## Fall Out Boy Rig Rundown [2024]

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### When we left off last month, we had a neck where the tops of all of the frets were level, flat (no longer rounded), and had big scratches on them (yikes!).

When we left off last month, we had a neck where the tops of all of the frets were level, flat (no longer rounded), and had big scratches on them (yikes!). If you were to play the guitar at this point, it would feel like the frets were made of sandpaper, so obviously this situation needs to be addressed.

The fact that the frets are flat on top isn''t good either. Assuming the frets are .050" - .100" wide, having them flat on top could alter the string length by .025" - .050", which is enough to throw off your intonation.

Hmmm... does this require additional explanation? Yes?

Let''s discuss scale length. Scale length is the length of the "vibrating portion" of your strings (from the fretboard-side of the nut to the saddle). On a Strat, this is 25.5 inches before intonation compensation. The width of each interval on the fingerboard is calculated based on this measurement, to 3 or 4 decimal places, using a logarithmic formula:

25.5 / 17.817 = 1.431" (width of first interval, or fret)
25.5 - 1.431 = 24.069 (remainder of scale)

24.069 / 17.817 = 1.351" (width of second interval, or fret)
24.069 - 1.351 = 22.718 (remainder of scale)

22.718 / 17.817 = 1.275" (width of third interval, or fret)
22.718 - 1.275 = 21.443 (remainder of scale)

And so on, and so forth. The reason the fret placement is calculated so precisely (and the fret slots cut correspondingly precisely, at least on good guitars) is because you would hear it if they weren''t. The guitar would be out of tune to the degree that the fret placement was off. Even a small amount, like .025" (25 thousandths of an inch) would be noticeable - you would hear the notes beating against each other. Beating is that "throbbing" you sometimes hear between two notes, especially with distortion.

The accurate fret placement is only effective if the top of the fret corresponds to the position of the slot itself. If the fret is round on top, the string makes contact in the middle of the fret, in line with the middle of the slot. Hog off the top of the fret so it''s flat on top, and now the edge of the fret, where the string "breaks", is off from the centerline by up to .050". As you move up the fretboard, this error is compounded because the .050" (or whatever it is) becomes a larger and larger percentage of the remaining string length.

So it''s important that the frets remain round on top. But our frets are flat on top.

So we need to round them. We can do this with abrasives or files. The idea is to round the shoulders of each fret without removing any material from the top. Let''s qualify this by saying that we are only concerned with the section down the middle of the top (where the strings will ultimately make contact), because we spent so much time leveling the tops last month. The last thing we want to do at this point is remove material from this section. The easiest way to do this consistently is with markers and crowning files.

If we mark the tops of the frets with a marker, we can see at a glance if any material gets removed from them. Then we can use a crowning file to remove the shoulders (the square edges) while monitoring the marked tops to make sure that the marker is not removed down the center of the tops. A crowning file''s narrow edges have a groove milled or formed in them. This groove has teeth cut in it (or is coated with industrial diamond), so that it will leave a convex edge on a surface as it cuts. As the file is passed over a fret, this groove begins to knock off the corners, turning the top from a flat surface back to a rounded surface. Careful monitoring of the marked tops and an experienced hand will result in frets that have the merest sliver of marker remaining down the center of each fret, ensuring that they are nearly perfectly rounded, but that the tops are still level.

Whew! That''s it for this month. Next month, we''ll pick back up and finish this topic once and for all with the final step: polishing.

Acme Guitar Works sells electronic components for electric guitars, including complete, prewired assemblies. Visit them at acmeguitarworks.com.

## Alex Lifeson and Geddy Lee Solo Efforts Reissued

Alex LIfeson, Victor

Anthem Records in Canada and Rhino Records will reissue the first-ever solo albums of Rush's Alex Lifeson and Geddy Lee. Lifeson’s 1996 album Victor and Lee’s 2000 offering My Favourite Headache will be re-released on August 9, 2024.

Victor, originally released on January 9, 1996, marks Alex Lifeson’s solo debut. Lifeson took on the roles of songwriter, producer, and mixer for this album. For the first time, Victor will be available on vinyl, featuring a complete remix by Lifeson himself to enhance the audio quality. The fourth side of the album includes four instrumental tracks previously exclusive to Lifeson’s website. Guest artists include lead vocalist Edwin from I Mother Earth, Primus bassist Les Claypool, and Canadian powerhouse vocalist Lisa Dalbello. The 15-song collection is paired with striking 2024 reimagined artwork by Fantoons Animation Studios.

As a Rush Backstage exclusive, Alex Lifeson will personally autograph 1,000 lithographs to be included with the Ruby Translucent 2LPs, which are available only through the Rush Backstage web store.

My Favourite Headache, Geddy Lee’s only solo album to date, was initially released on November 14, 2000. This reissue marks its first vinyl pressing since a limited-edition Record Store Day exclusive in 2019. The fourth side of the album features two instrumental mixes. Produced by Lee, Ben Mink, and David Leonard, the album includes contributions from Mink and drummers Matt Cameron (Soundgarden/Pearl Jam) and Jeremy Taggart (Our Lady Peace).

For more details on the Geddy Lee reissue and to preorder, visit: https://lnk.to/MyFavouriteHeadache.

Rush — bassist/keyboardist/vocalist Geddy Lee, guitarist/vocalist Alex Lifeson, and the late, great drummer/lyricist Neil Peart — maintains a massive and uniquely passionate worldwide fanbase that acknowledges and respects the band’s singular, bold, and perpetually exploratory songcraft that combines sterling musicianship, complex compositions, and distinctive lyrical flair. Rush has sold more than 30 million albums in Canada and the U.S. alone, with worldwide sales estimated at 45 million (and counting). Between Music Canada and the RIAA, Rush has been awarded 50 Gold, 30 Platinum, and 9 Multi-Platinum album distinctions (and counting). Rush has also had 5 Top 10 Billboard Canada Albums, received 7 Grammy nominations, 10 Juno Award wins with 41 Nominations, and earned an induction into the Canadian Music Hall of Fame in 1994 and the Rock and Roll Hall of Fame in 2013. Additionally, Lee, Lifeson, and Peart were made Officers of the Order of Canada on May 9, 1996.

## Electric Lady Studios: A Jimi Hendrix Vision Documentary Announced

The new Jimi Hendrix documentary chronicles the conceptualization and construction of the legendary musician’s recording studio in Manhattan that opened less than a month before his untimely death in 1970. Watch the trailer now.

Abramorama has recently acquired global theatrical distribution rights from Experience Hendrix, L.L.C., and will be premiering it on August 9 at Quad Cinema, less than a half mile from the still fully-operational Electric Lady Studios.

### Jimi Hendrix - Electric Lady Studios: A Jimi Hendrix Vision (Documentary Trailer)

“The construction of Electric Lady [Studios] was a nightmare,” recalls award-winning producer/engineer and longtime Jimi Hendrix collaborator Eddie Kramer in the trailer. “We were always running out of money. Poor Jimi had to go back out on the road, make some money, come back, then we could pay the crew . . . Late in ’69 we just hit a wall financially and the place just shut down. He borrows against the future royalties and we’re off to the races . . . [Jimi] would say to me, ‘Hey man, I want some of that purple on the wall, and green over there!’ We would start laughing about it. It was fun. We could make an atmosphere that he felt comfortable in and that he was able to direct and say, ‘This is what I want.’”

Electric Lady Studios: A Jimi Hendrix Vision recounts the creation of the studio, rising from the rubble of a bankrupt Manhattan nightclub to becoming a state-of-the-art recording facility inspired by Hendrix’s desire for a permanent studio. Electric Lady Studios was the first-ever artist-owned commercial recording studio. Hendrix had first envisioned creating an experiential nightclub. He was inspired by the short-lived Greenwich Village nightspot Cerebrum whose patrons donned flowing robes and were inundated by flashing lights, spectral images and swirling sound. Hendrix so enjoyed the Cerebrum experience that he asked its architect John Storyk to work with him and his manager Michael Jeffery. Hendrix and Jeffery wanted to transform what had once been the Generation Club into ‘an electric studio of participation’. Shortly after acquiring the Generation Club lease however, Hendrix was steered from building a nightclub to creating a commercial recording studio.

Directed by John McDermott and produced by Janie Hendrix, George Scott and McDermott, the film features exclusive interviews with Steve Winwood (who joined Hendrix on the first night of recording at the new studio), Experience bassist Billy Cox and original Electric Lady staff members who helped Hendrix realize his dream. The documentary includes never-before-seen footage and photos as well as track breakdowns of Hendrix classics such as “Freedom,” “Angel” and “Dolly Dagger” by Eddie Kramer.

The documentary explains in depth that while Jimi Hendrix’s death robbed the public of so much potential music, the continued success of his recording studio provides a lasting legacy beyond his own music. John Lennon, The Clash, AC/DC, Chic, David Bowie, Stevie Wonder, Lady Gaga, Beyoncé and hundreds more made records at Electric Lady Studios, which speaks to one of Jimi’s lasting achievements in an industry that has radically changed over the course of the last half century.

## Rivolta Guitars' Sferata | PG Plays

Rivolta Guitars' Sferata | PG Plays

PG contributor Tom Butwin dives into the Rivolta Sferata, part of the exciting new Forma series. Designed by Dennis Fano and crafted in Korea, the Sferata stands out with its lightweight simaruba wood construction and set-neck design for incredible playability.

Rivolta
\$1,699.00