Nut Slot Spacing *FOOLPROOF METHOD* - Works for 12 Strings Too!

[@guitar_md]

**I'm updating this video, but I'm not sure how long it'll take me to post it. Here are some critical notes for the update** ------------------------------------------------------------------------------------------------------------- 1) Checking the spacing between each string pair *before cutting the next slot* is absolutely critical. Let's say you cut the outer E strings, do the math, set the calipers, and now you're cutting the A string slot. Verify that the gap between the E and the A is *exactly what it should be* before going on to cutting the D string slot. And so on. It should be as close to the value for "S" that you solved for as possible, ideally within .001". That means if S = .235", for example, you should verify that the gap between the Low E and A strings is .235" *before* moving on to cutting the D string slot. Move the string either way as necessary by angling the file left or right, and cutting on that angle before straightening it out and cutting deeper. You can easily move a slot to the left or the right using this technique. This is the most important thing that will be in the updated video. I mention in *this* video that you can verify the spacing after you cut all the slots...but that is not good advice. It's actually dangerous advice that can and will result in a poorly cut nut. For 100% accuracy, you *must* verify the spacing of *each gap* as you cut *each individual string,* every single time. Verify the width of the gap between each string pair *before* moving on to cutting the next string slot. Do that and you'll have a 100% success rate. The last nut I cut had all gaps between the strings within .001" of each other. ------------------------------------------------------------------------------------------------------------- 2) Errors. I said .78 instead of .078, showed 32nd markings on the double square instead of 64th markings, and I'm sure there are a couple other similar errors. I'm really grateful to the viewers who caught these errors and pointed them out. ------------------------------------------------------------------------------------------------------------- 3) I may or may not give some background on how I finalized this method when I was tasked with cutting a 12 string bass nut for my friend and mentor, Steve K. 12 string basses have 4 groups of tripled strings. If you thought cutting a 12 string nut was hard, try cutting a 12 string bass nut. I was scratching my head for quite a while before I finally cracked the code on it. I might include some information on that, or just tell a story in the updated video, whenever I get around to it -- but we'll see.

[@peterjohnson4932]

Another great video, explained clearly with no detail left out and no previous knowledge assumed. Thanks Matt!

[@guitar_md]

Thanks so much for the support. I really appreciate it!

[@marccarlin1]

Excellent. Just found your channel by random scrolling through shorts. Then skimming through what you had this video caught my eye. They say when you’re ready a teacher presents themselves. Well I couldn’t be more ready… my parts bass is laid out on the dining room table with the neck bolted onto the body, the bridge attached and the pickups laid out and tested to make sure it works. Tuners are already attached to the headstock and figuring out what to do next besides uploading pictures to my FB groups to get some attaboys. Well all was done and I then started on the nut. I found a bone nut and was sitting at the table with my hand sanding block lying upwards on the table as I’m sanding the side to fit the slot. I get a call before I finish and had to attend to something else. I come back and now I’m playing with my phone and I make my way to your channel and this video. Makes perfect sense, and perfect timing for me to make a perfect bass nut. Thanks for a perfect lesson. I expect this first nut I’m making will be way better now than if I hadn’t seen it. I also knew a guitar luthier back in the early 70’s named Steve in NYC. My first experience even knowing there was such a thing as a luthier. He worked out of his apartment in a cramped room/workshop and was quite a character. He did nice custom fret markers when he wasn’t strung out. His claim to fame was doing special work for Jackson Browne. I still have a broken acoustic guitar he gave me to play with to see if I could figure out how to fix it. Hahaha. I can’t believe I still have that broken guitar all these years.

[@guitar_md]

You're welcome! And glad the tutorial helped. Thanks so much for writing to me here. Thoroughly enjoyed reading all of this. Funny you also knew a luthier named Steve. The Steve I know started his career in 1968, working for Dan Armstrong in Manhattan. I've figured out a lot on my own, but I never would have gotten started down this path if it weren't for him. And the first years, every single thing I knew came from him. I didn't even know what an allen wrench was when I first started hanging out with him at 14 years old. That was 20 years ago now. He's also got a lot of stories. I've heard so many over the years. He's become one of my best friends, not just my mentor. And lives right down the road from me. Been an interesting time. It was really only the last few years that I even got exposed to other guitar techs and luthiers. Rob DiStefano of Cavalier Pickups is another mentor of mine. I never met him personally. But have been talking to him on TDPRI for over 5 years now. He taught me almost everything I know with pickup winding. I did figure out a lot on my own, but later -- much the same as it was with Steve. Let me know how those projects are going. Sorry I took so long to reply! I've been so crazy busy. Backed up with work and especially working on new videos. Never a boring day here.

[@bernomatic3788]

Wow, thanks so much. I had been thinking in similar ways about the spacing since reading Oakham’s electric guitar book, but your approach of using the calipers themself as a fence brings this to a whole new level. Will definitely give this a try. Merry Christmas!

[@guitar_md]

Thanks so much for the support, I really appreciate it. Made my day. Merry Christmas!

[@artysanmobile]

This is solid advice. I have redone the nuts of all of my instruments save one, my Parker, which was perfect from stock. That included 2 twelve strings and 10 six strings. It was a ton of work, done several times on many of them and I found this same formula on my own. Excellent video here describing many additional details. Bravo! Additional note: Paired strings such as my twelve strings need an extra step as the formula does not cover the inter-pair space. I found this using a capo to temporarily hold the inter-pair spacing of the pair in question on top of an uncut nut. Picking the pair until you hear the sound you will want completes the job, then the outside sum of the pair gives your new basic spacing. As this poster points out, that spacing will usually be much smaller than that of stock paired nuts and will also vary depending on which pair we’re talking about. The basses of octave pairs vibrate much more widely than do the higher pitched strings of unison pairs, so the octave pairs need more room. Again, there is no set number until you try the gauges you use. Did we say this is easy?? No, we didn’t.

[@guitar_md]

If you check 7:15 in the video, I go over how to cut paired string nuts with this method. I've done many, including tripled strings on 12 string basses, with great results. I decide on a spacing between the pairs, then use either a nut file or feeler gauge of the appropriate width as a fence between the pairs. Then I calculate the two strings and the space inbetween them as one big, single string. Then the formula can be used as normal, as on a 6 string guitar or 4 string bass nut. 12 string bass nuts have been the most challenging for me so far, and it was originally the nut that drove me to completing this method to work for paired string nuts. With this method, it doesn't matter -- you could have 4 strings grouped together in 4 pairs and this will work just as quickly and easily. It's pretty amazing. I don't think I've ever seen anyone else cut a 12 string bass nut. They're exceptionally rare. I've only seen one so far, and the original nut was a disaster. I'd like to make a video telling a story about it..I have many stories to tell. And that was a great one. I really was just stuck in a corner on it. I couldn't figure out how on earth I was gonna do it. I'd done 12 string nuts by eye for years, but this was just on a whole nother level. The original nut on that 12 string bass was one of the worst I've ever seen, as bad as a 12 string Jay Turser I owned for years, which was the first 12 string I owned...and I never cut a nut for it, as I didn't learn how to do that until years later. Started playing 12 string at 15 years old, electric guitar at 14. Jimi Hendrix and Leo Kottke being my two biggest influences, head and shoulders above the rest. Nice to reminisce!

[@artysanmobile]

@@guitar_md I did watch in its entirety, noting your ingenious adaptation of the ’giant string’ concept, and offered my additional comments as an enhancement of your excellent video, by no means a corrective. It can be a matter of taste how much ‘zing’ a player wants from their pairs, so I thought I’d mention my capo method as a way to hear it in action.

[@guitar_md]

@@artysanmobile I see! My mistake. I just re-read your comment. I think I misunderstood what you said. And that is a good method. With your capo method you can determine exactly what kind of spacing you'd prefer, and then as you said, measure the outside of the pair to get the measurement for the formula. Again -- my mistake! Thanks for the support and for the comment, and the contribution. I'd be curious how much string gauge comes into play with the 'zing' as well. Very well might make a difference. I like taking notes on things and maybe for particular gauges, different inter-pair spacings can be established as a reference. If you ever find any measurements you like, let me know. Measuring in-between the pairs would be good as well for reference!

[@kennycube5126]

OMG! I’m so glad I’ve found this. I have just started making guitars & I’m finding the woodwork relatively easy. Cutting nuts on the other hand is proving a little more tricky. I think this is gonna help 👍

[@rickwilliams967]

I don't know if you should take this particular person's advice...

[@kennycube5126]

@@rickwilliams967 Hi there! Why do you say that?

[@kennycube5126]

@@rickwilliams967 Nothing to say Ricky boy?

[@kentGrey]

Thanks!

[@guitar_md]

Thanks so much. Made my morning!

[@colintyler7119]

This is the most interesting video on nut spacing i,ve ever seen, makes perfect sense, thanks so much, cbg maker south africa

[@guitar_md]

Thank you so much. Made my morning! Appreciate the support!

[@SL-1009]

Now that I understand cutting the full slot after each interval I can appreciate your approach. 
The spacing is as even as it can be, and center to center distances change only by a few mils. It is perfect really. Too bad files are so expensive. I’ll take down my earlier comments. Thank you for your replies, it’s a rarity. Again fabulous presentation and photography.

[@guitar_md]

No worries about the previous comments! I always encourage all comments as it can help other people if they're having the same thoughts. I actually double checked my method immediately after you posted that comment as I thought you were right. I was 100% ready to take this video down, redo it and reupload it. My first thought was that you'd caught something I missed. I'm never opposed to criticism and my only interest is doing the best and most accurate work I can. If something I'm doing is sub optimal and I find a better way, the old way is going out the window. That's how I was taught many years ago. One of the many bits of wisdom imparted to me from Steve. Has affected my thinking deeply ever since

[@michaelinglis567]

Why didnt i ever think of this?! I love this, using the caliper to rest against is so obvious but I never considered it. Great video! This was recommended to me and the first of your videos ive seen but i certainly subbed for more similar content.

[@tomalcolm]

I hope everyone goes back and watches your old 12 string video.

[@guitar_md]

Thanks so much! Made my night. Appreciate the support!

[@skiukb]

I really like this! I have watched it several times and then learned just as much by spending additional time reading all of your thoughtful responses in the comments below. I am awaiting you promised update! I appreciated the closer paired strings you designed. Hoping you will also go over 12 string saddle spacing tech which needs to be addressed as soon as you squeeze the nut spacing. Anyway I was thinking if I were a carpenter, how I would cut a 2x4 into 5 equal pieces? The sloppy method would be to use a circular saw and measure and cut a piece and then measure and cut the next times 4. Likely the last board would not be the same size as the first 4. To do it accurately I would use my compound miter saw which can easily shave off 1/16" when necessary. I would measure everything from one end of the original board. I would mark all 5 pieces with a razor knife taking the overall length and subtracting the uniform 1/8” blade width times 5. This is what a carpenter probably did when laying out trusses or joists in your house. If they measured each one, one at a time the errors (as you note) would compound. So why not apply this in your method? You already use the double square as your “fence” for the first and last string, why not use it for every string? A few more numbers to deal with but less chance of miss measure. If your digital caliper is used to set/confirm the length of the double square, your precision will be there as well. Once you calculate the precise location for each string you could mark them all with a pencil/blade before you begin as a 1st approximation to see if it all looks uniform. Then go back and measure, and cut each one by gradually increasing the length the double square again to each cut location (measure twice…). If you like to go belt and suspenders you could measure the first time from the hi e, and the 2nd time start out at the low E.

[@PabloGarcia-sf7bn]

Finally! Math instead of voodoo! Can I send you all my guitars? Seriously, it’s obvious when you show comparisons the symmetrical beauty of your method outshines anything else. It speaks volumes that my left jumped at the sight of that 12 string spacing! I want in. Greetings from New Mexico!

[@guitar_md]

Thanks so much! I really appreciate this. I also am my own worst critic and I had many failed attempts while refining this method. The 12 string spacing was inspired by the LKSM 12 string as well. That was the first one I saw where the string pairs were actually very close together. I'd never seen anything like it. Leo Kottke is one of my biggest influences on guitar (along with Jimi Hendrix) and so that had a big impression on me. It had just never occurred to me, despite playing 12 string for years, and working on guitars for years, that the string pair spacing could make a difference. I'd gotten used to accidentally muting strings in chords, accidentally muting strings while playing leads. Just feeling like my hand was running over itself. Widening the spacing and narrowing the string pair spacing fixed all of that. It really does become like a new instrument. I have had people ship me guitars before. I also will add that I've had a few people tell me they were beginners and they had great success using my nut slotting method, even on their own 12 strings. While I'm always happy to help, doing your own work is very empowering and very rewarding and even with in-person customers I am always trying to teach people how to do their own setups and adjustments so they don't need to come to me every time, or even at all. Not great for business but it's the way I like to do things. If you want to contact me you can reach me at [e-mail]. My first choice is always to help people work on their own instruments and make them realize they have the potential to be their own tech and make their own instruments play great -- but if people are really in a bind and need assistance I do my best to provide that within the range of my personal abilities. Thanks for the comment and the support!

[@Riverdeepnwide]

Excellent! Subscribed right away. You know your stuff and have developed your practice admirably. Way to go man. (edit): Oh and it sounds like you have the confidence and experience to not be troubled by some ignorance in the comments. I've been working on instruments for sixty years and would love to have the skilled knowledge you show working beside me. Pay no attention to 'em!

[@guitar_md]

Thank you so much! This really means a lot to me. You sound like my friend, who started his career back in 1968, doing guitar work full time. He's imparted an incredible amount of knowledge to me and I would not be working on guitars at all if it weren't for him. He once told me, "Confidence comes from experience." This nut slotting method is one of the few things I'm *extremely* confident about, as I spent years developing it and it proved itself in a trial by fire when I was tasked with cutting a 12 string bass nut. I *know* that it works, and done properly, it gives perfectly repeatable results every time -- "confidence comes from experience." I'm sure you guys would get along famously. He started out working for Dan Armstrong back in his old shop in Manhattan. He'd busted a Tele pickup and nobody around town knew anything about how to rewind pickups. So he hopped on a train and found Dan after someone gave him a recommendation. The rest is history. He said Dan was an intimidating guy to work for. He really liked my friend, but he did not suffer fools. One mistake on a guitar and you would be out of there, and you were not getting your paycheck either. Again, I do appreciate the support. It means the world to me. And a reminder to stick to my guns. I am working on not being so much of a hothead -- some comments are best left ignored. This whole KZbin game is like having people come into your workshop and comment these things to your face. There is a Zen story about this. A guy gets a bunch of insults hurled at him, and does nothing. When asked why, he just says this: If someone comes to you with a gift and you don't accept it, who does the gift belong to? Very wise. I am telling you this story after leaving a very snarky comment in response to some guy who insulted me. I am no zen master. That's for sure. I get so pissed off. It is kind of funny. But I still understand and appreciate the story it tells. Thanks for reaching out! It's getting later, and is Christmas Eve....probably time to kick back with some milk and cookies. Hope you're doing well and are enjoying yourself tonight!

[@zaprockskull]

Absolutly beautiful walkthrough of this method! I wonder if you have any content about zero frets and if not, what are your thoughts on the zero frets?

[@fenderlead1]

I’ll probably been doing it this way for about 10 years now… Very happy with my results. Important to remember this is really just a matter of taste.

[@guitar_md]

Yes. My friend and mentor has been cutting nuts by hand and eye for over 55 years. That's the way he taught me to do it. You can become remarkably accurate with practice. He lines up the strings by eye, makes a pencil mark on either side of the strings, then uses his thumbnail as a fence for the nut file to make the slot right in the middle of those two lines. We all have our preferred methods. All are valid. My goal here is simply to add an additional method to the pool of methods currently known -- and I believe it has the advantage of making the job *much* easier for beginners, by taking out the guesswork of lining up the strings by eye, or the human error that can be involved with making slot marks over a pencil line, or inbetween pencil lines. My friend said it took him 9 years of cutting nuts by hand and eye to completely master the job, and to know he could nail it with 100% accuracy every single time, on the first try. I remember when I was 15 years old and first started learning from him, he told me "Cutting a nut is what separates the men from the boys." So it's important to note that the importance of the nut was drilled into me from the very beginning. He started his career back in 1968 working for Dan Armstrong, long before the days of string spacing rules and many of the modern tools we all (myself included) take for granted now. Not only that, but freehand routing pickup routs with a full sized router, and so much more. It's been a great privilege to learn from someone truly old school who was working at one of the best repair shops around. Dan Armstrong was a really incredible guy but that could be for another video. I'll see if I can remember some of the stories my friend has told me from way back when, and his own early experiences as a novice guitar tech. The main reason I came up with this was to deal with a 12 string bass nut. 12 strings, with 3 strings in each course....was a total nightmare until I had an epiphany and figured this out. To this day I still don't know how I would have cut that nut any other way. I'd put 12 string bass nuts at the very top of the list in terms of difficulty, at least in my personal experience so far.

[@glasshalffull5150]

Amazing, I will be using this method from now on...

[@guitar_md]

Thank you. Let me know how it goes or if you need any advice along the way!

[@gregbrooks7850]

This may be the best nut video I’ve ever seen

[@guitar_md]

Thanks so much! I'm working on an updated abridged version, which will start at the instructional part. Just me being obsessive as usual, but I did have some corrections I wanted to make, and things I wanted to emphasize. I'm including corrections to a couple of the video clips and diagrams, as well as an important note on checking the spacing of each string gap *before* cutting the next gap. That way, you can be accurate within .001"-.002". Almost CNC levels of accuracy and completely by hand. The key is testing each gap before doing the next one. When you make a shallow initial slot, you have room to angle the file left or right and move the spacing a bit to get it perfect. I did mention this in this video already, but didn't emphasize it enough, and I didn't mention "compounding errors" -- if you're off by .002" 5 times, by the 5th time you'll be off by .010". I've had the problem using this method in the past of getting to the B - High E string gap and having a *majorly* bigger gap than on the prior strings. The solution is simply checking as you go and verifying that the spacing is perfect. I've gotten insane levels of accuracy, like +- .001", doing it this way, and it's all by hand. My friend and mentor Steve K., who I also told about this method, and has seen the video -- has also told me he's come up with an even better measurement. Still uses my caliper jaws as a fence technique, and the double square. But he noticed that with the equidistant gaps, the Low E and A strings look a bit far apart, even though the gap between them is identical to the rest. I'll have to pick his brain sometime about it. He couldn't remember exactly how he did it but it sounds similar to the Stewmac String Spacing Rule, in that they compensate for the greater width of the lower strings. All that being said, using the caliper jaws as a fence is key. That way, no matter what you calculate, you can get it perfect using the caliper jaws. I think the real gem here is the idea to use the caliper jaws as a fence, and then the method I came up with using feeler gauges to space the string pairs on 12 strings, then treat them as single strings. So I'm not offended if someone doesn't like equidistant spacing, or finds a better layout. I didn't come up with the equidistant formula, just the method for executing it, after years of trial and error. Anyway! That's the Cliff Notes. The updated video will simply be a handier and quicker reference with some minor updates and revisions. I might upload the 12 string part separately as well, for the sake of the algorithm. Excited to get more videos out to everyone. People like you really are what keeps me motivated to keep making videos and putting in so much effort to them. Thanks so much for the support!

[@guitfidle]

Got it, thanks!! I think I'll have to make new nuts for my mandolins as well as my 12 string acoustics!!

[@sunday.76]

Just a suggestion but in your video on setting the 2 outer stings from the fret edge or bevel. You reference setting 4/64-5/64 from edge bevel. However, in your video the 4" precision square you are using the 32nd side in the video. A little confusing there.

[@guitar_md]

You're 100% right. That's showing about 2x the distance from the bevel that I normally use. I already cut this nut, but needed footage to show the process -- I have no idea how this happened, but you're absolutely correct..that is the WRONG spacing! I appreciate the catch! Never would have spotted this otherwise. I'm really frustrated with myself over this, and I'm so meticulous with my videos that missing an error like this drives me nuts. If I don't end up pulling and re-uploading this video, I just hope people will see this comment to "correct" the error. I've pinned it for good measure.

[@sunday.76]

@@guitar_md No worries, mate. Great video well explained and detailed. I just happened to notice and just assumed it was an error as 5/64 seems more precise for the spacing than 4/32. I've been using a string spacing rule. I may try this method on my next nut I make. thanks for sharing.

[@guitar_md]

@@sunday.76 I really appreciate it. Never in a million years would I have caught this mistake if you hadn't pointed it out. And I'm such a stickler for macro shots. The 64th markings are not only correct but look more impressive in super close-up detail. On the reupload I just might break out my Raynox 2.5x magnification lens and get even closer, just to be a show off! I've been meaning to make some videos going over my cameras and lenses as well.....whole nother topic. Let me know how the nut goes. The string spacing rule is a fine tool, and achieves a sort of improved center-to-center string spacing. Merely a different 'flavor' of string spacing. For me, this method is my favorite...and for paired string nuts, it can't be beat. Without this method I would have been lost in the weeds when I was tasked with cutting that 12 string bass nut, with its tripled string courses. Would've been a total nightmare otherwise. That bass was actually the last step in me developing this method as I had to come up with *something* to be able to do it!

[@sunday.76]

@@guitar_md Nevertheless, you have more attention to detail then most so-called hacks that call themselves luthiers. Take a look at what comes off the factory Gibson line. Some of the worst cut nuts. Even with the Plek machine. spacings all over the place. It definitely makes a difference on how it feels and will play if done correctly. keep it up. just subscribed.

[@John-William-000]

If only the guy knew how to use the metric system. You know like the US monitory system. 😂 😂

[@justin_smith556]

as a machinist I can say this method seems solid.

[@guitar_md]

Thanks so much for the support. That means a lot to me considering how strict machinist tolerances are. Appreciate it!

[@DrRepper]

For conventional instruments it's easy: divide nut width by number of strings. That gives you the figure for your inner spacing. Divide that figure by 2 for your outer spacing. Done. Way more complicated for 12 strings etc so I'll bow out there. That's what I do for my guitars anyway.

[@Noillintents]

This is my approach. Perfect for 6 strings.

[@fr1200]

always think about that methodology, but i never had that tools to do it, thanks for make it real

[@guitar_md]

You're welcome, and thank you for the comment! I'm glad that I was able to make a video about this method. You may have even thought of it before I did, but like you said, didn't have the tools to do it. I look at guitar work as a collective. I'm just happy to add new methods/techniques to the collective pool of knowledge. Just one more option for people to use. Thanks again!

[@lorencing]

Amazing tips man, much appreciated! Thanks.

[@guitar_md]

You're most welcome. Thanks so much for the support!

[@Imposibilitron]

Great video! but what about spacing on the bridge side? All the 12 string bridge sold with huge space between strings. I am currenltly working on 12 string tune o matic bridge. What spacing should i use?

[@RevoFoto]

Most excellent video!!! Awesome tutorial.

[@stanstolarski8325]

Thank you for sharing your knowledge. Stay well. All the best to you & yours .

[@guitar_md]

Thank you so much. And all the best to you and yours as well -- thanks so much for the support!

[@SimonDuffy2]

I refer to the original video for every nut I make. It's great. Will update to this one. Any chance of a long form video on setting the neck relief?

[@guitar_md]

Thanks so much! I've been slowly working on a neck relief adjustment video. There's a whole lot to cover. I'm sure I'll forget something but I'm doing my best to cover all the bases. Cliff Notes version: You can use a Digital Action Gauge to measure the relief at the 7th fret, after putting a capo on the 1st fret, and using a dowel threaded between the strings to depress the string you're testing at the last fret. This is the best alternative I've found to using a Digital Neck Relief Gauge (from G-Tech Guitars). Davide Bissoli from Rectify Master came up with the original Digital Action Gauge, so credit goes to him. But using the string as a straightedge, and using a digital action gauge, you can get pinpoint accuracy. And it works on any scale length too. The Digital Neck Relief Gauge only works on guitars and will not work on basses as it won't span the correct frets. In the video, I want to address other methods, such as feeler gauges, but I *never* use feeler gauges when checking relief. They just can't compete with a digital action gauge. Digital gauges overall give the most accurate readings on everything. And it was actually a customer of mine that suggested using something threaded between the strings at the end of the neck to depress one string at the last fret at a time. Brilliant suggestion. And it does work great. So that holds the string down at both ends and totally frees up both of your hands to check the relief at the 7th. I also will highlight the importance of checking relief on the Bass - Middle - Treble sides, to look for any differences. This will reveal potential twists in the neck. Usually there are very minor differences but it's good to know what you're dealing with. Also, I've gone to using Wera Hex Plus allen wrenches. They're phenomenal. The most common sizes are 5mm, 4mm, 3mm, 3/16", and 1/8". You can use a socket as a breaker bar to increase leverage, as in, sticking the allen wrench into a Fender headstock the long way. This clears the strings, but you need the extra leverage to have enough power to turn it. I get aluminum dowel rod, chuck it in a drill press vise and drill them out, but a socket works just as well. There are many solutions for this. I could go on and on. These are the things that go through my head as I'm writing a script, which usually takes multiple revisions over months. I will also point out some safety tips, primarily how to find the right size wrench -- you go gradually *down* in size with allen wrench adjusters, and *up* in size with socket adjusters. You always want to make sure that you can't strip the adjuster. The Wera Hex Plus have more prominent contact points that are less likely to strip an adjuster. I'll also cover how I adjust the tension with the strings on, and tuned to pitch, probably 90% of the time. I'll have to demonstrate how to back clamp a neck as well. To totally back off an adjuster, then clamp the neck into a back bow before tightening the adjuster -- this is necessary in some stubborn cases. It also may be necessary to remove the adjuster, add a washer over the threaded truss rod, then reinstall the adjuster. I usually like to put a drop of 3 in 1 oil on the adjuster threads to keep everything working smoothly. Then there's the issue of potentially needing to remove the adjuster and clear out the wood around the adjuster. That can cause the adjuster to hang up. So....lots for me to think about. I'm also including some graphic demonstrations of how a truss rod works. There's so much to cover for such a seemingly simple operation, but if an adjuster is working perfectly -- it's very easy to do. The problem is when an adjuster isn't working great, you don't know the correct size, or you go to turn it and it seems to be doing nothing. There are many caveats I have to cover. Anyway, hopefully this was of some use to you. It will likely be a long time before my truss rod adjustment video is completed. But I do have it in progress. I hope these notes I just wrote out for you can be of some use and get you started. It takes me forever to organize my thoughts as, if you couldn't tell -- I'm quite scatter brained and so organizing my thoughts into a coherent format usually takes me months of work to complete. I look forward to it! I'm also excited because a neck relief adjustment video might be my most accessible yet.

[@guitar_md]

Also, for now, here's a short one: kzbin.info/www/bejne/pX3YZ32IZZ5pnJosi=kEUGP0eBTxOP6Btd I've already progressed past that by the trick I mentioned to depress the string at the last fret as well as the first -- but the same thing applies. I might even just delete that video and re-upload a new version in the meantime.

[@SimonDuffy2]

Wow. That is an awesome reply. Thank you. I, for one, would really appreciate seeing your approach to neck relief. If it's anything like this nut spacing video, it will be killer.

[@ClinToneCust23]

Golden knowledge wish I could give you 1k likes myself!! Best luthier video on KZbin!!! A million thanks 🙏

[@guitar_md]

Thank you! Made my night 🎅

[@Ibaneddie76]

Great and informative video! What are your thoughts on angled nut slots as in angling the string path in line with the tuner to alleviate odd string path angles? You see it more with electric guitar companies that have poor headstock designs, the string leads the nut then needs to make a hard angle in order to reach the tuner witch puts pressure on the side of the nut slot and or needs extra string t's or guid too keep the string from popping out of the nut slot. I've found that cutting the nut slot at an angle in line with the tuner helps (sometimes)!

[@guitar_md]

I generally do this. Cutting at an angle seems to help, and I've seen other guitar techs do this, such as Strange Guitar Works, if I remember correctly. I mostly think of doing this on angled pegheads, but the more exotic "hockey stick" style pegheads are good candidates too. I will add this: the height of the nut in relation to the slots is extremely important on guitars like this. Especially ones where the Low E is entering the slot at an extreme angle. This makes the edge of the nut highly prone to chipping or breaking off completely. Generally, having a little bit of the wound strings sticking up above the slots (e.g. 1/4 to 1/3 of the string) will make sure the nut is as strong as possible, resistant to breaking -- while also holding the string securely in place. If the slot is too deep, it becomes a greater risk. Paired string nuts are an even much higher risk as that wall in-between the string pairs is extremely thin. As for more normal angled pegheads, I have a friend who's a huge fan of the String Butler. This thing gets a ton of hate. I'm not sure why. It's nondestructive. You can install it and take it out with no modification to the guitar. It mounts under the tuner nuts. My friend claimed that it has worked great for him. With more exotic pegheads of course, all you can really do is angle the slots -- and make sure they're the right height. I recently got a set of diamond nut files as well. I haven't tried them for angled slots yet. But I do wonder if their cutting action being on the sides, as well as the bottom, would be a benefit there.

[@ernestmagikyan]

when foolproof is definitely not for fools..

[@matthewhaggerty2826]

For real.

[@tobiusmanning7336]

This is an interesting method, this will give equal edge of string to edge of string spacing. I always thought center of string to center of string spacing is the goal? In that case the math would be a little different, (A+1/2 diameter of outer strings)/C-1/2 diameter of the adjacent strings - 1/2 the file width, so the spacing between each pair would be slightly different, though the error with the video method isn't great. Not sure how this would work/feel on a 12 string, the center to center vs edge to edge method. I may be cutting some nuts soon and see if I notice a difference.

[@SunsetPunk]

Amazing method! Can’t wait to try it out 🥳

[@guitar_md]

Thank you!

[@proguitarsetups137]

Absolutely brilliant! Thank you for sharing. Just one questions though. The even spacing for all strings can sometimes sort of crowd the bass strings as they are thicker. Does your formula account for that? Cheers.

[@guitar_md]

Thanks so much! I find the opposite to be true with this method. The crowding on the wound strings comes from using even *string center* spacing, so all the centers of the strings are equal distances apart. Since the low strings are thicker, this will cause crowding on the low strings, as they'll be closer together than the plain steel strings. It's like having 6 people standing with the center of their bodies exactly the same distance apart, but the first three people are 400 pounds each and the last three people are 150 pounds each. All equally far away in terms of the centers of their bodies -- but you bet the bigger people are gonna be closer together! With this method, the *gaps between each string* are all the same. This completely solves the crowding issue. This would be like taking that same group of six people and saying you each are going to stand exactly 2 feet apart, measuring from the edges of each person's body. The Stewmac String Spacing Rule, as far as I know, uses equal string center spacing, but compensates it a bit. So the Stewmac tool is its own spacing, and was formulated to help correct that crowding problem on the wound strings. My favorite is the method in this video. I find it works very well, and is extremely comfortable to play. It also just looks right. And I'll never forget my friend and mentor telling me about his dad who was a pilot in WWII. His dad said about airplanes, "If it looks right, it'll fly right." Hope this helps!

[@proguitarsetups137]

@@guitar_md Great! This makes sense. I'm looking forward to trying it.

[@PatrickJWenzel]

It’s a novel idea however if your nut files/slots are any wider than each string gauge you’re introducing a compounding error. But hey, it’s works for you! I use the edge of the nut as a reference point and the external caliper points to scrape a mark through a sharpy line and free hand each cut from there.

[@guitar_md]

This is true. However, I present a solution for this in the video. It does not just work for me alone -- it will work for anyone and everyone that follows my instructions. This is an important point, as my goal with this method was for it to be foolproof, which it is. The solution: I tilt the file to adjust the slot as necessary to account for this. With the initial mark being shallow, there is *plenty* of room to move the slot left or right any amount needed to compensate for discrepancies between the nut file and string gauge. Then you re-test to make sure that the distance between the strings is as close to "S" as possible, before moving onto the next string. The value of "S" is calculated based on the *exact* string gauges used on that specific guitar. So getting each space to "S" will result in perfectly even string spacing. Most strings will only ever be a couple thousandths off as well, assuming a full collection of nut files. The standard Stewmac files are: .010" - .013" - .016" - .020" - .024" - .028" - .032" - .035" - .042" - .046" - .050" - .056" - .065", for guitar gauged strings. All gauges will fall within very close ranges of those files. The tilt is something Steve showed me as well. He has exclusively cut nuts by eye for 55 years -- I also did this for well over 10 years and then slowly started conceiving of a foolproof way to do it. Calculating for "S" will provide the precise spacing between each string for the exact set of strings. Using calipers to measure the space between each string once a nut is cut will very quickly show how even those spaces are. I've been quite surprised at times doing it by eye. Sometimes perfectly even spaces do not look even, almost like an optical illusion, but the calipers will reveal perfectly even spaces. Other methods are fine. And there is a margin of error that is acceptable -- even just changing string gauges a little will affect the spacing, but typically if the gauges are kept within a few thousandths of the previous gauge, this is not noticeable at all. I do want to clarify that I would never dog other methods. To each their own. .y friend for example does nuts exclusively by eye and they come out better than anyone else's I've ever seen, consistently. The purpose of this method is to make that level of perfection accessible to everyone. My friend and mentor told me it took him about 9 years before he knew 100% that he could cut a perfect nut every single time on the first try. I struggled to do this myself even after years, and the real challenge was a 12 string bass nut, shown in the video. I would certainly never want to cut paired string nuts by eye and this method takes all the tedium out of it. I do appreciate you pointing this out. And I only wish I had thought to mention that in the video. I did mention tilting the file but did not address the compounding error if those instructions are not followed. My friend also uses his thumbnail as a guide and makes a pencil line on either side before cutting down the middle. Again, many roads lead to Rome -- but my goal was to take the guesswork out and make a very challenging job much easier to accomplish for people with less experience. Though I do think it's appropriate for people with more experience as well, if they're willing to give a new method a chance. Thanks again for the comment and again, I just wish I had mentioned this in my video. There's always some oversight and something I forget to mention yet I always strive for my videos to be as comprehensive and complete as possible. Hopefully curious people will see your comment and my response and fill in the gap.

[@PatrickJWenzel]

@@guitar_md I truly appreciate that you were willing to share additional time on top of your video production to provide a clarification. Thank you. I will try your method and perhaps also try using nut file widths instead of string widths for the equation as this would resolve the compounding error. I should have suggested this in my original comment, so there you go we can lament our regrets together. For interests sake my personal guitars are spaced evenly centre to centre, as opposed to string-edge to string-edge. This obviously makes the spacings appear more tightly grouped as you get close towards the heavy strings. As you mentioned, the paradox of perfection in numbers presenting as visually incorrect. Thanks again

[@guitar_md]

@@PatrickJWenzel I appreciated your comment and the point you made was very intelligent, and suggested something I had not thought about. You did indeed catch something I missed, and made a point that I was up until now unaware of. I hope you didn't take any offense at my response. I come off as very stern but in my mind I'm merely describing things objectively. Perhaps I should have clarified that I wish my channel had more comments like yours, that have objective, useful criticism, and point out things I may have missed, in a respectful, objective way. Center to center spacing is something I have no experience with. I do know that some people prefer this. I would love to know the best way to achieve this, whether a method already exists or I could come up with my own version. As a player as well, i have no personal experience with center to center spacing. I'd have to try it extensively to evaluate my own preference. Just like with compound radius boards, people may tend to feel strongly one way or another. There is no definitive answer -- just preference. I would have to think long and hard to figure out how to reliably create such a spacing, preferably using a fence, like I did in this video. Again...great point, and it is something I'm going to keep in mind. As good as this method is, I have run into issues in the past with this "compounding" error. Like a ship that's off by 1 degree. Well, by the hundredth mile, it's going to be off by a lot more than that. Same thing with the nut, and I have actually experienced this firsthand. i'd let a couple thousandths' discrepancy slide, then by the time I got to the B string, it was .010" out of spec, and I'd have no idea why. I have a better understanding of this now thanks to your comment. So don't be shy to speak up. I not only welcome it but I deeply appreciate it. I can only cover so much in my videos and I do rely on my viewers and commenters to catch mistakes I might make. I want to make sure you understand that I value your input and I'm grateful that you pointed something out to me that I was unaware of before reading your comment. These are the most inspiring comments to me and are a great service to the guitar community as a whole -- people can read through threads like yours and learn even more, just as you've helped me learn more today.

[@XHuntinatorX]

Does the formula need to be applied for each successive string or just once? So for instance the “D” string formula would be “A” = distance between the “A” and high “E” string, “B” = width of the “D”,”G”, and “B” strings summed, “C” = 4, and then solve for “S”.

[@guitar_md]

Nope -- and thankfully! It's much easier. Allow me to explain. Feel free to ask if you need more clarification: The formula is exactly how I laid it out, and is only done once. You only solve for "S" one time per instrument, and you're done. Whatever the instrument is, your value for "A" is the measured distance between the outermost strings. So on a Bass, this would be the distance between the E and G strings. On a Guitar, it would be the distance between the Low E and High E. Whatever the instrument is, your value for "B" is *all the diameters of the inner remaining strings added together.* On a Bass, you add together the A and D string diameters, but don't add the E and G string diameters. On a Guitar, you add together the A, D, G, and B string diameters, but you don't add the Low E and High E string diameters. A = measurement between the two outermost strings, B = total added diameter of the remaining inner strings. C = the number of 'gaps' you have between the strings, which you can count. 5 on a guitar, 3 on a bass, and so on. Doing this formula, you will only get *one* value for S. This is what you set your calipers to. I'm redoing this video by the way! To have clearer instructions. It's critical that as you go along, you measure the gap between each string pair. So you cut the A first, for example -- you check with your calipers to make sure the gap between the E and A strings is as close to "S" as possible before moving on. Say you calculate S = .230". That would mean your calipers should read .230" between the E and the A strings before moving on to cutting the D string, and so on. Doing it this way, you prevent compounding errors, meaning if you're off by .003" on each string, by the time you get to the B string, you'll be off by .015", which is very noticeable. Check your work as you go and you'll get a perfect result every time. Does that make sense? Let me know -- if not, I'll be happy to explain again and will try to do it in another way if this wasn't understandable. It's tricky at first but as soon as you understand how it works it becomes very fast.

[@XHuntinatorX]

@@guitar_md Thanks very much for replying! Actually, I think you explained it nicely and I had no problem understanding the process aside from my question in the above post. Subbed and watching your other vids. Thanks again for taking the time to clarify that for me!

[@kellypeterson2625]

excellent!

[@yoheff988]

Great video!!! How would you decide on what distance between string pairs to go for (is it random?) on double stringed instruments?

[@yoheff988]

That was a question, not a comment.

[@guitar_md]

Thanks! For 12 string pairs, around .028" or 0.7mm is about the narrowest I've been able to get without issues. .042" or 1mm is narrower than stock paired string nuts and is much more comfortable. Stock paired string nuts are usually around .080" or 2mm between pairs, as far as I've measured. .080" or 2mm is OK between the strings at the bridge. That seems to be pretty standard. .042" or 1mm at the nut feels very comfortable to me, still plenty of room for the strings to ring out, and much better fretting with less accidental muting of strings. I'd bet around .080" / 2mm is standard because that seems to be typical spacing between the pairs at the bridge. But the problem is the neck is way narrower at the nut than it is at the end, let alone at the bridge. These days I err on the side of .042" / 1mm between pairs, but on my personal 12 string, I set them to .028" / 0.7mm apart. No buzzing. And very easy to play. I also re-radiused that board to a 7.25" / 18.4cm compound radius and between that and the new nut spacing, it's *much* easier to play.

[@yoheff988]

@@guitar_mdThat's what I call a sufficient full answer, many thanks.

[@TypewriterJustice]

solid methodology, excellent explanation, great video - thanks!

[@guitar_md]

You're welcome. Thanks so much for the comment and support!

[@eolden7749]

I suppose this would work for spacing on a saddle also. Super.

[@guitar_md]

Yes! I've used this many times for notching saddles, and it works great. Thanks so much!

[@simplesimon4561]

I'm new to custom guitar work and was curious, when using your formula is there a reason you don't factor in the width or the nut blade, thanks

[@guitar_md]

The reason is because the only width that matters when spacing the inner nut slots is the distance between the outermost strings. And the only distance that matters with the outermost strings is their distance from the bevel of the 1st fret. The overall nut width is irrelevant, as the strings have to be a certain distance *from the bevel of the 1st fret* in order to play according to the player's desire. You could have the exact same nut width on two guitars, but on the guitar with the fret bevels cut in farther, the strings will need to be spaced farther in, and vice versa. Some players prefer the strings closer to the bevel. Some prefer them farther in. So to recap: The outermost strings are spaced *in relation to their distance from the fret bevel*, and the inner strings are spaced according to the width between the outermost strings. Other methods take the nut width into account. In my opinion, this method is more accurate, and is tailor-made for the exact instrument, with its exact string gauges, and exact fret bevels. Using the nut width as a measurement is possible, but will result in a cookie-cutter approach, where fine details are missed. I'm of the firm belief that the best way to make a nut is for the individual guitar with its exact, individual specifications. In the case of this method, those unique specifications would be the string gauge, and the fret bevel. Using my method as laid out in this video will require doing the same operation from beginning to end for each individual guitar, and there will be no shortcuts -- but it will result in the best possible nut that can be made 100% by hand, with "best" meaning the most accurate even spacing, as measured with digital calipers. Let me know if that helped answer your question at all or if you need any more clarification. Thanks for the comment!

[@simplesimon4561]

@@guitar_md wow thanks for taking the time to write out such a detailed answer, yes that makes much more sense to me now, thanks again

[@MetallNYX]

Thanks a lot mate.

[@guitar_md]

Absolutely! I'm in the process of redoing this video to correct a couple mistakes and to clarify some things, so stay tuned if you're interested. The main thing is to check the spacing *for each string as you go.* I can't stress that enough. You'd think that's obvious, but I wasn't doing that, and was ending up with a compounding error by the time I got to the B string. A few thousandths off on the previous four "gaps between the strings" means .012" or more off by the B string. But checking each gap as you go and correcting to perfection by angling the file and moving the string a little whichever way it has to go -- I can guarantee accuracy of about .001". When you check as you go, you can't miss. That and I made a couple goofs with typing out the wrong numbers and showing incorrect markings on the ruler. Overall mostly minor stuff, but the updated video will be better. Thanks so much for the support! Just wanted to tell you these updates so in the meantime you'll be able to benefit from them, as the updated video will take me quite a while to finish.

[@lifegettingintheway2710]

Once you have the two outside strings located you can take the nut from instrument over to the bench and put it in your bench vise or other holding fixture for finishing. No point to risk damaging an expensive neck. Also record the angle from centerline for each string from the nut to the tuner. Less important on a Fender neck than a Martin neck.

[@guitar_md]

You are correct, and many techs make nuts the way you've described with great success, and also like you said, with no risk of damage to the guitar. However, this method requires the nut and the strings to be on the guitar. Caution is certainly required. My goal here is merely to present another option for nut slot spacing, to add to the pool of pre-existing methods. I find it's *especially* helpful on paired string nuts -- 12 string bass nuts being the hardest I've encountered, with tripled strings in four courses. That 12 string bass nut was actually the inspiration for this method, as I could not wrap my head around how I was going to do it cleanly and accurately. The original was a mess, as you can see in my video. The angle is also very important, as you said. I remember the first time I realized the angle also has a significant impact on intonation. I was quite surprised. All roads lead to Rome. Simply another path here. But caution is warranted as you pointed out. Particularly if resting the jaws of the calipers on the fingerboard. In hindsight I would have added an annotation that mylar film or even a strip of masking tape can be used over the fingerboard to protect it, though I've never had a problem -- better safe than sorry, for sure. A minute of preparation can save several hours of headaches. Cutting the slots in a vise as you've advised would certainly avoid a lot of pitfalls, and many techs, if not most of them, prefer to slot their nuts the way you've described. Thanks for the comment!

[@MichaelBen-Yehuda]

No matter what, the final adjustments need to be done on the guitar. Protecting the surrounding area is essential. Fot equal gaps, needing the strings in place precludes taking the nut to the bench. I think a lot depends on the instrument and head stock as angled cuts, tapers, etc come into play. Skill is certainly required for this job. I think the creator makes that point several times. My only suggestion is that only a small locating notches at the leading edge be cut. Afterwards the correct cuts can be angled as needed for the instrument.

[@mookytc]

Great work Matt!

[@guitar_md]

Thank you so much!

[@anthonywhite6530]

Excellent

[@seventhson9441]

OK, " DOC " 😊 I have decided to make my 6 string acoustic into an 8 string. By Adding an octave higher on the " D " and " G " strings. ( The amount of chime I am looking for ) Your video is very Very helpful. I feel there is no reason to have 3 high range " E " strings. ( as is on a regular 12 string ) For me that is too much Chime. I will either CUT my new Nut, 😚, or, modify a 12 string nut, to accomplish the spacing. ( Please do not inform your lawyer friend about this concept ) At 12:05 I am going to take the same liberty , to space the strings on the Saddle !! This is the information,....spacing,...depth,...I've been looking for. To space them I am trying to decide how wide my D and G vibrate,....along with,...... how wide the octave higher D and G,.... vibrate. I'm thinking on the down stroke ,....if my pic hits the higher octave string first, the lower octave string,..... will not vibrate quite as wide as when that , higher octave string was not there ??? My UP stroke is usually not as hard as the down stroke.

[@guitar_md]

The narrowest space between the string pairs I've used is .028". I think that's a good guide to go by -- they will be close, but shouldn't buzz with that much distance between them. It might be possible to go narrower, but .028" between pairs is quite narrow. Even .040" is narrower than most paired string spaces from the factory -- you might even try .032" as a middle ground. I'd say anywhere from .028" - .042" should work. You might be able to get away with narrower -- but I wouldn't go much wider than .042". Plenty of space there.

[@mjklein]

i’m really curious why the Stew Mac gauge didn’t work for you. I’ve also had a drilled in my head that the spaces between the strings should not be equidistant. I’d like a little more information about how you came up with your methodology.

[@guitar_md]

All right. But bear with me, as it's going to be a very long story! I like talking and typing a lot, so here we go: I first learned how to cut a nut about 20 years ago from my friend and mentor Steve K., who started his career working for Dan Armstrong in Manhattan back in 1968. The way Steve cuts nuts is by eye. He lines up the strings so they're equally far apart by eye, then makes a pencil mark on either side of the string. Then he holds his thumbnail between those two pencil marks and cuts the slot with a razor saw as a set mark before going in with a nut file. I can't remember if he does this on the wound strings as well or just lines up the nut file between the marks. He also made it very clear that he does them the same way every time, with equal spacing between the strings. He said he used to indulge customers that said they wanted "a little more space between the E and the A" or some other custom request -- and they were NEVER happy with it. Then he started cutting them the same way every single time no matter what custom request for slot spacing people had, and he never had another complaint ever again. He's told me that story dozens of times. Anyway, I did it this way by eye for years and years. Never checked the spacing with calipers so I have no idea what the true spacing I was getting was. But I had mixed results and struggled to get my nuts to the quality Steve's were consistently. Scrapped many of them, over and over again, over a long period of time. Most customer jobs would take me 2 or 3 tries to get right. I went through a LOT of bone and buffalo horn blanks. Eventually I got a Stewmac String Spacing Rule, but I had the same problem with it as the other method: lining up the saw or file over or between the pencil marks. My main gripe with pencil marks is that cutting over or between pencil marks will *never* be as accurate as using a fence. It's an extreme example, but it's like using a double square to draw a line on a piece of lumber, then cutting along that line freehand on a band saw, vs. using a fence on the bandsaw to make the cut. The line is drawn perfectly accurately, but cutting along it freehand is another matter. And it isn't that extreme of an example when you account for how critical nut slot spacing is and how easy it is to be off by .010" or .015" when cutting over or between pencil lines by eye. Steve still cuts nuts the way he always has. No string spacing rule, and he doesn't use my method either. I remember over and over when I was learning from him he told me that nuts *had* to be cut by eye, and it was the only way to do them right -- and I *did* cut a lot of great nuts over many years doing them that way. Now flash forward to my method using calipers as a fence. I was using a mix of the Stewmac String Spacing Rule and the "by eye" method I learned from Steve for a long time. I was struggling with both. I tried scribing lines in the Stewmac tool instead of using pencil marks, then gradually going up from small nut files to bigger nut files, to make sure the line was staying dead center. But I struggled with it, and as I got into more complicated jobs like 12 string nuts, I couldn't figure out how to use the ruler at all. I know people have, but it was too complicated for me. I'm a simple guy and it was hurting my brain trying to figure out how to cut these nuts properly with the string spacing rule -- but it was also virtually impossible to do by eye. I didn't cut many 12 string nuts before deciding there had to be a better way. And for regular nuts as well. I was tired of scrapping nuts after getting the spacing wrong, either the outside strings too far apart or too close together, or getting the spaces between the strings uneven. After all that work thicknessing, fitting and shaping, only to screw up on the slots dozens and dozens of times -- I slowly started coming up with the idea. I found the nut slot spacing formula online. I can't remember where. But it was the ( A - B ) / C = S formula, though I changed the letters from whatever they were originally. The problem was, the people suggesting this formula were also pencil mark users. And that was not going to work for me as it wasn't accurate enough, and I didn't have great mechanical ability to use pencil marks as a guide without screwing up. I first thought of using the calipers many years ago. Originally I was using an Xacto knife with a #11 blade to scribe a line against the jaws, then used a small nut file to start the slot, and graduated up nut file by nut file until I reached the final gauge, say a .046", for example. Then at some point it occurred to me that I could simply use the nut files themselves against the jaws, and get a perfect cut every single time. It's rarely off by more than a few thousandths of an inch, which is easily corrected to perfection by slightly tilting the file one way or the other. So I was doing regular 4 string bass and 6 string guitar nuts with that method for a while. And it was working great. But then Steve tasked me with a 12 string bass nut. The pictures are in this video, the first ones in the video as a matter of fact. The original nut was an absolute disaster, and it was so bad I actually had to look up 12 string basses on the Internet. Because I wasn't sure what they were *supposed* to look like. The way the nut was cut it almost made it look like it was *supposed* to have some really bizarre string spacing. When I realized it was tripled strings in 4 groups, well. I didn't know what to do. Doing it by eye seemed too daunting and I had no idea how to use the Stewmac Rule to do it. It took me days of thinking and ruminating. Then eventually I had a lightbulb moment -- using the nut files themselves as a spacer, like a feeler gauge, to control the spacing between the pairs. It also occurred to me that all paired string nuts effectively have really big "single strings" -- when you account for the space between the pairs, the outer diameter of the string pair is effectively just a big single string. And then I realized it would work exactly the same with the ( A - B ) / C = S formula I'd been using for so long already with so much success. That's when it all clicked, and I realized this method can be used to quickly and easily slot any kind of nut with regular string spacing, no matter how many strings are in the groups. So, I had the opposite training in the beginning. It was drilled into me that the spaces between the strings had to be equal. I never even heard of equal center-to-center spacing. Even one commenter from some months ago who explained it, I had to read over his comment many times to understand what he was talking about. The Stewmac Rule seems superior to me to that method, as it accounts for the crowding of the low strings that happens when you use equal center spacing. It is an ingenious tool, no doubt, and probably the best tool available for doing center-to-center string spacing with that extra allowance for more room between the heavier strings. I didn't even realize any of this all those years. Was just doing what I was taught and then using the Stewmac Rule without really understanding the nature of the spacing it was designed for. I've been a *very* avid player for 20 years now, with Jimi Hendrix and Leo Kottke being my two biggest influences. Slotting 12 string nuts the way I do now made a tremendous difference for me on my own guitars. And on my Strat, same deal -- massively improved playability. It's been so long since I used the Stewmac Rule. I won't write it off. I'm a bit dramatic in my videos sometimes to make them more entertaining to watch, like throwing the Rule in the garbage can -- but I still have my Stewmac Rule and I may try experimenting with it again to really give it a fair shot and assessment vs. my caliper method. I will say I've had a tremendous amount of success with my caliper method, and I'm one of my best customers with it. I do all of my guitars the same exact way with that same method, and I absolutely love the way they play. A blind test would be best, really. I do believe my method is the absolute best out there for doing equal gap spacing. But for equal center spacing, the Stewmac Rule seems to have the edge, and is better than the standard method, which does not account for the crowding of the low strings when using equal center spacing. Anyway, I could talk about this all day. My brain is already gnawing on the idea of how to achieve the Stewmac Rule spacing for equal centers while using calipers as a fence -- I really do believe it's the best method currently, and using a fence will always be foolproof, and much more user friendly than doing anything freehand or by eye. That's the last part of this story: Steve is incredibly mechanically gifted, and many of my methods I've come up with (a lot of unique things with template routing, in addition to this nut slotting stuff) -- I came up with these methods because I'm *not* innately mechanically gifted, and I found myself repeatedly getting frustrated at not being able to replicate the freehand results Steve would get constantly. He learned to rout pickup cavities freehand, and I thought that's what you had to do as well. I figured out template routing on my own and all the methods I've come up with since are based on being idiot-proof, using fences/guides/templates as often as possible to safeguard against human error. I'm sure there's points I didn't get to, but hopefully that tells enough of a story for you to understand where I came from and how I came to creating this method. I appreciate the question and I'm glad I had the opportunity to answer you here, and again, hopefully this clarifies the history behind this method.

[@smokNmiras]

@@guitar_md wow! Thanks for taking the time to type out this response! VERY thorough! 🙏👍

[@zitnbit]

Interesting. I plan to make the new nut for my strat-ish guitar. I plan to put every strings on the new nut, then cut the nut following the strings. Because, fender guitars have straight strings from a bridge to a head machine. Is it wrong way? Do I need to measure string spaces for fender guitars?

[@walterw2]

nice! i'm on team "equal-spaced centerlines" myself but i'm still totally stealing the double square trick for the initial outside spacing, as well as the feeler gauge gapper for double courses trick either way, for equal-spaced edges this is super elegant!

[@guitar_md]

Thank you so much! I've never tried "equal-spaced centerlines," but I have heard of them, and I know some people swear by them. I'd be curious if you have a way of cutting those slots consistently -- my brain is already working trying to figure out how I would go about doing this. The double square trick was a godsend for me. I was so frustrated after over 10 years of cutting nuts and struggling to get the outside string spacing exactly where I wanted it. And yes -- the double square and the feeler gauge trick will work for equal centerlines as well. I'd like to make more casual videos in the future talking about my experiences. This method was born out of a combination of struggling with pencil lines for many years (I never could cut over the lines as accurately as I wanted to, and invariably this led to many scrapped nuts).... ...but it really was finalized when I was tasked with cutting a 12 string bass nut. I couldn't even find anything on the Internet about how to do this, and it was hard enough to find anything on cutting 12 string nuts...and what I did find was not helpful to me. The 12 string bass, with tripled strings in 4 courses, was the most challenging nut I ever had to cut. And was the main catalyst in me inventing this method. I was so beyond thrilled when it worked and then I started slowly working on making a video about this methodology, which I first published a couple years ago in my video about how to cut 12 string nut slots. Anyway! Curious to hear about your experience with equal centerlines. I'm almost afraid that if I try a guitar with a nut cut like that, I might like it better! I'm a big believer in "you never know until you try." That 12 string bass nut deserves its own video. One great thing about KZbin is you do build up a catalog over time. I find myself referring people to old videos more and more often now so I don't have to explain so much to answer some people's questions. Anyway. Thanks so much for the support, and thanks for sharing. You've got me thinking about equal centerlines now. I might have to try cutting a nut for myself with equal centers and see how I like it. I'm just constantly amazed at how much diversity there is with guitars. My friend and mentor has been doing guitar work for nearly 60 years and is still figuring out new things every day and coming up with new ideas and inventions. Endless excitement...and that's to say nothing of actually playing them too.

[@walterw2]

@@guitar_md _logically_ equal centered makes more sense to me because as a player i'm trying to aim my finger onto the center of the string whether it's a .009" guitar hi E or a .110" bass low E; the thickness of the string doesn't enter into how i fret it, i'm still trying to put my finger down on the centerline of the string. equal-centered spacing means that when i shift from the E to the A string it's the exact same movement as when i shift from the D to the G _aesthetically_ the equal-spaced thing often just looks better, especially with fat strings like on a bass. otherwise the bottom string can look too close to the edge and the low strings can look crowded, especially when they're way thicker than the high strings _practically_ i'm not super-convinced that the difference actually matters to playability that much though; you've got something that looks "right" _and_ is fairly easy to nail down here, no mean feat!

[@walterw2]

@@guitar_md as for how to _do_ equal-centered, i'm still searching for the best way myself! i recently discovered vintage "proportional dividers" which are designed to mark out lines just like i would need and that's been useful, but it still leaves me fighting the same thing you mentioned, trying to start a file notch exactly perfect over a pencil line i'm wondering if there isn't some way to use your trick of "A-B", where "B" is just six times the thickness of one thin razor saw or something used to create six equally distant starter notches (or would it just be four times? or not, since that might throw off the outer two strings since they would be indexed off the edges instead of the centers? i don't see it yet but there's gotta be a clever way...)

[@guitar_md]

@@walterw2 I'm in the brainstorming process as we speak. There has to be a way. I'm also curious to try this out for myself. The tricky part will be using the jaws as a fence. It's imperative. No fence = no reduction in human error. The pencil mark thing is something I never could come to grips with either. Struggled for so many years. This has really got me thinking. Perhaps one day that'll be a video too. I do love a challenge. I have to think about it as if someone tasked me with making them a nut with equal center spacing. It'll be like coming up with this method all over again. I did find this formula on the Internet, by the way -- I don't remember where, but I found it many years ago. I merely came up with the 'calipers as a fence' concept to put the formula to good use. I absolutely would have given credit for the formula if I knew where I found it, or who originally came up with it. In my compound radius video, another recent one, I credit Don MacRostie. He came up with the formula for that. That is way beyond my paygrade. I can't even imagine coming up with a formula like that. So...this should be an interesting challenge. Not sure if I'll be able to do it. But now I want to try.

[@guitar_md]

@@walterw2 So, I just brainstormed and I think this will work: Calculate the equal center spacing, then use the calipers locked in position. Use a Razor Saw of the same size as your smallest string -- like the high E string -- and cut *all* of the slots using that razor saw. Then simply work your way up with nut files on each slot to keep it centered. This might be tedious, but is probably the best way to make sure they stay centered, vs. starting with the full sized nut file over a pencil mark. So on the A string for example, you go from a .010" razor saw mark to a .016" nut file, .020", .024", etc. until you reach the target size. You *could* just use the full sized file over the slot, or use fewer sizes. You probably don't need to be that crazy about it. Also, this reminds me of the first iteration of my method. I used to use an Xacto #11 blade to mark a set mark, using the caliper jaws as a fence. And then I'd work my way up with the nut files as I described here. It didn't take long for me to realize that that was not going to work. It is *not* the way for equal gaps. But for equal centers? Perfect. What I was doing back then was cutting the string slot to be centered over the set mark -- when in reality, the full sized nut file needed to be placed against the jaws to get the equal gap spacing I demonstrated in this video. So -- that could be a revisit of that idea. I think this will work. I just need to work out the formula to use, and it'll be good to go. Then it's just a matter of making a video about it, after I can confirm that this works. The only other thing is verifying that the centers are accurate. This should be easy to do by comparing the razor saw / xacto knife marks with calipers. The caliper jaws will rest *inside* of the razor saw marks, as opposed to between the strings, as in my method for equal gaps. Well. I'm excited now! I'll have to put it to the test but I think this will work.

[@kalleankaa7536]

Nice. I love the digital tools. One tip. Instead of using a saw to mark the nut, why not use a mech pen with thin leads. That way its non destructive and when the final measufing is done, then cut the nut slots.

[@guitar_md]

Thanks! This can work. My main reason for using the files right off the bat is it takes human error (mostly) out of the equation. When cutting over a pencil mark, there is a degree of error. It wouldn't be hard to cut to the left or the right of the mark instead of the center. Being off by a little bit on each successive string can lead to big issues by the end. You might think you're cutting dead center on that mechanical pencil line, but it is *very* easy to cut to the left or right of it, without even realizing it. It doesn't take much error to end up with a mess. Even using this method, before I realized I had to double check the spacing *after* cutting the slots, I'd sometimes get to the B string -- then have a big gap between the B and high E. And have no idea why. It wouldn't make sense to me. So I think of the caliper jaws like a fence on a band saw or table saw. You want to make a straight cut in an exact location -- you set up a fence, lock it in place, and use it as a guide for making your cut. Another commenter pointed out that if the string gauge and nut file gauge aren't the same, this can result in errors too. That's correct. You can tilt the file to move the slot a little one way or the other to correct this. The most critical thing is making sure the distance between the strings you just cut is exact before moving on to the next string or string pair. The method you described will work, and *most* techs do it this way. Pencil marks, then cut. This is a novel way of slotting, that is very unorthodox, but solves the problems that can come with that. One more thing: I used pencil marks for years. One of the reasons I came up with this is I'm not the most mechanically inclined person. I really struggled to accurately cut slots over those little pencil marks. And many times it resulted in me having to throw the nut out and make a new one from scratch. The difficulties I had in spacing nut slots using traditional methods is what led to this. That, and extremely challenging nuts -- 12 string bass being the most challenging I've ever cut. They have 3 strings grouped together, in 4 courses. Doing that by eye, or even with pencil marks -- I wouldn't even know where to start. I sat there wracking my brain over how I was going to cut this 12 string bass nut, and could not think of anything at all. Then I got the idea for the method I showed in this video. I couldn't believe how well it worked. The paired string nut method was an extension of the caliper method. Using the feeler gauges as a fence was the secret. Fences and guides -- just like a band saw, or a table saw. Or even a router template. They largely take mechanical aptitude and human error out of the picture. Hopefully this clarifies why I use the method I do. Please ask any other questions if you have any, and I'll be happy to do my best to answer them. Thanks so much for the comment!

[@UncleKennysPlace]

3:00 Often I cheat the high E a little bit further from the edge, to survive some bendy stuff without going overboard.

[@guitar_md]

That's the way. All about preference. Similar things can go for string alignment on the neck, which I'd love to do a video about soon. Lots of people prefer a litlte more room on the high E string side so it doesn't slip off during bends/vibrato. My main method for that is clearing the neck pocket holes so the screws have some wiggle room and then using mylar film and packing tape to stick a shim on the appropriate side of the neck so it locks into the correct alignment when re-attached. But that's a topic for another day. Can't help myself over-talking about guitar stuff....thanks for the comment!

[@GIBKEL]

I have an a string that never rings out like the others; low e or d to high E. Is it more likely a nut slot or saddle ramp. If it was structural, I would suspect other strings. It’s not flat either….just doesn’t sound like it’s moving. It makes me suspect it’s binding up. It’s a brilliant guitar but I can’t visually figure out(these old eyes)… what gives in your experienced opinion? Most of us just know a few handful of guitar’s….you got skills! Great video.

[@guitar_md]

Thanks so much! I always look at the contact points in those scenarios. With the nut slot, make sure that the slot is sized properly for the string. Slots that are too wide can cause buzzing, and even weird tones. Use a nut file that's closest in size to the string in question. And angling the slot -- the ramp as you called it -- is absolutely correct. The nut slot has to be sized properly for the string (too wide = buzzing and other problems), but it also has to be ramped correctly, with the ramp following the angle of the peghead. Fender pegheads don't slope down of course and so the ramp does not have to be as dramatic as on an angled peghead -- but it does still need it. This ramp affects intonation as well. The ramp also applies to the saddle. And you're in luck: I actually have a video about "re-pointing" saddles. This video is about a Schecter with a "dead low E string," which may be similar to your dead A string. The video is here: kzbin.info/www/bejne/eWTGdnmIi86haLs Now, the question is whether you need to re-point the saddle, or if simply re-ramping the slot with a nut file will do the same thing. I'm honestly not sure. At the time, re-pointing the saddle was my go-to method. I haven't encountered the same problem since, so it's hard to say if re-ramping the worn saddle slot with a nut file will accomplish the same restoration of brightness to the sound of the string. All I know is the method I used in that video did work, even if it's unorthodox, and even if it's unnecessary. It certainly is a bit of a head scratcher and something I'd like to revisit in the future, but that technique *does* work. So: contact points. Nut and saddle. Make sure the slots on the nut and the saddle are sized within tight tolerances for the string. If it's a little too tight you can try licking a piece of sandpaper, like 600 grit, folding it in half, and running the creased sandpaper through the nut slot. Homemade wet sanding. An example of that might be for a .036 gauge string when using a .035 gauge nut file to cut the slot. You can gently angle the nut file to the left and angle it to center as you cut down, and repeat on the right side, to increase it by a couple thousandths' width -- but the creased sandpaper should be able to do the same thing. Make sure the slots are ramped properly, and that they're close to the diameter of the string. Tight contact points -- not too tight, but certainly not too loose -- and proper ramps. Nut files are your best friend in both cases. Let me know if you get a chance to fix it, and how it goes. Also, one last note: you *might* have to fill the A string nut slot and re-cut it, or replace the saddle on the A string. That's "worst case scenario," which is not a terrible scenario at all, but if all else fails, you can try that. i'm confident you can fix the problem with a nut file, and at worst, filling the nut slot with baking soda and superglue and re-cutting it with the proper sized file. I also have a video on filling nut slots here in case you're interested, using my method: kzbin.info/www/bejne/o2XMpJ6DpMSLjrssi=T9PtcXMiOqiYyigP Keep me posted! These issues are very frustrating. And I've seen some very weird things over the years. One of the only ones I wasn't able to figure out was this banjo that had this resonant frequency thing going on. It would just rattle like mad and the head would make this ringing/howling sound whenever you hit a C#. I tried everything, or so I thought. Acoustic instruments definitely introduce extra variables that can require even more creative solutions. Hope this helps -- and again, let me know when you can if you do get that A string fixed up and working as well as the rest. Thanks again for the support!

[@GIBKEL]

Wow…asked and answered and I saw that this video was fresh off the press. I had just done a search as I’m soon to make a tele nut. Got me thinking of my old 00 and a stifled ‘a’ string. Guitars are so weird; so unique to even themselves especially as they age. I am an avid parlor fan so that lifeless ‘a’ only began to stand out after my honeymoon period and then you live with it. Every string counts a little more in their tonal range, especially when fingerpicking. You’ve given me a lot to chew on. Being rural, it is especially is helpful as it is months between visits to my local luthier where my skills or dare fail me. It’s kept me from catastrophe though. I’ve got a good tool kit, and go slow as I fix up old beater guitars and make new ones play a bit sweeter once in a while but I haven’t seen this issue. Nearly everything I fix around the house is the first time I’ve encountered it. I wasn’t kidding, I need better light and sone cheaters. The worm just turned in the past few years and I can still remember what I can’t see today. I will have a hard look and get to the bottom and proceed with caution. I’ve messed with super glue, bone dust once but not ebony. I will make an experiment first. Thanks so much for the pearls as I lost my go to, good friend and luthier Tony this past year. I’m going to figure out how to save your response even if I have to screenshot it. It’s going to be so helpful in current and future trouble shooting as I’ve got a tele nut and a nut for an old Harmony to make. So much can go wrong between points of contact and give the feel of an instrument. My early 34’ and one of the last LOO’s batches from 42’’ are so different in nature. Virtually identical(on the surface) in materials and build, bar the solid linings of the 34’ but they couldn’t be more different, in sound, feel and style of play. As you recounted of with your first shop lesson, great setup makes a great playing and sounding guitar . The 34’ makes me work a bit harder with incredible sonics and the 42’ is a go to on a bad arthritis day. The 34’ sounded so good, it took me a while to notice that ‘a’ was just a bit funky. Yes banjos, they rattle like mad till you’ve gone bonkers chasing it. I found out why that Fender Banjo was so cheap. I’ll just tighten that head up…Yeah….it sits in the corner for the next 20+ years. Both banjos and babies take some skill and patience. Could it have been a truss rod with just a hair to spare in the channel, vibrating at a certain frequency? I had that once. Maddening. The problem with these problems is they are many times just one offs. Sometimes inherent, sometimes a problem just appearing. The slightest tweak of the truss and you’ve solved that 7th fret buzz, others (I hope not this one) takes some time and patience. Many problems get solved over the life of a guitar and if it’s gets old enough, a new issue pops up. Although I got say, I’ve never had more problems than with a new build. Settling pains! I will keep you posted, and dig into your channel. Thank you for your great insight.

[@jhgmusic]

Fantastic!

[@guitar_md]

Thank you so much!

[@jericozoleta2017]

Hello! I just want to ask if i can also use the formula on the saddle? In the Philippines, we have a multi-course instrument called bandurria and it the bridge of our instrument is a floating bridge. Any answers are much appreciated :D

[@guitar_md]

Yes! This will work just as well at the bridge, and I've used it many times when notching Gibson style saddles. If you can cut notches into the material, you can use this technique. It works great. Just set the outermost strings to where you want, and use the formula and set the calipers to do the rest exactly as I laid out here. Guaranteed success!

[@jeffallen3382]

Smart tip!

[@guitar_md]

Thank you so much!

[@XDdrox]

My friend, you're a genius, or I'm an imbecile, or something in between. I've been doing this kind of work since 2009. Do you know my methodology? I open CorelDraw or another vector program, make the nut, add the spaces and the width of the strings, always keeping the spacing perfect. Then I print this full-scale drawing on adhesive paper, stick it on top of the piece of bone, and start working. You've made my life so much easier. Thank you very much for the video!

[@guitar_md]

Thanks so much! I've got a long reply so bear with me. I get really psyched about this stuff so I wrote a little novella here. Here goes: I plan on redoing this video, so if you see it disappear at any point, it's simply moved to being unlisted. Made a few errors in this video, not the least of which is failing to mention to check the spacing after cutting each slot *before* moving on to the next one. For a while I was getting a compounding error with this method, where there would be too much of a space between the B and E strings. Imagine me coming up with this method and not even realizing that! Since I've been checking the slot spacing for each slot before moving to the next, my accuracy is within .001" for every 'gap' between each string. The same goes for paired strings where you can check and adjust the slot accordingly for the string pairs. I've had many very complicated ways of doing things, and I'm sure I have *many* that are similar to your previous method for cutting nut slots. But it speaks to how aware you were of the need for proper spacing! Not an imbecile at all...if there's anything I've learned, it's that you don't know until you know. Meaning, I'm always finding new ways to do things, and revising old ways of doing things. I'm currently redoing my bolt-on neck installation and EZ LOK threaded insert installation videos, for example, as I have a much better system for it now. No more enlarging holes with twist bits. Now I use a step bit for the initial widening, twist bit for depth, and a chucking reamer to finish it. Also am using a Woodpecker mini square and a transfer punch in the drill chuck to check for square with the chuck instead of using a bubble level, which was pretty stupid of me! I had no idea. Anyway, that's in the pipeline along with probably 60 or 100 other videos I've been (slowly) working on getting scheduled to upload. Anyway! Back to nuts: I cut nuts by eye for a very long time. I first was exposed to guitar work and learned a *little* in 2005, and things progressed more rapidly as the years went by. The guy I learned from, Steve K., always cut nuts by eye, and taught me to do the same. Several years ago when he tasked me with cutting a nut for a 12 string bass is when I finally finalized this method, after workshopping it for a year or two. The first clip in this video is that nut. It was a mess. And if there was ever an instrument that needed a simple, foolproof slotting method, a 12 string bass would be it. Would have been an absolute nightmare without this method. But with it? Piece of cake. I'm *so* glad that this was able to be of use to you. I always appreciate when fellow guitar techs watch my content and get something out of it. One of my target audiences is fellow techs who already have the tools and experience and might be interested in new ideas. I really enjoy coming up with solutions for uncommon problems. Anyway, I could talk shop all day. I'm really thrilled that this method was helpful to you. This method and how long it took me to workshop it is very near and dear to me and I'm so thrilled to be able to share it with the guitar world. Originally I used an Xacto knife to make a set mark against the caliper jaws, then gradually worked my way up through nut file gauges until reaching the desired size. Then one day I had a Homer Simpson "doh" moment, and realized it made more sense to just use the desired nut file of the proper size from the get-go. The rest is history. And I've field tested it enough times to know it works 100% of the time, and now I can guarantee .001" accuracy. I only repeat that because I only started getting that accuracy consistently *after* posting this video...took me another few months to realize that you need to check the spacing on each slot *as you go.* Then all of a sudden, the extra wide gap I was getting between the B and high E strings made sense, as I was cutting that slot last, and the tiny errors had all compounded there. Since I went to checking each slot as I go along and verifying it equals the calculated value for "S," never had that problem again, and am stunned with the level of accuracy possible. It really turns you into a human CNC machine when it comes to nut slot spacing. Anyway: I totally relate to the vector drawing program and printing the paper out. Absolutely is something I would do if I had the technology skills. I 100% get it. Thanks so much for the support and letting me know this method helped you so much. That's what keeps me motivated to keep making videos!

[@newtonlkh]

thank you master

[@JulezMason]

Love the Video! I just got a double neck sg and I am going to use your video to do my new nut on the 12 string! But I have a question. On an electric guitar would I have to slot new saddles to match the string distance? Meaning distance between the individual strings and the groupings. Thanks so much!

[@guitar_md]

Thanks so much! The between string saddle spacing on most guitars is about twice what I recommend for the between string spacing at the nut, and doesn't need to be adjusted as the difference between the two will balance out. Generally around. 080" between pairs is common at the bridge, perhaps up to .100". For the nut I like around. 028" to .042" between string pairs. .028" is close to the closest you can get without issues. The neck being narrower at the nut end justifies narrower between pair spacing in my opinion. I've had no issues leaving the bridge spacing as is, and only changing the nut. However, I'm always open to new ideas. I haven't experimented with changing the bridge between pair spacing yet, but I have done many tuneomatic style saddles using this same method. Works beautifully for spacing the strings evenly at the bridge and the between pair spacing will work just as well. I also keep in mind the picking hand will have different requirements and sensitivities to spacing. There's also Rickenbacker style, putting the Low string first in the pair. The Bridge Saver may need to be used on acoustics to fill the bridge holes and relocate them to change the spacing as well

[@JulezMason]

Awsome thanks so much! Unfortunately on my guitar,the 12 string neck width is the same as the 6 string. So it is hard to play it and not mute out strings. I’m hoping this will solve my issue!

[@guitar_md]

@@JulezMason Absolutely will help! That does sound very narrow for a 12 string neck. I'd try .028" between pairs at the nut, like I have on my acoustic Blueridge 12 string. That's really getting close, and you have to make sure you keep the nut 'short' enough so the slots aren't too deep when cut to depth -- otherwise the 'wall' between the string pairs can easily break off. But .028" is a wonderful between pair spacing, and provides plenty of room. I'd try that given the extremely narrow 12 string neck you're dealing with. I haven't gone narrower than that, and am not sure it's possible without buzzing, but it *might* be. What I might do is just do *one* string pair as an experiment. If you get it too close, fill the slots with baking soda and superglue, and try again with a slightly wider spacing. Really getting the pairs as close together as possible without issues is going to help the playability of that guitar tremendously. Let me know how it goes!

[@vitaliistep]

Thank you so much!

[@guitar_md]

You're welcome. Thanks for the support!

[@fumoffuyou]

Great strategy, although my only concern would be the trade-off of using something that t-squares as a saw-fence is that it prevents slots from being cut at something other than 90 degrees. In other words, some luthiers advise to cut a slot slightly angled towards the tuning pegs to reduce binding at the nut. So the spacing strategy would be fine, but not the saw-fencing strategy. But angling the cut might encourage throwing off the spacing, so I'm not sure if there's a perfect answer. As long as a 90 degree cut doesn't bind, it should be fine, but differing advice disagrees on this point.

[@thunderbugcreative7778]

The square "fence" is used for E strings only which are in line with tuning posts on most instruments. These and the remaining slots should only need a "fence" for the initial razor saw or other scribe mark. Once scribed these marks can then be dressed to the preferable angle by means of a nut/jeweler file or careful angle strokes of a razor saw.

[@garyvanremortel5218]

I have always been a proponent of equal spaces and not equal centers for nuts, but I'm also a proponent of zero frets. I prefer Rickenbacker's placing of the higher octave string second in the down strum. It improves the playability of the fingers and the thumb.

[@guitar_md]

I don't have enough experience with zero frets to comment, but am curious to try. The first guitar I ever played was my dad's old Vox Spitfire, which has a zero fret. Many people are completely sold on zero frets and I'm curious to do a deeper dive. What are the main advantages you find with them? Also interesting about Rickenbacker. I started out learning Leo Kottke songs on 12 string so immediately got used to the traditional octave string pairing, with the lighter string first in the pair. I actually haven't tried a Rickenbacker 12 string yet. So I'll be curious to give that a test drive as well. I mostly use 12 strings for fingerpicking and I wonder how that would feel with the octave pairs reversed. Equal Center spacing is another opinion for sure -- I prefer equal gaps like you do, but I fully acknowledge that some people are dead set on center-to-center spacing on the strings. I don't currently have a method for doing that like I do for this. So always more skills to develop. Preference is king, as always, and the ability to customize your instrument the way *you* want is what makes it so much fun. My goal is always to come up with ways to provide as much control over those customizations as possible. If I run into someone who wants center to center spacing on a nut I'm definitely going to have some more homework to do.

[@garyvanremortel5218]

kzbin.info/www/bejne/rl67Y3eeqrqtn6c

[@ATthemusician]

​@@guitar_mdthere's 2 main benefits, 1 for the player and 1 for the luthier. The players advantage is that the strings rest on the zero fret, so it creates a more even timbre or tonality between the open string sound compared to the fretted notes. The luthiers advantage is that you no longer have to worry about slotting the string depth perfectly, as long as there's enough downward force that the string rests on the zero fret, the depth of the slot does not matter, so it definitely saves some time with making the nut.

[@bowfrog]

Well done video.I learned alot! Thanks

[@guitar_md]

You're most welcome. Thanks for the support!

[@KingzStringz]

What is this ruler holder device you’re using on here to make the 4” square? Also, did you use the same exacto razor saw to make all the slots and then finish slotting with the actual nut slot files?

[@guitar_md]

4" Double Square is the tool. Ruler is included, all sold as one piece. I only use the razor saw for the High E string, and the modified one for the B string, and only because the saws fit the size of those strings. The .010" saw for the High E, and .012" saw for the B string. Every string must be cut with a file of the same diameter of the string, or up to a couple thousandths over. Hope this helps!

[@KingzStringz]

@@guitar_md But how do you get the files to fit under the calipers on the other strings?

[@guitar_md]

@@KingzStringz The Stewmac files I use fit perfectly under the calipers for all strings. I only use the razor saw on the High E string because the .010" nut file is very flimsy. The B string is a toss-up. The .013" is thick enough to work but a .012" razor saw is much stiffer. But to get the razor saw to fit, you have to modify it like I showed in the video. However, the nut files will fit under the calipers for every string, and you can use thinner files instead of razor saws if you want to for the high E and B strings. Just have to be careful not to flex them too much which can be challenging.

[@KingzStringz]

@@guitar_md Ohhh ok, Gotcha. Yeah I have the music nomad files and they definitely don’t fit under the calipers, any suggestions on how to get around that?

[@guitar_md]

@@KingzStringz Are they the double edged files? This method will only work with the single edge Stewmac style nut files. However, a potential solution: You could mark a pencil line against the caliper edge, then, using a feeler gauge of the same thickness of the string, place the feeler gauge against the caliper jaw, and trace a pencil line along the edge of the feeler gauge. Then you could line up your Music Nomad nut file between the center of those two lines. I'd make an extremely shallow cut first, put the string into the slot, tune it up, and measure the gap between the strings. That gap should equal "S." You can tilt the file left or right a bit as you file to move it left or right as necessary. So if I had to use files that i couldn't use against the caliper jaws, that's what I would do. Two pencil lines, then cut between those two lines. You can even put your thumbnail on the edge of one of the pencil lines, to use as a "fence" for the nut file. This is what Steve K., my mentor does, when cutting nut slots by eye -- which is the way he's always done it. He lays out the strings by eye, then draws pencil lines on either side of the strings, then puts his thumbnail against the leftmost line, using it as a fence for the nut file. The rightmost line acts as an additional visual guide.

[@AssabetStrings-xw3ms]

How close can you get you get the spacing between the strings in a string pair on a 12 string? Is that minimum spacing dependent on the gauges of the strings in a string pair?

[@guitar_md]

I believe on my acoustic 12 string I used .028" between the pairs, and that was about as close as I could get them. I wasn't as meticulous back then and the octave A string pair is measuring about .018" - .020" apart. They are *very* close together but are not crashing into each other. I'd say .024"-.028" is a good limit. That is *extremely* close and I don't think it would be possible to go much closer than that without the strings crashing into each other. On the mandolin nut I made recently, I used .042" between the pairs. Plenty of room, and much more comfortable than the stock nut, which was closer to .080" between pairs. A space even of .042" will be an improvement on most nuts. On a pre-slotted 12 string nut blank I just checked, the space between pairs varied between .050" and .075". .028" - .042" seems to me to be a good range to shoot for. .024" will probably also work if you want really insanely close string pairs. Closer than that probably won't work, but I haven't tried it. It's important again to make sure about 1/3 of the wound strings are sticking up above the slots. No less than that. And you can even half 1/2 the wound strings above the slots. Too deep and that little wall between the pairs will very easily snap right off. I don't think it's dependent on the string gauge. Though heavier strings with higher tension might be less prone to buzzing as they won't vibrate in as wide of an arc -- maybe. I'll have to double check that.

[@MrTuberguber]

The fret ends on my Martin and Larrivee are nicely finished but because of that bevel and the nut slot position for the first string, when I make a D chord sometimes the string slides down that bevel. Maybe it's my technique or the slot needs to be placed further from the edge?

[@guitar_md]

It's largely preference and personal playstyle. You probably would be happier with slightly narrower string spacing. Also, the fret bevels can vary a lot guitar to guitar. If the bevels are over aggressive this can necessitate making or buying a new nut with narrower spacing. Let me know what you decide to do. I do think it'll make a huge difference for you. Changing your technique can help -- but most of the time I like to adapt the guitar to the player more than the other way around.

[@MrTuberguber]

Thanks so much for your reply.@@guitar_md

[@billysmether6237]

Dang it!! I just received my string spacing ruler! Now I have to throw it out. Thank you for video!!

[@guitar_md]

Ha! You're welcome. I actually would love to do future videos on this. The Stewmac String Spacing Rule achieves proportional string spacing, which may be desirable to some. It's not made for equal gaps between strings so it may still be useful for a different style. Another commenter mentioned that he uses a scribe with the Stewmac Rule, instead of pencil marks. The scribe will give you a starting mark for your nut file which will be much more accurate, particularly if you use a scribe that's large enough to fill up the slot in the String Spacing Rule accurately. I do still have my Rule, even though I don't use it. This video teaches what I believe to be the best method for 'equal gaps' string spacing. Stewmac is "proportional," and then you have "equal center" spacing, where the center of each string is an equal distance apart. The Stewmac tool is used to address the issue with 'equal center' spacing, which is that the thicker strings tend to get bunched up a bit, too close together. Between these methods, there are really 3 you can use for spacing a nut. This video shows my preferred method but I'll have to give the others a solid try. Some people really prefer equal centers.... ...so I'd say keep the Stewmac Rule and experiment for yourself. Cut a nut with it, then one using my method -- and decide for yourself which one you like better. There is no right or wrong. However I do believe my method is the single best method for equal gaps. I am biased though ;)

[@frets52]

On 12 string should the bottom of the pairs be set to the same height on the bottom so that when fretting a note each string of a pair will strike the fret at the same time or set top of pairs to same height on the top of pair,I thought best to set bottoms equal height .What say you sir?

[@guitar_md]

Excellent question. I have the bottoms set to the same height. I should have included that-- completely slipped my mind! Usually the thicker strings are set a bit higher but I think getting the pairs to the same height makes sense. So you'd measure the gap between the bottom of the string and top of the 1st fret. I use a digital action gauge for this. And sure enough without even realizing it I set my 12 string pairs like this. Thanks for asking that question! Got me thinking now.

[@Riverdeepnwide]

There is some thought to having the string bottoms equal at the nut, then the string tops equal at the saddles. Kind of keeping the beneficial point of physical actions at each end. At the nut, where string height tension affects tuning and sensing pressure under the finger; then at the saddle, level across the tops so each string feels similar in access. In discussing this with one customer, they suggested leveling each pair at the saddle through the centerline of each string. We tried it, I found it rather inexplicably comfortable, they liked it and kept it like that, and I still prefer to feel a little more of the thinner string access. Are we crazy?

[@nyx_jupiter-trash]

Wow, this is really great!

[@guitar_md]

Thanks so much! Also love the Fierce Deity avatar. Awesome. One of my favorite games growing up

[@nyx_jupiter-trash]

@@guitar_md thank you so much!!! I really appreciate your compliment, Its one of my favorite games I've ever played growing up and TLOZ is just a comfort game for me. I really like your videos, all your stuff is tested and verified and the fact you update your tips and tricks and redo videos if you find out a better way is a testament to your quality as a luthier, content creator and a person. I was thinking of starting to do some videos that weren't gaming oriented like a comprehensive Floyd setup tutorial as I've found many tricks over the last 8-9 years of working on them. Like a good comprehensive guide on trouble shooting and setup because I haven't found a video that covers all some of the tricks I've been using. Possibly even doing a series on most of the niche tremolos that I happen to own that are difficult to find resources on like the Washburn Wonderbar or Steinberger transtrem.

[@venturaVlogger]

What youre showing in your video clip, is that how they do guitar setup @ guitar centers?

[@guitar_md]

No idea. All I know is not many people are using a digital neck relief gauge (or measuring relief digitally via other methods, e.g. capo at 1st, using a popsicle stick/dowel threaded between the strings to depress the string at the last fret, and checking relief at the 7th with a Digital Action Gauge). I also don't know anyone else that checks relief on the bass, middle, and treble sides individually. I didn't show that in this video but I *always* do that to look for twists in the neck and to get a better idea of what the fretboard looks like overall. Neck relief - action - nut - fine tuning the action/intonation/odds and ends, is the general procedure most people follow. i've always adjusted the neck relief first, as it provides the foundation for the other adjustments. I also use understring fret leveling. Getting the neck straight under full string tension offers an additional advantage. You get the neck straight, capo the 1st, set the action, file the nut slots down to the proper depth, then you play the instrument on every fret and listen and look for problems. My goal is always to get the instrument playing with the neck straight and the lowest possible action, regardless of where the *desired* action is. An optimal setup/fretwork should result in an instrument that's playable with the lowest possible action. All too often, people will add more neck relief, and raise the action, to compensate for bad frets. I have heard of some Guitar Centers not dealing with fretwork. Good fretwork is a highly specialized skill and it goes far beyond simple fret leveling. It's worth asking the particular store or tech whether they do fretwork or not, and what you should expect. A major reason I'm building this channel is to empower people to learn more about their own guitars and do their own work, insofar as that's possible for them. I plan on making some dedicated setup videos in the future. I have one about truss rod adjustments in the works and eventually I'd like to make a complete tutorial on how to do a setup from beginning to end. It's much more involved than most people think, while it's also very simple at the same time. it's a lot to cover! So. Hopefully this had some helpful information instead of just making things more confusing. I could talk forever about all of this stuff.

[@Ibaneddie76]

🤣 What they do there has 0 to do with setting a guitar up!

[@jonbarnett9363]

In you b calculation, you say that it is 0.078". But then in your calculation formula, you put 0.78". You used the correct value in the calculator, but not in the shown formula at 4:09.

[@guitar_md]

Thanks for pointing out this error. I'm in the process of redoing this video and I'll be adding that to the corrections. I really wish KZbin had a format like Vimeo, which allows re-uploading of video files without losing views, likes, and comments. But it just is what it is. Again, thank you. I wouldn't have caught this mistake on my own.

[@victorlicazali2564]

Hi! What's the name of the book you use in this video?

[@guitar_md]

@@victorlicazali2564 Guitar Player Repair Guide and How to Make Your Electric Guitar Play Great by Dan Erlewine

[@victorlicazali2564]

@@guitar_md Thank you for responding quickly!!

[@9jmorrison]

I was told to have the high string and the thick/lower string be at the same height, you have the high string much lower.

[@guitar_md]

Yes. The wound strings need to be higher to avoid buzzing when played open. You can set them to the same height if that's your personal preference. For me, I generally like the strings as low as they can possibly be without buzzing. For plain strings I reliably find this to be around .010" - .012" at the 1st fret, and the wound strings, about .018". The Low E specifically, sometimes .020" as a minimum. I adjust action at the other end the same way: the plain strings are all lower than the wound strings. I set GBE to the same height at the 12th fret, then D slightly higher, A slightly higher than D, and the Low E the highest. Again, there are some players who prefer the action at the same height on either end. My view of setups is a guitar should be able to perform with the lowest reasonable action, regardless of where the desired action actually is. Low action is a good litmus test for the quality of the fretwork and setup, and it can be raised from there. At some point I want to do a video on my process for doing setups. But it is all about preference at the end of the day -- what feels best to you and what you like to play

[@harrydebusk7639]

Freaking awesome!

[@carloemmanuelpajara4266]

How about bass guitars?

[@guitar_md]

Yep. Works perfectly. The first image in this video is actually a 12 string bass nut that I cut, before and after picture. 12 string bass nuts are the most challenging I've come across, and this method makes quick work of them. This method will work for any stringed instrument with a nut. For 4 string bass, you just use 3 for "C" in the equation, as with 4 strings you'll have 3 gaps between the strings. The equation solves for equal gap distances between each string. So the only thing that changes is the value used for "C," which depends on how many strings there are. The number will be one less than the total number of strings. So for a 7 string guitar, C would be 6. For 5 string bass, C would be 4. And so on.

[@cwwisk]

Instant subscribe after watching this video!

[@guitar_md]

Thanks so much for the support!

[@KevinScarbroughMusic]

Just to be clear, it is 5/64s, not 4/64s? Thanks!

[@guitar_md]

Yes, lately I've been using 5/64" instead of 4/64". Either is fine. But 5/64" gives you a bit more room to avoid slipping off. So I've been using that lately. Another commenter pointed out the error I made as well, using the 32nds part of the ruler when showing the closeup....my bad! 5/64" (.078", or 1.98mm) is what I"ve been using for the distance from the fret bevel most these days. 4/64" *will* work, but...as time has gone on, I've liked bringing the strings in just a little bit more. I recommend trying both spacings from the bevel and see what you think. 5/64" is probably gonna work better for most people, but 4/64" does give you a bit wider spacing, which some people might really enjoy, though you gotta be more careful with fretting those Low and High E strings so they don't slip off while you're playing.

[@KevinScarbroughMusic]

@@guitar_md thank you for the quick reply! I'll be using this method. Much appreciated.

[@guitar_md]

@@KevinScarbroughMusic Sure thing! Let me know how it goes if you get a chance. Thanks for the support!

[@UncleBob-ho5nh]

Your method has the spacing between the inner edges of each string the same, but the spacing between the centre line of each string is not the same so you may as well use a Stewmac ruler. The dot markers in the centre of the fretboard will be closer to the D string than the G string especially at the nut end of the neck.

[@guitar_md]

Yes, this is for "equal gaps" as opposed to equal string centers. 'Equal gaps' vs. 'equal centers' is a matter of preference. One or the other is not correct -- but people who have experience with both tend to have a strong preference one way or the other. My understanding is that the Stewmac ruler uses "proportional" spacing, which is yet another category. Dan Erlewine has mentioned not liking equal center spacing, as it left the bass strings too crowded for his liking -- hence the development of the String Spacing Rule. So, if I'm not mistaken, there are three options: Equal Gap, Equal String Centers, and Proportional, or "Stewmac String Spacing Rule" spacing. Regardless of the method, I *always* prefer using a fence first, and a set mark second, over pencil marks. Anything that can act as a mechanical guide for the nut file will be more accurate than lining the file up over a pencil mark by eye. Some people are better at this than others. It does require skill and experience whenever you go more of a freehand route compared to using a fence/guide/starting mark. Anyway, got me thinking. I'm perfectly happy with equal gaps between strings and it has been a *tremendous* improvement on the hundreds of guitars I've cut them for. I'm always open to trying new things, though, and am a firm believer that you can only truly know your particular guitar preferences when you've tried the alternatives. The same goes for control layouts, wiring, string gauge, and just about everything else. Always more to experiment with. Thanks for the comment!

[@Mike-rw2nh]

Thank you. Subbed.

[@fogdart]

great if you have the tools

[@johnford7847]

Thank you very much.

[@guitar_md]

You're welcome. Thanks for the support and thanks for watching!

[@ffranco969]

Show!!!

[@dustin4163]

So I'm a machinist cnc programmer by trade and Luther/drum tech/ audio engineer by night. So I just wanted to let you and everyone else in on a secret when using calipers as most people for what ever reason don't notice or realize this. I almost always when applicable use my calipers the opposite way for checking depth and or setting a gate it's a larger flat ground surface. I also would never advise putting a file to my calipers as a gate. Yes I own calipers that are not as expensive as say others but if you plan to use file on I.D blades get a cheap pair of vaniers. Not a 350 dollar set like I have you will thank me later. So I can't take a picture and share it. But put a one inch block in your calipers. Lock calipers and flip them over. ON The I.D O.D blade end you will see the face on the end of the calipers. The. The face of the other set this spacing is also one inch and will provide a better gate to get started as the face or guide is longer and keeps you more square and or parallel in this instance.

[@baadtaste1337]

How can inches have decimals?

[@guitar_md]

Inches can be fractional or decimal. You get the decimal equivalent of a fraction when you do the math out: for example, 4/64" = 4 divided by 64 = 0.0625". For reference, 1 millimeter is the equivalent of 0.039 inches. However, fractions aren't necessary for inches, and most digital calipers have an inch/mm button, to switch between them on the display. Both inches and millimeters will show up on digital calipers as decimals. Some specialized calipers have fractional inch options as well but I don't think it's the norm.

[@baadtaste1337]

@@guitar_md But the ruler is still inn fractions... are there inches rulers with decimals? (I am confused)

[@guitar_md]

@@baadtaste1337 There are some specialty rulers like that, but no, for the most part -- rulers will be in inches. Unfortunately, the best way is to deal with this is to get familiar with converting between measurements. This is just done by memorization. I don't use millimeters, for example, so often I'll have to look up conversions online to inches. So for example, with 5/64" or 4/64" -- you divide the numbers out, and get the decimal inches. You can also use Google. I do this *all* the time. Simply type 5/64 into Google and it will do the math for you. Similarly, if you type "0.5 to mm" or "0.5 inches to mm", it will give you the conversion. Unfortunately, in a world where metric and SAE systems are used, we have to become familiar with all of them, and converting between them. Fractional inches are used on rulers because it makes the layout easier, and woodworkers in the US deal with fractional inches, not decimal inches. For all woodworking you will see people using fractional inches. Think of fractions and decimals as different dialects of the same language. They mean exactly the same thing, but there are situations where one is more appropriate than the other -- even though both are correct.

[@ATthemusician]

Honestly a string spacing rule is an indispensable tool, but I would like to try and do one with just math.

[@ranman58635]

If you watch this video, you too can unlock the secrets of the nut. Is this a robot made video? Sounds like one giant add.

[@guitar_md]

If you watched the video, you *would* have unlocked the secrets of the nut. I've led you to water. It's your choice whether to drink or not, grasshopper. But I will warn you: Without my technique, should you attempt to *accurately* space nut slots on *any* stringed instrument, you will be like a worm fighting against an eagle.

[@peachmelba1000]

​@guitar_md Man, you are really not winning any fans in fellow luthiers or interested lay persons with this attitude. You sound incredibly arrogant. There are plenty of ways to skin a cat, not solely yours.

[@guitar_md]

@@peachmelba1000 My comment was very obviously in jest. Unless you know someone that calls anyone "grasshopper" in real life unironically -- I thought this was obvious. The "secrets of the nut" sounded funny to me. So I made a joking reply, as if I was the holder of "the secrets of the nut." This humor was obvious to me but maybe it's not as obvious to other people. However, I wasn't joking about the fact that he would have learned my method by watching my video. He wrote it off as a "giant ad" without watching further and seeing that I'm sharing all of this information completely for free, and am not selling anything. Also, your comment was an insult. Accusing me of "way overcomplicating" things. "There are more ways than one to skin a cat." These are your words. That my way is not the only way, right? I hope you realize the irony of accusing me of "way overcomplicating" things with my method, implying that my method is incorrect, or inferior, or stupidly overthought -- and your method is superior. Then you accuse me of being extremely arrogant. Pot calling the kettle black. You'll see that people get what they give with me. I'm not arrogant. But if someone shoves me, I'm going to shove back. People that don't like my attitude with them should probably consider what attitude they had when they left a comment on my channel. I never start anything with anyone, ever. I don't leave negative comments on other people's channels and I don't insult people. Ever. But I am going to defend myself when people insult me. If that's arrogance and that's going to prevent me from winning friends and fans -- then good. I don't want to be associated with people who don't understand how to be respectful and objective, as I am whenever I initially address anyone else. I would never in a million years go on someone else's channel and insult them. I find it surprising that the person defending themselves against such attacks is then called the arrogant one.

[@peachmelba1000]

@guitar_md Creators who write rambling, dictionary length replies to reasonable comments and criticisms (and even slightly mean ones) are generally, reliably to be found firmly up their own asses. Post your shit, and don't fight people in the comments. Or just shut off comments.

[@PaDaRi-Games]

That stupid Stewmac's nut rule doesn't keep the strings equidistant. Precisely to be able to adapt to any situation, the distance (in the ruler) must vary progressively, which is why the equidistance of the strings is 100% NOT guaranteed. Use some dividers and that's it.

[@RustyRaceHorse]

Sounds like the spacing is averaged.

[@guitar_md]

Yes. Equidistant spaces between the strings

[@peachmelba1000]

Subtract whatever fretboard margin you intend to use from the overall nut width, then divide the resulting number by a number equal to one less string than the instrument is to have (for guitars, basses, ukuleles, violin family instruments, and banjos). Simple. For guitars: Nut width = 1.75" Margins = .240" total Remainder = 1.51" Divided by 5 = .302" OC Marking and cutting the slots is up to the builder to do correctly.

[@guitar_md]

This is perfectly reasonable. However, the main reason I came up with the method in this video was to use a fence for cutting the slots, instead of cutting over pencil marks. Using a fence is extra work. But ensures greater accuracy, much like using a fence on a band saw, table saw, or router table. I used pencil marks for years, and my friend and mentor who's been doing guitar work for nearly 60 years now *still* uses pencil marks. Additionally, he does not ever measure anything out. He lays the strings out *completely* by eye, then draws pencil marks on either side of each string, then cuts the slot in the center of those two lines. That's the way I learned to do it, and I did it that way for over 10 years. I came up with this method to eliminate the variability in the way I was trained to do it, and get faster and more repeatable results. Any time a fence or template of any kind is involved, it creates greater accuracy and repeatability. I struggled with pencil marks for many years. Making a cut with a fence and eliminating the pencil marks *to me* is like cutting out the middleman, and streamlines the entire process.

[@johnnycastaway]

pdf would be nce lol

[@kevindean1327]

No AI for me!!!!

[@guitar_md]

Yep, you're in the right place then. Will never be any AI on my channel!

[@M5guitar1]

StewMac is too expensive

[@guitar_md]

Fortunately, there are many other options available these days. I will add that Stewmac does have a lifetime guarantee. Part of the high cost is that any time at all that a tool stops working or wears out, it can be sent in for a replacement, no questions asked. Very few other companies will offer this. Recrowning file or nut file got dull over the last 10 years? Gotta buy a new one. With Stewmac, send it back and you can get a brand new one, no questions asked. Their customer service is excellent. Music Nomad has many tools for much cheaper. There are also sellers on eBay. Guitar Builder Online is a great one. I own his nut and saddle sander, fret bender, and more. I only have experience using Stewmac nut files for this method. But any similar one will work. Hosco is another great brand. It's a great time to be a guitar tech, with more tools available at affordable prices than ever before. I recommend eBay and Amazon for deal hunting. Fret Guru is another great one. Usually a lot of cheaper tools are worth the risk just to see how well they work and what they're made of. You can be pleasantly surprised.

[@brianoailpin6844]

Dont use your good calipers for this. You'll grind away any accuracy pretty quick.

[@guitar_md]

Just a PSA: There's no wear on my caliper jaw tips after many years of doing this. Verified with a micrometer measuring the caliper jaw tips. I did wonder after reading your comment if there could be any wear, but just verified that there's not, so I can say that with confidence. It is a good point you made but now I can reassure you that done properly, there is no risk to the caliper jaw tips, as I've cut hundreds of slots using this method by now. I do use the Stewmac nut slotting files, however. Can't speak to any other brands. But the teeth on the files are only on the bottom, and at no point do they contact the jaw tips of the calipers. Nut files that have teeth on the sides are not suitable for this. I am working on an updated video and I may make a note of this, as there are nut files with teeth that go up the sides. The smooth sides of the standard Stewmac nut files will not wear down the jaw tips at all, though it may be important to mention as well that I do not press the file firmly against the jaw tips while filing. If you pressed hard against the jaw tips, it may be possible to wear them down, but when I do it, I only use as much pressure as needed for accuracy, which isn't much.

[@brokenmotorwagen1328]

4:44" CRINGE!

[@guitar_md]

It actually takes some deliberate force to make indentations in wood with caliper jaws. You can try this yourself on any wooden surface. Simply resting them without actively pushing down into the wood will not make any mark or indentation at all. I've done this hundreds of times and never once have I left any visible mark or indentation in a fingerboard with this method. However, your cringing is not unwarranted. And I have a solution: You can easily use a thin strip of mylar film under the jaws as a shield. 3 seconds: cut a strip of film, tape it down on the fingerboard, done. I would have mentioned it in the video if it had occurred to me. Part of me wishes I did, and you could consider this an oversight. However, looking at it another way: I've done this so many times without any cosmetic damage at all -- ever -- that it didn't even occur to me to mention using a safeguard under the jaw tips. Of course, it isn't a bad idea, and it's always better safe than sorry. A few seconds of preparation can prevent hours of headaches. I have plenty of mylar film, and the best part about it is that it's reusable. So even though I've never had a single issue with this, maybe I'll start using a strip of film regardless. All it would take is some inadvertent downward pressure to indent the fingerboard. Masking tape on either side, attaching to the sides/back of the neck, will hold the film in place for the duration of the slotting. I've been wanting to make a dedicated video on mylar film and its superiority for masking/shielding areas of the guitar while working on them. Scrap leather is my other main choice, but nothing beats the strength and resilience of mylar film when a thin, barely-there shield is necessary when doing delicate work. Ram Board is another. It makes an excellent shield for the body when doing fretwork. Cut it to the size you need for a particular guitar and you can reuse it indefinitely.

[@zapa1pnt]

In regard to the 12 string bass you show at the beginning. That must be a Really cheap ass bass. That nut is Seriously hacked up. The strings are not only poorly spaced, the slots are sloppy as Hell.

[@guitar_md]

It was. I don't remember the make and model, but it was a mess. I've seen similarly poor jobs on some cheap 12 string guitars. It was so bad I didn't even know what it was supposed to look like -- had to look up a picture of a 12 string bass online as I didn't even know they were supposed to be in 3 courses. You couldn't tell what it was ever supposed to look like because it was cut so badly

[@whypothetical]

NGL, I clicked on this video thinking it was advice for how to sit in a CBT chair.

[@guitar_md]

I regret looking up what that was. I thought CBT stood for Cognitive Behavioral Therapy

[@drsamgm]

You can’t be serious

[@guitar_md]

That's what I say when I look at the string spacing on 95% of nuts

[@EATSLEEPDRIVE2002]

LOL. you said "nut slot spacing".

[@guitar_md]

Also if you block out "slot spacing" in the thumbnail, it says "Perfect Nut"

[@pjincho]

Or you could, y know, mark them off with a mechanical pencil.

[@guitar_md]

Yes, you can. My friend and mentor lines up the string spacing by eye and makes pencil marks on either side of the strings that way, then puts his thumbnail right in the middle of the two lines and uses it as a fence for a razor saw as he cuts the slots. He's been doing it this way for over 55 years and gets excellent results. Other people use a Stewmac String Spacing Rule, make the pencil marks that way, then chuck the nut in a vise and cut the slots over the pencil marks. All roads lead to Rome. My goal with this method was simply to eliminate the potential for compounding errors that result from imperfect placement of the file over the pencil marks. It's very easy to make accurate pencil marks, but when it comes to filing over those marks, an error of .010" or even .015" is not unrealistic. Add that up over a few slots and it can result in extremely uneven spacing if the person is not careful. For many years I relied on pencil marks and it resulted in many occasions where I had to re-cut the nut from scratch. The caliper jaws largely eliminate human error, much like the fence on a band saw or table saw eliminates human error when it comes to cutting lumber in a perfectly straight line.

[@peachmelba1000]

I wrote my comment before watching. You are overcomplicating this by miles and miles.

[@guitar_md]

I'm really not. At all. This method is highly accurate, tailored to the precise string gauges used on the individual instrument, and works extremely fast. It is not complicated at all once you do it a couple times and understand how it works. Also, if you've ever cut a nut for a 12 string bass with tripled strings, or a 12 string guitar or mandolin with doubled strings, you'd very quickly see the value of this method. The method you described in your other comment does not provide a way to deal with such instruments. Further, marking the nut with a pencil and then cutting the slots along or between the pencil marks will never in a million years be as accurate as using a fence. It's like arguing that using a fence to cut lumber on a bandsaw is overcomplicating things compared to just marking a straight line with a double square and freehand cutting it along the line. You can test your own spacing with calipers. This is the real test, and the only one that matters. Results in *measurable numbers* are the loudest voice in the room. If your accuracy is within .001" to .002" of the correct string to string spacing, congratulations. That's great. It's certainly achievable with a high level of experience and a well-trained hand and eye. But most people without extensive experience are not going to be able to cut along or inbetween pencil marks with a +/-.002" level of accuracy. So even if you can honestly say your spacing is accurate to such a precise degree of accuracy, the majority of people will not be able to say the same without extensive experience. I'll also add that over the last 6 years of using this method, after over 10 years of cutting nuts exclusively by hand and eye, spacing that *looks* even is often not even at all when put to the test with digital calipers. It is not overcomplicated for the intended purpose, which is a high degree of accuracy and repeatability, and the ability to work on any stringed instrument, no matter how many strings it has or how they're grouped. It *is* overcomplicated if you're satisfied with less than perfect results. I'm not in a philosophical debate about whether "perfect" makes a noticeable difference or not. But I am making the argument that cutting freehand between or on top of pencil marks has *never in the history of anything* worked better than using a fence or a guide. Use this method and get perfect results. That's the true definition of "Simple" in my book. Equal Centers vs. Equal Gaps is another debate. This method is for Equal Gaps, and I would challenge anyone to show me a method that reliably achieves this high a degree of accuracy with such a minimal level of skill and prior experience required.

[@John-William-000]

Dude 4/64 is 1/16 stop making it hard.

[@guitar_md]

Resolutions of 1/64 are easier to understand with a common denominator. "You can set it around 4/64 for wider spacing, or 5/64 for a bit narrower spacing." That's easier to visualize than "You can set it around 1/16 for wider spacing, or 5/64 for a bit narrower spacing." In the guitar world, this is very common, and you will see 4/64" and 6/64" everywhere, including setup specifications from the manufacturers themselves, such as Fender. People don't reduce those fractions because increments of 1/64 are much easier to compare when using a common denominator.

[@John-William-000]

@@guitar_md If only somebody would invent a measurement system that was devisable by 10 like the US Dollar. Hang on doesn't the whole world except the US use THE METRIC SYSTEM.