Fretwork is an art that requires skill, patience and good tools. It takes many years of practice and study to become proficient at it. The most important skills to develop are accurate hand/eye coordination, consistent and repetitious motor skills, and the ability to clearly see light as it reflects off a fret. You'll need the proper tools, materials and temperament to perform fretwork well. I have found that most of my students complete about 25 fret jobs before they truly know what to look for and how to correct it.

List of Components Needed

• Leveling Bar
• Frets and Fretwire
• 25 lb. Bag of Buckshot
• Trough (Optional)
• Straight Edges
• Recrowning Files
• Sandpaper
• Super Glue®
• Q-Tips®
• Fretting Hammer
• X-Acto® Knife
• Bench Cover
• Brass Wire Brush
• Good Lighting

Frets and fretwire. Frets are made from brass, nickel, zinc and silver. The proportionate amounts of silver, nickel or zinc determine how soft or hard the frets are. Brass frets are very soft, so not used very often. Frets made from nickel, zinc and silver are most common. Frets come in many different sizes. You can tell that it's time to level them when they become dented or pitted. These ailments will cause string rattle, intonation problems and dead or choking notes. Other telltale signs that the frets need to be leveled and recrowned occur when the strings produce dead or "buzzy" notes. Uneven frets can also diminish an instrument's ability to sustain notes. Good tools and materials will help you work accurately, efficiently and effectively.

Fretwork is a skill that takes time to develop. The most important aspects of this skill are your eyesight and knowing what you are looking for. Like an artist, you have to train your eyes to see things that most people ignore. To do fretwork, you need to train your eyes to see certain reflections that appear on the frets during the course of leveling and recrowning them. With good lighting and attention to detail, you will develop this skill over time. I prefer the steel bar and buckshot method for leveling frets. Here's how it's done.

To level the frets on an acoustic or a guitar with a set-in neck:

1. Remove the string nut.
2. Place the neck onto a bag of buckshot (with trough), making sure that it is secure.
3. Seal frets down with Super Glue (skip this step if fretboard is maple as they're usually already sealed).
4. Measuring with a straight edge, adjust the neck until it is perfectly flat.
5. Place the leveling bar onto the frets (with the 220-grit paper down) and make a few short passes. Make sure that you pass over all of the frets.
6. Remove leveling bar and look for the reflections on the frets to see if all the frets were scuffed equally.
7. If frets are all scuffed equally, continue leveling until all the dents and pits are removed from the frets. If not, readjust the neck and try another pass.

You should only do a few passes at a time just in case the neck isn't straight, that way you'll be able to readjust the neck before you remove too much material from the frets. It is also recommended to seal the frets down with a thin solution of Super Glue® before you start. This is primarily done on rosewood or ebony fretboards. Maple fretboards are generally covered with lacquer, which usually seals them.

Here is a detailed explanation of how to level the frets on an acoustic or set-in neck guitar.

1. Remove the string nut. To remove the string nut simply tap the front of it with a flathead screwdriver to loosen it. Then gently pull it out. Sometimes you have to slide it out sideways, other times you can pull it out from the top. If it doesn't want to budge, use a drop or two of Super Glue® solvent on the front of the nut. Always be cautious when working with solvent. Solvent can melt the finish on a guitar.

Be careful not to break or chip the string nut. If you do, it will have to be replaced.

2. Place the neck onto the bag of buckshot, be sure that the bag is secured into the trough. Then make sure that the body of the guitar is supported so that the neck doesn't rock back and forth when sitting on top of the buckshot. This can be accomplished by using various pieces of leather as a platform under the body. It's also a good idea to lay a piece of leather, cardboard or even plastic over the top of the guitar to protect it from a slip of the file or leveling bar.

It's important to keep the body and neck of the guitar steady. The use of leather to steady the guitar will also keep the neck from flexing.

3. Next, seal the frets down (you may have to tap them down if they are un-seated). If the frets pop up or are unseated, you will take off more fret material than needed when you level them. This will result in the premature replacement of the frets later on. Using a bottle of ultra-thin Super Glue®, run a thin line of glue the length of the fret. Be sure not to let the glue run over the sides of the neck, this can be vary difficult to remove. Immediately soak up any excess glue with a Q-Tip® swab.

The ultra-thin Super Glue® will be absorbed into the wood and help hold the fret to the fretboard. This will prevent the fret from popping up again.

4. With a straight edge, check to see if the neck is straight. Keep in mind that the frets are not always level with the fretboard; this is why they need to be leveled. Either the board and/or the frets could be uneven or not level. If you want to check the fretboard for level, use a notched straight edge. To check the frets, use a regular or unnotched straight edge. Adjust the neck until it is level or straight. If it is back-bowed, loosen the trussrod. If the neck has too much fore-bow, then tighten the trussrod until the neck is straight.

The notched straight edge is the most important of the two. It is the notched straight edge that will reveal the truth of the condition of the fretboard.

5. Place your leveling bar on top of the frets with the 220-grit sandpaper facing down (onto the frets). Make a few passes running the length of the neck (perpendicular to the frets). Be careful not to slip and hit the top or the headstock of the guitar. Use short, controlled strokes with each pass. Be sure not to press down on the bar, just gently guide it across the frets.

FIGURE 1.1 If the frets are not evenly scuffed after a few passes, you may have to readjust the neck to compensate for the weight of the leveling bar. Note that the neck is resting on an airtight leather bag of lead shot and held in place by the leveling trough. (Photo by Skip Anderson)

6. Remove the bar and inspect the frets. You'll want to see even scuffmarks across all the frets. Use as much light as possible on the neck so that you can see the scuffmarks clearly. A swing arm lamp with a florescent bulb works great. The trick is to train your eye to see the reflections of the scuffmarks on the frets. Keep in mind that many guitars will have a drop-off area of the fretboard toward the last several frets. This area is only of concern if the guitar has a cutaway. If the guitar has a cutaway, these frets need to be level with the rest of the frets. If there is no cutaway, don't worry, the leveling bar usually doesn't scuff these last several frets.

You may need to reposition your light to see the scuff marks on the frets.

7. If the frets appear to be evenly scuffed, then continue leveling them until all of the dents and pits are gone. Remember that the object of the exercise is to remove the least amount of material from all of the frets. Use short, consistent strokes with each pass across the frets. Check regularly to gauge your progress.

Removing too much material from the top of the frets will shorten the life of the frets. In other words, you will have to replace them sooner then normal.

When all the frets are level, you're ready to recrown them.
I'll address that procedure in next month's Guitar Sessions article.

If you want to learn more about fretwork or guitar setup and repair, check out my new book, called Guitar Setup, Maintenance & Repair. It contains over 250 photographs, diagrams and illustrations. My book also illustrates how to do setups, partial refrets, electronic repair and re-wiring, troubleshooting as well as how to carve a bone nut and saddle. This guide is perfect for beginning to advanced technicians who want to learn more about the craft of luthiery. It also makes a great reference manual for the seasoned luthier.

If a hands-on training is what you're interested in, I offer in-house workshops at the Guitar Services Workshop in Nashville, TN. Check out my website for more details: www.guitarservices.com.

Want to learn how to build a guitar as well as repair one? Sign up for the Luthier's Workshop in Healdsburg, CA, April 24 - 29, 2006. I will be collaborating with world famous archtop builder Tom Ribbecke. This 6-day workshop includes four days of demonstration and instruction by Mr. Ribbecke and two days of hands-on training with me. The workshop includes a 52-piece tool kit and a certificate of completion. For more details contact Tom at: 707-433-3778 or e-mail him at: tom@ribbecke.com.

Got questions? E-Mail me at: guitarservices@aol.com

I hope this two-part article inspires you to join us in the Lutherie Arts.

So long 'till next time,
John M. LeVan
The Guitar Services Workshop
www.guitarservices.com
guitarservices@aol.com