This and the previous post about getting the neck dead flat are important points. Neck relief is good to a point but I think when you are first working with getting your setup just perfect, there is a tendency to want solve the buzzing problem by relieving more than you really need to. I know because I struggled with that for a lot longer than I'd like to admit. Often the buzzing is from the frets having high spots, the fingerboard having high spots or dips, or the heel sitting up a tad high when there's too much relief. That's a flaw with the truss rod design a la fender... the heel doesn't relieve along with the rest of it. I had to calibrate my expectations and talk to a few pros before I learned that you can't really get it perfect all the time without heroic efforts that may not be worth it. What I have read in books and heard from the pros is to start by making the neck dead flat, adjust to your desired action and radius (assuming you have a bridge with saddle height adjustment) and intonate (at least roughly) and then make minor tweaks (like neck relief) to get the buzzing out. While opinions vary on the ideal approach I think adding a lot of neck relief to resolve buzzing helps to a point but may not be the answer to your problem. It may make it worse in some cases. Also make sure your nut is adjusted properly. Too high and too low are both problems and impact the action and contribute to how much relief you need. If you can't make it all go away, try thicker strings. If it still doesn't work, just think of it as additional harmonic variety. And if you can only hear it when you play unamplified (and if it's not Uber painful when unamplified), it's probably not worth a lot of trouble.