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PostPosted: Thu Apr 09, 2009 10:24 am 
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Koa
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I'm torn on which way to put in the truss rod on my first classical (forget for the time being whether I should be putting a truss rod in a CG). Should I access it through the peghead or soundhole? Will access at the peghead significantly weaken a slotted peghead?

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PostPosted: Thu Apr 09, 2009 10:27 am 
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Old Growth Brazilian
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hummm? Well my take on truss rod adjustment is tht it is much simpler to use if access is at the peghead. that way the strings are not in the way during adjustment.

Sorry I can't forget! Why? idunno :?: :D


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PostPosted: Thu Apr 09, 2009 10:48 am 
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Soundhole access leaves more wood around the nut area perhaps making it less prone to breakage.

If it's a slotted peghead, I wouldn't consider having the TR adjusted from the nut end, especially on a classical.

It is more hassle to adjust through the soundhole, but it's not done very often (or shouldn't be, anyway).

I prefer the cleaner look of having adjustment through the soundhole.

That's my story and I'm sticking to it. :)

Pat

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PostPosted: Thu Apr 09, 2009 11:56 am 
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I sure like the ease of adjustment when the access is at the peghead. However, a point of view given in a similar thread last year was if you make it easy to adjust, an unqualified person may mess up the setup with a truss adjustment instead of a proper saddle or nut adjustment.

Steve


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PostPosted: Thu Apr 09, 2009 12:59 pm 
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Koa
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Unqualified person adjusting my truss rod? Heck, I call them knuckleheads!
I'll do anything to keep my truss rod hidden from them.
Probably the number one reason for carbon-fiber reinforcement.

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PostPosted: Thu Apr 09, 2009 1:24 pm 
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Koa
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Guys, looks like the sound hole access is the way to go with the truss rod. Thanks

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PostPosted: Thu Apr 09, 2009 1:38 pm 
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Brazilian Rosewood
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Works for me:

Image

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PostPosted: Thu Apr 09, 2009 1:53 pm 
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Koa
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Very pretty Howard! [:Y:] [:Y:]

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PostPosted: Thu Apr 09, 2009 2:58 pm 
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Koa
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What an outstanding piece of artwork Howard! [uncle] [clap]

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PostPosted: Thu Apr 09, 2009 7:46 pm 
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Brazilian Rosewood
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Peghead adjustment pockets doesn't have any significant impact on strength - most of the breaks I see barely cross the route at the tip, if at all. Basically, if it takes a hit that's going to crack it, it's going to go whether there's a truss rod cavity or not.

I think it more pertinent to say that I see more electric guitars with angled pegheads broken than I do acoustic guitars or Fender style headstocks. I see fewer Fender style simply because they are stronger. I see fewer acoustics because for every one acoustic sitting on a stand in a bar, jam session, rehearsal, etc., there are probably 20, maybe 30 or 40 electrics sitting on stands, with more cables strewn about to trip over, and probably more beer to help increase the incident rate. So of course I see more electric Gibson style broken pegheads than acoustic soundhole adjustable style, but I'd say that it's purely correlation and nothing more.

As to ease of adjustment, I've always found soundhole adjustments easier, simply because I don't have to remove any screws. Stick in the wrench and turn. I've never understood the argument of headstock adjustment being easier, but perhaps it's just because I have all the appropriate wrenches handy for soundhole adjustments. I strongly, strongly disagree with the notion of intentionally trying to make the rod inaccessible to the owner. I could go on about that, but it would turn to a very long philosophical rant that I would probably due well to avoid.

Your case, I would go with soundhole. Maybe it is just tradition, but it would seem awkward and out of place on a classical. No harm functionally to put it at the headstock. Gold sparkle binding and a cowboy stencil on the top wouldn't hurt it either, but I would probably avoid it for the same reasons.

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PostPosted: Fri Apr 10, 2009 8:44 am 
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Koa
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I put all my acoustic adjustment for the trussrod at the soundhole for easy access.My electrics are at the peghead for the same reason.Just seems more practical that way.


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