More About Frets



In July’s newsletter we learned about those shiny metal speed bumps, or frets that sit atop the fingerboards of our guitars and basses. Let me digress here for moment though…as we all know, many stringed instruments do not employ frets, and there are advantages and disadvantages within both realms. It is less difficult to achieve intonation of notes and scales on a fretted versus a fretless instrument, and playing chords can be much easier, and less of a strain on the hand. A major disadvantage present in fretted instruments is that the player must work within the temperament of the instrument’s scale (ie) it is impossible to reach “notes between notes” or semitones unless the player pulls at or pushes the strings sideways, virtually stretching or “bending” them to influence their pitch microtonally. In comparison, notes played on an unfretted neck will yield a more dampened and muted tone, while notes played on a fretted neck will sound livelier and somewhat more brilliant. I am a Master Luthier / Luthier Engineer, and for design, restorative and practical purposes, I am required to possess an in depth knowledge of the idiosyncrasies of stringed instruments, but I realize that most of you who read my newsletters are guitarists, so we’ll stick with frets. By the way, although no one has been able to give me a plausible answer as to why frets are called “frets”, it appears that the term may have been borrowed from “fretwork”, a term that describe something of a highly ornate design…(?) I invite commentary regarding the origins of the word “Frets” as it applies to musical instruments. Let me hear from ya !! O.K., so…we’ve learned thus far that our choice of fret size, shape and hardness can alter the way an instrument feels, plays and sounds, and that it’s a good idea to experiment by playing guitars and basses with different types of frets until we find something we really like. For the record…most of my seasoned players and working pros don’t rely on just one particular type of fret wire for all their instruments. To Fret…Or Not To Fret Many musicians don’t realize when their guitars and basses need servicing. Some of these folks wait until an instrument has played its last clear note before they decide to have it examined and appraised for restorative work. If you have invested your hard earned money in a quality guitar or bass, you should seek out the services of a reputable, experienced Luthier who can check your instrument out thoroughly, offer a explanation of what needs to be done, and give you a fair and detailed estimate of how much the work will cost. Remember…it’s your money….ask questions. Before you trundle your instrument off to a repair shop, there is a visual inspection you can perform, and some things you need to look for in order to determine if the trip is necessary. 1) Let’s go back to our second May, 2009 newsletter and review what I wrote about inspecting, or “reading” the neck for Relief , Warpage, and Twisting. If you sent the newsletter to your recycle bin, e-mail me and I’ll forward you another copy. And, oh…by the way, did any of you figure out who wrote “The Twist” ? 2) Get yourself a can of Naptha at the hardware store, pour some on a paper towel, then wipe down and clean off the fingerboard. 3) Take a good look at the frets. Are the tops of the frets uneven, are there visible flat spots, wear spots, ruts or dings ? Are the fret ends lifting or loose? Are the fret ends sharp and uncomfortable to the touch? If you answered yes to any items in #3, then you may need either a fret dressing or a re-fret. Continued on Page 2 The Fretshop Newsletter, August, 2009 Pg. 2 Shall We Dress ? If a Luthier or repair person has determined that there is “sufficient”, not “just enough”, but sufficient fret material existing throughout the fingerboard to grind, sand, or file wear and other discrepancies out of the frets, and that each fret’s radius can be restored, rendering a level playing surface when checked with a quality straight edge, then a dressing is an option. A dressing isn’t a good choice, however when it will yield frets that are uncomfortably low….so ask questions !! What’s In A Name ? Fret Dressing, Fret Milling and Grind and Polish are nothing more than regional terms for exactly the same thing. A professional fret dressing should consist of : 1) The fingerboard must be cleaned thoroughly, and the frets tested for integrity (ie) loose frets, lifting fret ends, badly worn, unsalvageable frets. 2) Loose or damaged frets re-glued, repaired or replaced (partial re-fret). 3) Neck properly adjusted and checked with a quality straight edge. The headstock to third fret area of the neck should also be tested for Headstock Deflection. Some necks tend to deflect, or curl up in the aforementioned area under tension. The same test is also imperative to a quality re-fret. 4) Frets leveled: I use a machine shop calibrated metal leveling bar and special industrial grade abrasive papers to level frets. 5) Frets re-radiused using special restorative files, abrasive papers and polishing compounds. 6) Fingerboard reconditioned and polished. Inlays checked for integrity. 7) Proceed to re-stringing, micro dressing / polishing and final set up Fret Dressing vs. Re-Fret A re-fret is usually only performed if there isn’t enough fret material left to dress the frets and ensure that they will remain at a comfortable height. Frets that have been dressed in the past, or are too low and/or have lost their radius (ie) frets have flattened out from use, and will not render clear notes or intonate properly, are usually not candidates for a dressing, A re-fret is usually recommended in this instance. To continue playing a guitar with worn frets will quickly with cause ruts and wear spots to develop in the fingerboard. Don’t Fret…Let’s Re-Fret Re-fretting is the process of removing an instrument’s existing frets and replacing them with new ones. Sounds pretty easy and straightforward doesn’t it ? Hah !! You wouldn’t believe how many distress calls I receive from characters who’ve bought all the “how to” DVDs, tapes and books and have gotten in WAY over their heads….especially after having botched a fingerboard to the point where it had to be replaced. I know of quite a few fledging and wannabe “Guitar Techs”, and a few more “Established Repair Specialists” who’ve had to buy an instrument from a client after ruining it. Remember what I said about “Caveat Emptor” in the June Newsletter ? Next time around, we’re going learn about the origins and design of modern fret wire. Then we’ll learn about the steps involved in performing a professional re-fret. I will, of course print a disclaimer for any one who is tempted to dump a bunch of money at a guitar tool supply, and then proceed to ravage one of his own instruments. I hope that this news letter finds you all in good health and good spirits. Till next time…cheers !!