General HandlingMost damage to instruments is caused by careless acts.
Being aware of some of the following typical handling hazards may prevent accidents from
happening:
The lid dropping down on the instrument as it is
being removed from the case. Develop an absolute habit of holding the lid with one hand as
you remove the instrument with the other.
The soundboard or back being cracked when squeezed
at its waist. Always hold or pass the instrument to another by its neck only.
Buttons, belt buckles, tie clips, fingernails,
etc. cause nicks and scratches. Be aware of yours and of those to whom you pass your
instrument.
Be sure to close at least one latch of the case
lid when putting the instrument away for even a short period of time. Many instruments
have been damaged when dumped out of an unlatched case.
Using a card mask below the bridge when changing
strings and melting a ball on the ends of the treble strings will help avoid scars and
nicks to the soundboard.
Always put the instrument back in its case after
use, preferably a hard case. If you wish to store your instrument for a long period,
it is advisable to loosen the strings a bit, storing it in its case, with a bag of silicon
gel to absorb moisture. It is also advisable to wrap the instrument in cloth, preferably
natural silk or fine wool, the latter being less desirable.
Temperature and Humidity
Avoid sudden changes in temperature or humidity.
Extremes of humidity or dryness represent the greatest danger to an instrument, especially
sudden change from a humid environment to a dry one. Rapid evaporation can cause
instruments to crack no matter how well cured the wood may be. Similarly one should avoid
leaving an instrument close to air currents, sources of heat, in the direct sun, close to
radiators, chimneys, stoves etc.
Wood is a hydroscopic material, that is to say it
loses and/or absorbs humidity from the environment that surrounds it. Radical
changes of environmental humidity and temperature can cause great damage to a guitar. In
an environment of moist air, wood swells. In a drier environment, wood shrinks. The
temperature of the air determines the amount of moisture the air will hold. These cycles
of change are normal and your guitar will tolerate them as long as they are not to the
extreme. The ideal temperature for a classical guitar is a comfortable room
temperature-about 70 degrees. The ideal relative humidity-about 50%. These are the ideals.
However, a well constructed instrument should handle reasonable periods of time at 25% and
75% relative humidity without too much strain. Extended periods of exposure below 25% or
above 75% should be avoided.
Under chronic conditions of low humidity,
there is a risk of cracking. Continued exposure to conditions of high humidity may cause
the instrument begins to loose its sonority and volume. As well, glues soften, and joins
may come unglued. Excessive dryness or humidity will also affect action of your guitar.
Too dry, and the action becomes high, too humid, and it may become too low, and strings
will begin to buzz. As a result it is not advisable to hang the instrument on the
wall since the guitar will absorb whatever humidity wall may contain and cause
discoloration and warping of the woods. Heating systems create an atmosphere that is
extremely dry. An inexpensive hygrometer can help keep the owner aware of the environment
in order to make adjustments when necessary. To ignore such conditions could result in
deterioration of the instrument and lead to expensive repairs. The only protection against
dryness is to add moisture in the air near the instrument. The simplest way is with a case
humidifier. In areas of extreme dry climates and homes heated during winter months, a room
humidifier or vaporizer is recommended during long playing sessions.
Never expose an instrument to any extremes of
temperature that you would not find comfortable. Typical hazardous areas to avoid include
the trunk or interior of a closed automobile in hot weather, hot sunlight, or proximity to
a heater. Freezing cold air, at the other extreme, should also be avoided.
Travel and Transportation Precautions
With respect to transportation, an instrument
should be stored in its case, in a cool dry area. If you are traveling by plane and you
are required to check your guitar-- always in a hardcase-- it is essential to slacken the
strings. If you must check your guitar, the hardcase should be placed into an
additional carton for added protection during shipping or airline travel. A
makeshift handle of rope will facilitate handling. Fully insure the instrument against
damage or loss during transit. Avoid direct rays of the sun or heater during transport or
storage. An instrument should never be transported in the warm trunk of an automobile in
the summer high temperatures can cook your instrument-- causing cracks, melting the
varnish, etc.
Polishing and Care of the Finish
The finish on better instruments are invariably
done by hand and with great care. This finish, however, is susceptible to damage by water,
alcohol and perspiration. Wipe regularly and carefully with a soft clean cloth to maintain
its luster.
Cleaning your instrument should be done with fine
gamusa leather dampened slightly with water. You should never apply furnish polish or
other products that contain alcohol as these will damage or remove the guitar's fine
finish. I have seen a couple of fine guitars ruined by scrupulous owners who
"polished" their vintage guitars with Lemon Oil or Pledge.
French polish is a very delicate finish that is
very susceptible to fingernail scratches and direct hits especially to the soundboard.
When tying the strings behind the tie-block on the bridge, you should use caution not to
damage the finish with your fingernails. One way to protect the finish from this kind of
damage is to place a piece of cardboard behind the bridge before beginning to tie the
strings. Light masking tape can be used to keep it in place, but is not necessary. In
fact, just being aware of the problem normally is adequate to prevent damage behind the
bridge, even with very delicate French polish finishes. Buttons and buckles will similarly
damage the finish of French polished guitars and need to be avoided. General caution when
playing your instrument is recommended.
French polish may dull when exposed to sweat. If
your finish becomes dull at or near the point of contact with your body, this is normal.
To prevent this, we advise people not to expose their bare skin to a French polish
finish because it dulls over time. If you are wearing a short sleeve shirt, wear a sock
over the portion of your right arm that makes contact with the guitar. When wearing short
pants, use a soft cloth on your left thigh.
Maintenance and Repairs
Avoid if at all possible blows and scraps, since
any blow to the instrument can cause irreversible damage. In case your instrument is
cracked, you should have it expertly repaired as soon as possible. If a crack develops in
the top, near the bridge, it is advisable to quickly loosen the strings.
Ebony fingerboards are also a hydroscopic
material. If they become too dry, shrinkage may cause frets to stick out beyond the edge
of the fingerboard--feeling rough. While humidity will often reverse this process by
expanding the fingerboard this may take time, and it is sometimes necessary to file these
edge of these frets. This should be done only with downward strokes in the same direction
in which the frets are fitted, filing upwards may dislodge the frets. This may easily be
done with a fine file, although it is desirable to have an expert do it.
In the event that the varnish deteriorates, it is
always preferable to place another coat of varnish over the original coating. French
Polish can be restored to its original luster by an expert repairman with very little
difficulty and expense (if he is familiar with the method of finishing). New finish is
normally applied to the old without removing it. Only in extreme cases should the French
varnish be scraped off in order to place a new coat of varnish. This is one of the great
advantages of French Polish over more common lacquer or catalyzed finishes. Normally these
need to be removed completely before refinishing. Refinishing a fine guitar
whether it is French polished or lacquer is a skilled art, and should only by done by
someone who has vast experience in refinishing fine guitars.
If strings buzz when strummed without fingers
pressing on the fingerboard, this is due to wearing out the groves in the bone nut. This
may be easily remedied by placing a small strip of thin cardboard under the nut. This
usually is sufficient to compensate for the loss of bone in the groves of the nut. The
alternative is to have a new nut made.
Changing strings
It is also advisable to keep your guitar tuned to
the same pitch. When changing strings, change one at a time, tuning each up to pitch as
you go. This maintains the stress to which the soundboard has become accustomed. If all
strings are removed at one time, there may be a short recovery period before the
instrument returns to its accustomed sound.
Never put strings for a steel string guitar on a
classical or flamenco guitar. The lighter construction of these instruments will not
tolerate the higher tension of steel strings-- and expensive and irreversible damage may
be done to the instrument.
The fundamental nature or quality of the
strings-from the raw materials to manufacturers specifications-will be coloring every
nuance of tone derived from the sound box.
SELECT STRINGS WISELY! No matter how excellent
your guitar may be, it will be below its potential without the right strings. Specific
types of strings can further enhance the instrument for your needs. Experiment or consult
the maker for recommendations on string choice or problems which may be related to
strings.
Strings need changing when they become dull,
heavy or out of tune. There are no rules that dictate how often strings need to be
changed. General hand cleanliness, perspiration and acid producing characteristics of the
hands as well as the strength of attack of the player effect string life. The longevity of
strings will vary from performer to performer.
BASS strings, in particular, contribute greatly
to maintaining the liveliness of the guitar. The vitality of the treble tone will respond
in direct sympathy with that of the basses. When the guitar becomes dull and heavy
sounding, changing the bass strings only, will revive this lost vitality.
The TREBLE strings need not be changed as often
as the basses. A good-true set of treble strings will outlast bass strings 4 to 10 times.