Selecting the “right” guitar for beginners

Guitars range in price from the “cheap” imports to the Gibson Custom Shop models that I play. Guitars can even range beyond to the custom instruments made by “world class” luthiers (makers of string instruments). Personally, my guitar playing experience has spanned over forty years. As a teacher, I have seen everything come into my studio. Guitar pricing is not based only on “playability”. Some of the “artistic” features like pear inlays, gold plating, etc., are cosmetic. These additions are not unlike the engraving on a fine Selmer alto saxophone. They enhance the instrumental experience, but don’t impact the music produced (unless one is to consider the effect produced on the instrumentalist by owning a quality instrument).

When I started playing guitar (in about the fourth grade), my father bought me a $20.00 guitar at a discount store. The instrument was a poor instrument in many respects, but my drive was so strong that I taught myself how to play a few chords and strum to a few songs. What made the instrument poor, was the “action”. The strings were so far off of the fingerboard, that my fingers actually bled from the cuts. Had the instrument had nylon strings, that would not have mattered. But, it was strung with heavy gauge steel strings. After I demonstrated the resolve to play, he bought me a Gibson LG-1.

So my first suggestion in the selection of a beginning instrument is to make sure the instrument’s action is set fairly low. More expensive guitars allow for action adjustments, though with some acoustic instruments, the only way to adjust the action is to file the bridge saddle (the bone, plastic, or metal string contact point on the bridge) or nut (mounted at the end of the headpiece next to the neck shaft). The strings can be quite low to the fingerboard, as long as they don’t buzz. Also, consider light gauge strings or even nylon strings (like those on classical guitars.) Once the fingers toughen and the muscles strengthen, it is fine to “up” the string gauge. Starting on lighter gauge strings will avoid the possibility of muscle damage and allow for a gradual callous buildup on the finger tips.

The next area of concern relates to pitch and tuning. If an instrument does not play in tune, or if it does not hold pitch, it is a big problem. Not only is it a musical issue, it is a developmental issue. Students need to form correct pitch concepts from the start, and a poor instrument might lead to a poor perception of pitch, because we learn to hear “incorrect” as “correct” on all instruments, if we play them long enough. (That is why I advocate an electronic tuner to be used daily for all instrumentalists. Tuners like the Korg CA-30 can be used for all instruments.)

Guitar pitch is determined by the correct construction of the instrument and the “layout” of the fret board. If the bridge is not set perfectly, the scale (fret distances) do not work out mathematically. The instrument will play out of tune, progressively. A simple check of correct bridge placement, is to locate the tip of the finger right over (slightly behind to compensate for the sharpening effect of depressing the string) the 12th fret. (This should be the midpoint in the string’s length.) If you lightly touch the string, the harmonic (higher pinging sound) will resonate. You might have to move the finger, fractionally, to locate this harmonic point. When the string is depressed, the same pitch should sound at the 12 fret. (Note that there is a slight sharpening effect as the string is depressed. Luthiers provide for this compensation factor when the fret distances are calculated. )

If the two pitches do not compare, the bridge is set, incorrectly, or the fret distances were poorly contrived. That is why the “tune-o-matic” bridge is so great. The “saddles” can be slid in or out to tune the individual strings. The geometry of string size relative to the distance of depression, logically indicates some slight variations in this tuning process. This is why you will note a slight angle of the saddle on the bridge of quality guitars. If even a “cheap” guitar fails this initial test, I set it aside.

“Sight” the neck by looking down the edge of the fingerboard. An excessive bow inward is a problem. Truss rods are installed in some guitars to adjust the neck, slightly. I have cheap “import” electric whose neck will bend in and out as I play it. It is a nightmare to keep in tune. It is like a slide trombone for guitar players–just pull the neck or push it to get the pitch. Obviously, this is not a quality instrument, though the scale is correct and the action is OK.

The tuning machines installed on the headpiece should operate, smoothly, and hold. If the strings are “strung” properly, the ”tuners” should not slip. Some tuning machine sets cost more than many guitars. (Like the Grover Imperial Gold tuners on my Custom Gibson SJ-200. They are fantastic.) Tuners should be considered in buying any guitar. Not all tuning machines are the same.

Once construction attributes are verified, generally, then play the instrument. What I do is to tune the instrument, beginning with a tuner. First, gently pull the strings to slightly stretch them. Go through the instrument several times, because increased tension will change the stresses on the wood. Once tuned, sight the instrument again and note any changes in its structure. Well-built gutars will hold up.

Play a variety of chord types in various registers comparing the quality. This might require some fine tuning. I check octaves on the various string sets to make sure the relationships are good. Tuning is always a compromise, and the science of tuning is not exact, but a poor instrument will let you know its quality right away. Be aware that It is logical to want to hear the 3rd of major chords slightly lower, but equal temperament will not allow that. (There is an advantage to non-fretted string instruments and wind instruments in this regard.) So it is correct to keep using the tuner. After playing for a while, check the tuning again, and retune. Some new instruments and new strings take a while to ”settle in”, but watch out for wide distortions caused by mechanical problems like slipping tuning machines or increasing bowing of the strings. Older worn out strings do not tune well, so make sure the strings are in good shape.

Once you have verified that the instrument is functioning, mechanically, and plays in tune, compare the sound with other guitars. Understand that larger acoustic instruments will enhance the low frequencies. Often, larger instruments seem to play a little better in tune, because they emphasize the low to mid frequencies. (It is a fact in the science of sound that the lower partials line up better.) Then compare the playability, tone, and general “feel” of the instrument. Are the frets nicely finished, or do they cut into your hands? Is the neck binding sharp or smooth? Many attributes of construction contribute to the quality of tone in acoustic guitars. The joining of parts in places that you can’t see, provide for efficient transmission of sound. Mechanically, guitars must withstand the stresses of string tension without distorting.

The final selection of a quality instrument often comes down to how much one can afford for what features. In my opinion, the musical aspects of tuning, tone, and playability are most important. As a long term member of the teaching profession, I am often amused when musicians who don’t practice much buy the latest and greatest instruments. In my opinion these individuals would do better if they played on a lesser instrument and took a few lessons while practicing more. That being said, I don’t think that the playing of poor instruments is advisable. The quality of sound, ease of playing, and proper tuning of a good instrument, will encourage rather than discourage the learning of music.