. . . "Set-in neck"@en . . . "3913"^^ . . . . . . . . . . . . . . . . . . . . . "Set-in \u00E8 un metodo di costruzione degli strumenti cordofoni, come in particolare chitarre e bassi, che consiste nell'unire il manico e il corpo dello strumento per mezzo di tenone e mortasa, utilizzando dei collanti, di norma colla animale, colla vinilica, resina epossidica o cianoacrilati."@it . . . "3992826"^^ . . "Set-in"@it . . . . . . . "Set-in \u00E8 un metodo di costruzione degli strumenti cordofoni, come in particolare chitarre e bassi, che consiste nell'unire il manico e il corpo dello strumento per mezzo di tenone e mortasa, utilizzando dei collanti, di norma colla animale, colla vinilica, resina epossidica o cianoacrilati. Il set-in permette un buon passaggio delle vibrazioni nel legno, permettendo maggior sustain. Questo tipo di unione \u00E8 meno forte rispetto a un neck-thru, ma permette una maggior tenuta di un bolt-on per gli strumenti leggeri, quali quelli a corpo vuoto. L'accesso ai tasti pi\u00F9 alti \u00E8 facilitato rispetto a un manico bolt-on, ma al tempo stesso aumenta il rischio di rottura del manico, specialmente se realizzato con legno fragile come il mogano. Il set-in \u00E8 tipico di molte chitarre acustiche ed \u00E8 frequente anche per le chitarre elettriche semi-acustiche, come la Gibson Les Paul. Il costo e la manodopera per realizzare o riparare un set-in sono maggiori rispetto a un bolt-on."@it . . . "A set-in neck (often shortened to set neck) is the traditional form of joining the neck of a stringed instrument with its body. This is typically done with a tightly fitted mortise-and-tenon or dovetail joint, secured with hot hide glue. Among its qualities are a warm tone, long sustain, and a large surface area to transmit string vibration, leading to a \"live\" feeling instrument. In guitars it also often allows superior access to top frets closest to the body. It is a common belief that this yields a stronger body-to-neck connection than an inexpensive mechanically joined bolt-on neck, though some luthiers believe a well-executed bolt-on neck joint is equally strong and provides similar neck-to-body contact. However, neither of these joints is as strong as a neck-through construction, the third of the common methods of neck attachment, which requires more material and is usually found only on high-end solid body guitars. Set-in necks are the most popular on acoustic guitars. Almost all major acoustic guitar manufacturers (notable exceptions being Taylor Guitars, Godin Guitars, Collings Guitars) use set-in necks and have applied this method also to their electric guitars, for example Gibson. With hollow body set-in neck electric guitars of the 1940s being rather expensive to buy and repair, newcomer Fender in 1950 introduced electric guitars that were easier to manufacture, combining a simple solid body with a bolt-on neck. Fender also introduced the electric bass guitar by adding a longer neck bolted to a solid guitar body. In rare cases, makers use other solutions. Babicz Guitars makes a mechanically joined neck that can be \"wound\" up or down to adjust action height."@en . . . . . "1107967132"^^ . . . . . . . . . "A set-in neck (often shortened to set neck) is the traditional form of joining the neck of a stringed instrument with its body. This is typically done with a tightly fitted mortise-and-tenon or dovetail joint, secured with hot hide glue. Among its qualities are a warm tone, long sustain, and a large surface area to transmit string vibration, leading to a \"live\" feeling instrument. In guitars it also often allows superior access to top frets closest to the body."@en . . . . . .