. While there is no set rule on how often to change strings, we have found that most players do not change them nearly as often as they should. Body oils, acids from sweaty hands and humidity all interact with the metals in guitar strings and cause a corrosion and bre

44、akdown of the materials. Dont wait until your strings break and fall off from old age before you change them. Worn, oxidized, pitted and dirty strings will not hold pitch, and simply sound bad. If you are an average player, playing several times a week, we suggest that you change the strings at leas

45、t once a month. When changing strings, we recommend that you remove and replace each string one at a time, instead of all at once. This will prevent sudden and potentially damaging changes in neck tension. Each new string should be tuned up to correct pitch before the next one is removed. When tunin

46、g a brand new string, always bring it up to pitch slowly. Otherwise, the rapid stretching may cause the string to break. 11 Re-Stringing The procedure for re-stringing acoustic guitars, electric guitars and basses, is quite similar in the way the strings are wound onto the tuning machines. There are

47、 differences though, in how the strings are attached to the bridges of acoustic and electric guitars. Guild flat-top acoustics have a pin style bridge with holes and bridge pins to hold the strings in place. Guild jazz and electric guitars have a surface mounted bridge or slotted tailpiece through w

48、hich the strings are fed. To string a flat-top, remove the bridge pin and the old string, drop the ball end of the new string into the hole in the bridge, then re-insert the bridge pin to keep the string in place. Make sure that the bridge pin is positioned with the groove over the string. Do not ha

49、mmer the bridge pin in. A firm push with the thumb will secure it in place. To string an electric, simply feed the string through the appropriate hole in the bridge or slot in the tailpiece. To attach a string to the machine head, thread it through the hole or slot on the machine head, running it halfway around the post, then underneath the main length of the string. Next, pull the string end back over the main length. See illustrations 1, 2 and 3. Make sure that each string is seated well, stretched and snu