
The condition of your frets will determine how well your guitar plays.
The condition of your frets will determine how well your guitar plays. Every time you press your strings against the frets, the friction between them subtly changes the shape of the frets, causing them to wear out. Over time, this metal-against-metal contact can lead to string rattle and intonation issues. The greatest fret damage is caused by capos—especially under the plain strings.
Fret wear is a normal by-product of playing your instrument. As a guitarist, it's important to know how to evaluate fret damage and understand what options you have to correct it. The big question is, can I refurbish my frets or is it time to replace them? Let's explore the subject starting with the fretwire itself.
What are frets made of?
Though fretwire is frequently called "nickel silver," it doesn't actually contain silver. Rather, it's typically composed of 18 percent nickel, 80 percent copper, and small amounts of such other materials as zinc, lead, and cadmium. Really good fret wire has more zinc and less copper. One of my favorite brands is Jescar, and their NS formula is 62 percent copper, 18 percent nickel, and 20 percent zinc. Because it's harder than traditional fretwire, it lasts longer.
Another option is stainless steel. Stainless steel is very difficult to work with, but it lasts dramatically longer than traditional fretwire. However, stainless steel frets come with a hefty price tag. Most luthiers will charge more than double to re-fret a guitar with stainless steel because it nearly destroys their tools and the job takes much longer to do. In the long run, it could be the perfect solution for your guitar since you may never have to replace the frets again!
How are frets sized?
Fig. 1. Fretwire is measured by the crown's width (A) and height (B), as well as the size of the barb (C) and depth of the tang (D).
Fretwire comes in a variety of sizes and shapes. Fig. 1 illustrates the four elements that determine a particular style of fretwire. They are the width and height of the crown, the size of the barb, and the depth of the tang.
The crown is the exposed part of the fret. When you fret a note, you're pressing the string to the very top of the crown. Like a row of hooks, barbs secure the fret to the fretboard. Barb width determines the width of the fret slot and the tang determines the depth of the fret slot—i.e., how far the fretwire penetrates into the fretboard.
The size and shape of each of these four elements are specifically designed for different playing preferences and types of guitars. The crown width can vary from ultra narrow (.053") to super jumbo (.118"). The fret height can be anywhere from a short .032" to a tall .060". The width of the barbs and depth of the tang also vary from .019" to .040".
All these dimensions have a specific purpose and are important considerations when choosing fretwire. For example, wider frets can produce a stronger tone, but as they wear, the guitar's intonation "drifts" farther than with narrow frets. But narrow wire has its drawbacks, too: Narrow frets won't cause your intonation to drift as much, but they wear down faster than wide frets.
Tall frets will last longer before they need to be replaced. However, I don't recommend them for someone who plays with a strong grip. If you grip the neck tightly while playing or use a capo, the strings will pull sharp as you play. On the other hand, shorter frets wear out faster (especially if you use a capo) and need to be replaced more often.
The size of the barbs and tang have a profound effect on a guitar neck, and if you decide to install new frets, it's very important to use the correct size. If the barbs and tang are too narrow or shallow for the slots, the frets won't seat securely in the fretboard. This causes them to lift out when the weather changes and yields uneven frets and a lot of buzzy or dead notes. When the barbs and tang are too wide, they can crack and chip the fretboard, or even cause the neck to back-bow. In the case of a back-bow, you have to re-fret the guitar.
To summarize: A neck must have the correctly sized frets to match the fretboard and player. Otherwise, you'll end up with a very expensive mess!
Can the dents in my frets be repaired?
Dents always create problems with frets. But does discovering dents mean you need to replace your frets or is re-crowning an option?
It can go either way, and the answer depends on the depth of the dents. When the dents are deep, your tech would have to remove too much material from all the frets to correctly repair the problem ones. When the height of the fret is below .038" and it has deep pits and dents, chances are a re-fret is in order.
Fig. 2. A dented and pitted fret causes intonation problems, creates string rattle, and impedes smooth string bends.
Look at Fig. 2 and notice the deep pits in these frets. These dents are too deep to repair, so the frets must be replaced.
Fig. 3. A flat fret also creates rattle and intonation problems.
Dents and pits are not the only reason to replace frets. Flat spots in the frets are another culprit. For a fret to function properly, it must have a domed crown. If the crown is flat, as in Fig. 3, it will cause string rattle and intonation issues. Much like dents and pits, if the fret has a flat crown and is too short, it will need to be replaced.
Fig. 4. Re-crowning a fret with a specialized tool.
If the frets are tall enough to repair, they are first leveled and then re-crowned. To level a fret, your tech grinds and sands the frets to an equal height. This leaves the frets with a flat crown. The next step is to re-crown the fret by removing material from its sides until the crown offers a narrow point of contact for the string Fig. 4. This is a very painstaking process and it takes years of practice to develop the proper skills—definitely a job for a pro.
What's involved with a re-fret?
Fig. 5. A complete re-fret gives a guitar a new lease on life.
In a re-fret, all the frets in the neck are replaced. The process is very precise and requires expensive tools and great skill. The basic steps include disassembling the guitar, removing all the old frets, planing the fretboard, radiusing the fretboard, cleaning out the fret slots, installing the new frets and then leveling and re-crowning them, cleaning the fretboard and polishing the frets, and finally reassembling the guitar Fig. 5.
And this is just a basic overview of the process. There are many, many more steps—enough to fill an entire book. Re-fretting is expensive and time consuming, but generally worth the cost.
Over the years, I've had clients who choose to replace an old bolt-on neck with a new one, rather than opt for a re-fret. This can be a great choice, but beware—almost every new neck needs a fret level and re-crowning. Most guitar parts factories don't take the time that a luthier would to ensure that the frets are level. So keep in mind that by the time you pay for a new neck and the additional fretwork, you could have re-fretted the original neck and had some leftover change!
What about a partial re-fret?
Sometimes simply replacing several frets, rather than all of them, gets the job done. This is usually preferable for a neck that only has wear on the first six or seven frets and has a level fretboard. If the fretboard is in good condition and the rest of the frets are tall enough, a partial re-fret is a great way to save money. Not all guitars can qualify for this operation. If the fretboard has a twist or wave in it, a total re-fret is required.
Capo is a four-letter word.
The capo is a fret's worst enemy. Of course, I love capos because I love to do fretwork! If no one used capos, my income from fretwork would drop at least 60 percent. The more you use a capo, the more damage it does to the frets. As the capo clamps down on the strings, it smashes the strings into the frets and much harder than if you were to play a chord. As a result, frets begin to flatten and develop pits and dents. This is great news for a guitar tech, but not so good for the player.
To avoid unnecessary "capo-inflicted" fret damage, I suggest you use a capo with a tension adjustment. Many capos simply press the strings down to the fretboard without offering a way to adjust the tension. If you use a capo with a tension adjustment, you can clamp the device with just enough force to prevent string rattle, yet reduce additional fret wear.
Another great benefit to using a capo with adjustable clamping tension: It will help avoid tuning issues versus a nonadjustable capo. There are several great capos on the market that will diminish fret damage and tuning problems, including Planet Waves Dual Action capo and all the various Shubb models. If your capo doesn't offer a tension adjustment, buy one that does. This will save you a ton of money in fretwork.
[Updated 8/10/21]
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Unleash your inner metal icon with the Jackson Lee Malia LM-87, a high-performance shred-ready axe designed in collaboration with Bring Me The Horizon guitarist Lee Malia. Featuring custom Jackson signature pickups, a fast D-profile neck, and a TOM-style bridge for rock-solid stability, this signature model is a must-have for commanding metal tone and smooth playability.
British metal icon and Bring Me The Horizon guitarist Lee Malia has partnered with Jackson to create his signature LM-87, a shred-ready axe built for heavy riffing and alternative modern metal. As a founding member and lead guitarist of the Grammy-nominated band, Malia is renowned for his aggressive playing style and intricate solos. This high-performance guitar matches his demanding musicality.
With its offset Surfcaster™ body shape and vintage appeal, the LM-87 melds classic design with modern appointments. The thin open pore finish on the bound Okoume body and neck exudes organic style, while the unique 3-ply pickguard and chrome hardware add striking accents. The fast D-profile 3- piece okoume neck allows smooth riffing across the bound amaranth fingerboard.
Custom Jackson signature pickups, including a bridge humbucker with push-pull coil-split, equip the LM-87 with versatile tone-shaping options to fulfill Malia's sonic vision. The TOM-style bridge with anchored tailpiece and fine tuners provides rock-solid stability for low tunings and heavy picking.
Designed in close collaboration with the legendary guitarist, the Jackson Lee Malia LM-87 is built for shredding. Its blend of vintage vibe and high-performance features make this signature model a must-have for players who value commanding metal tone and smooth playability.
The Tune-o-matic bridge with an anchored tailpiece and fine tuners offers enhanced tuning stability and precise, incremental adjustments. This setup ensures consistent pitch control, improved sustain, and easier fine-tuning without affecting overall string tension.
The guitar’s three-piece set-neck guitar with graphite reinforcement offers exceptional strength, stability, and resistance to warping. The multi-piece construction enhances sustain and tonal clarity, while the graphite reinforcement adds extra durability and prevents neck shifting due to humidity or temperature changes. This design ensures a solid, reliable performance with improved resonance and longevity.
Features Include:
- Okoume body
- Three-piece okoume set neck construction with graphite reinforcement
- 12"-16" compound radius amaranth fingerboard
- 3-ply pickguard
- Chrome hardware
- Custom wound Jackson LM-87 pickups
- Volume with push-pull coil-split and tone control
- TOM-style bridge with anchored tailpiece and fine tuners
- Gig bag included
The Jackson LM-87 carries a street price of $899.99.
For more information, please visit jacksonguitars.com.
Unleashing the Pro Series Signature Lee Malia LM-87 | Jackson Guitars - YouTube
Jackson Pro Series Signature Lee Malia LM-87 Electric Guitar - Open Pore Black
Pro Series Lee Malia Signature LM-87 Open Pore BlackWith a bit of downtime back in Nashville, co-shredders-in-chief Megan and Rebecca Lovell joined Shred With Shifty to deconstruct their face-melting leads on “Summertime Sunset,” off of their 2022 record Blood Harmony.
The Georgia-born, Nashville-based roots-rock outfit Larkin Poe have had a busy year. Last summer, they toured across the U.S. supporting Slash, and released their seventh studio album, Bloom, on January 22. With a bit of downtime back in Nashville, co-shredders-in-chief Megan and Rebecca Lovell joined Shred With Shifty to deconstruct their face-melting leads on “Summertime Sunset,” off of their 2022 record Blood Harmony.
The Lovells grew up reading sheet music and learning violin via the Suzuki method—there was little room for going off the beaten path until they fell in love with Jerry Douglas’ dobro playing on Alison Krauss records. Rebecca took up the mandolin, while Megan went for the dobro and the slide side of things. It took a while for them to get comfortable turning up from their bluegrass roots, but eventually they built Larkin Poe’s amplified, blues-rock sound.
First up, Rebecca, playing a pristine ’60s SG, shows how she put together her stinging, fuzzy solo by “hunting and pecking out” melodies in her mind, building up the chops to follow her intuition. Then Megan, playing a Rickenbacker-inspired lap steel of her own design through a Rodenberg TB Drive, details her dizzyingly fast slide acrobatics, and her particular “rake” technique that she copped from Jerry Douglas and Derek Trucks.
Tune in to hear them talk about how to sustain family relationships while going professional, keeping music community-minded, and whether or not they’ll go back to bluegrass.
If you’re able to help, here are some charities aimed at assisting musicians affected by the fires in L.A:
https://guitarcenterfoundation.org
https://www.cciarts.org/relief.html
https://www.musiciansfoundation.org
https://fireaidla.org
https://www.musicares.org
https://www.sweetrelief.org
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
An ’80s legend returns in a modern stompbox that lives up to the hype.
A well-designed recreation of one of the most classic tone tools of the ’80s. Sounds exactly like the tones you know from the original. Looks very cool.
If you don’t like ’80s sounds, this isn’t for you.
$229
MXR Rockman X100
Was Tom Scholz’s Rockman the high-water mark of guitar-tone convenience? The very fact that this headphone amp, intended primarily as a consumer-grade practice tool, ended up on some of the biggest rock records of the ’80s definitely makes a case. And much like Sony’s Walkman revolutionized the personal listening experience, it’s easy to argue the Rockman line of headphone amps did the same for guitarists.
MXR Rockman X100 Recreates Tom Scholz's Iconic Boston Guitar Sound | First Look
But just as decades of advances in listening technology make the Walkman now seem clunky and dated, modern guitar tech makes the Rockman look like old news. Multi-effects units, modelers, and portable interfaces all surpass the convenience of the Rockman in form factor as well as in sheer number of sonic options. But while there are any number of ways to dial up an ’80s-style guitar tone these days, nothing’s better than the real thing. The Rockman’s analog tones are still as legit as it gets. Though Dunlop continues to produce the Guitar Ace, Metal Ace, and Bass Ace headphone amps (for a cool $99 street), a pedal version with the functionality of the original would be the ultimate modern package for ’80s fetishists, right? Enter the MXR Rockman X100.
With Tones Like These, Who Needs Options
After the release of the original Rockman, Scholz continued to develop the product, spawning a whole line. But for its pedal resurrection, the MXR team set their sights on the Rockman X100, which used hard-clipping LED diodes for its two distorted settings. The new stompbox version recreates all four modes from the original: cln2 is the default setting, cln1 in the second position is EQ’d with a mid-boost, edge delivers moderate clipping, and dist is high-gain. All are switchable via a small LED-lit mode button, and a control input allows for external mode switching. Another button activates an analog chorus circuit using MN3007 bucket brigade chips, as in the original.
To drive home the ’80s aesthetic, MXR used sliders for volume and input gain controls. Volume determines output, while input gain is tied to compression. Higher input gain means more compression, which is tuned for slower release on the two clean modes, and a fast release on both dirty modes. The X100 works in both mono and stereo, but to change between them, you have to pop off the back to access an internal switch. Just make sure a TRS cable is used for stereo mode, or else the output will be muted while the pedal is bypassed.
The only things I noticed that are missing from the original’s simple set of features is the headphone output and the echo settings. I don’t know how many players would find value in the headphone jack, and considering that would add circuitry, it’s probably best for cost and space savings that it was excluded. As for the echo, you can argue that it’s canon, but I find it to be the least essential feature and don’t miss it, personally.
(Much) More Than a Feeling
Since I do not have an original Scholz X100 sitting on my desk, I’m using YouTube videos and records—Def Leppard’s Hysteria, Huey Lewis and the News’ Sports, and Joe Satriani’s Surfing with the Alien, for example—as my reference points. Those are high bars to clear, and the MXR gets there.
The default cln2 setting delivers instant gratification, with a full-bodied, sparkly tone, no matter what guitar I played through it. And though it provides loads of ’80s fun, it’s much more versatile than that, offering a great all-round clean tone that requires no additional processing. Though it might seem odd that cln2 is the default, switching to cln1’s thinner, more mid-focused sound makes the design decision clear. I can imagine situations where I’d need to cut through a mix and cln1 would be preferred, but I found myself sticking with the default mode for all my clean needs.
The distorted modes are differentiated mostly by how much gain they offer. Edge tones live just beyond the point of overdrive, and the input gain control adds a range of extra texture. The dist mode is full-on, pick-squeal-inducing high-gain saturation, with loads of everlasting sustain. These modes lean into the aesthetic much harder than the clean modes, making it a less versatile tool, but for ’80s rock excess, I can’t imagine a better option.
On a couple recording sessions, I plugged the X100 right into an interface and board to deliver spanky direct clean tones as well as tight, saturated distortion. In doing so, I discovered that direct recording is my preferred use for the X100. That’s not to say it doesn’t sound great through an amp—it does. But plugging into a front end of an amp yields less classic and authentic Rockman sounds, as the amplifier’s preamp colors the tone. Plugged through a few Fenders, I found that the treble needed taming, a problem I didn’t have when forgoing the amp. For live playing, I might explore plugging the X100 into the return input on an amp’s effects loop or right into a powered speaker to deliver an unadulterated Rockman sound more in line with the original.
The Verdict
MXR nailed it with the Rockman X100 pedal by focusing on the limited options of the original unit and getting them just right. For $229, you not only get a great ’80s rock tone, you get what is arguably the ’80s rock tone, with no other gear required, unless you want to add a little ’80s-vintage reverb too. As a performance tool, it’s probably best to think less like you’re using a pedal and more like you’re using the original in a different form, which is to say that plugging straight into an amp isn’t the only way to get the sound you want—and, in fact, it’s probably not even the best way. For recording, it’s a perfect tool. PG
The legendary Louisville rockers brought tons of vintage tone tools on the road this year.
My Morning Jacket’s Is, their 10th album, released on March 21, and as we reported in our feature on the band in our May print issue, it showcased a band exercising their classic strengths as well as newfound vision and curiosity. Helmed by superstar producer Brendan O’Brien, Is finds MMJ at their anthemic, psychedelic best.
We caught up with Carl Broemel for a Rig Rundown back in 2015, but on this year’s tour, PG’s John Bohlinger checked in with all three axemen—Jim James, Broemel, and bassist Tom Blankenship—to hear about their road rigs. In Broemel’s estimation, they’re lazy—they just like to bring everything.
Brought to you by D’Addario.
Three's a Crowd
This gorgeous Gibson Jimi Hendrix 1967 SG Custom, aged by Murphy Labs, initially had three humbuckers, but James kept hitting his pick on the middle pickup, so it got the yank—as did the hefty bridge and Maestro Vibrola system, which were replaced with a simple stopbar tailpiece.
Mirror Image
James picked up this 1998 Gibson Flying V right around when My Morning Jacket got started. He traced and ordered the flashy mirror pickguard himself. It’s got Gibson pickups, though James isn’t sure of the models.
Jim James' Jimmy
James plucked this one-of-a-kind from Scott Baxendale’s collection of restored vintage guitars. He guesses it’s either an old Kay or Harmony guitar, but the decorations, including the custom plastic headstock plaque, make exact identification difficult. But it was clear this one was meant for James, since it has his name on it.
Elsewhere backstage is James’ Epiphone Jim James ES-335, a custom shop Fender Telecaster and Strat, a 1967 Gretsch Chet Atkins Country Gentleman, and a Gibson Barney Kessel.
Make Love, Not War
James loves repurposing old military equipment for creative, peaceful purposes, which is how this old radar system came to be a part of his live amplification kit. Along with the old tech, James runs two 3 Monkeys Orangutan heads through a 3 Monkeys cab.
Jim James' Pedalboard
James’ board is built around a pair of GigRig QuarterMaster switching systems, which lets him navigate the stomps you see here: a Devi Ever US Fuzz, Boss BD-2w, SoloDallas Schaffer Boost, Boss OC-2, EarthQuaker Devices Spatial Delivery, Strymon blueSky, EQD Ghost Echo, Malekko Spring Chicken, ISP Deci-Mate, Electro-Harmonix Mel9, UA Starlight Echo Station, and UA Astra Modulation Machine. A D’Addario Chromatic Pedal Tuner duo keep things on pitch, a Strymon Zuma and Ojai pair handle the power, and a Radial SGI-44 line driver maintains clarity.
Arts and Crafts Night
One night while a bit tipsy, Broemel took out his paint pens and set to work on this Gibson Les Paul Standard Faded, resulting in this masterpiece. He also removed the pickup selector switch; even though the neck pickup remains, it never gets used.
Relic By Broemel
This 1988 Les Paul Standard predates the band, and Broemel has given it its aged finish over the years—on one occasion, it fell out of a truck. It’s been treated to a Seymour Duncan pickup upgrade and occasional refrets when required.
Carl's Creston
This Creston Lea offset has two Novak lipstick pickups in the neck, with a switch to engage just one or both, plus a low-end roll-off control. It’s finished in the same blue-black color as Broemel’s house and sports a basil leaf on the headstock in tribute to Broemel’s son, Basil.
Also in the wardrobe are a shiny new Duesenberg tuned to open G, and a custom shop Fender Telecaster with a fattened neck and Bigsby to swing it closer to Broemel’s beloved LPs.
Milk Route
Broemel routes his GFI Ultra pedal steel, which is tuned to E9, through a board which includes a Milkman The Amp, which is projected through the speaker of a Fender Princeton Reissue combo. Operated with another GigRig QuarterMaster, the board also includes an Eventide H9, Moog MF Delay, Fender The Pelt, MXR Phase 90, EHX Nano POG, Xotic Effects EP Booster, Source Audio C4, and a Peterson StroboStomp HD.
Side-Carr
This time out, Broemel is running two Carr Slant 6V heads in stereo.
Carl Broemel's Pedalboard
Broemel commissioned XAct Tone Solutions to build this double-decker board, which depends on a GigRig G3S switching system. From top to bottom (literally), it includes a Boss TU-3, Durham Electronics Sex Drive, JAM Pedals Tubedreamer, Source Audio Spectrum, JAM Retrovibe, MXR Phase 100, Fender The Pelt, Origin Effects SlideRIG, 29 Pedals EUNA, two Eventide H9s, Kingsley Harlot V3, JAM Delay Llama, Merix LVX, Hologram Chroma Console, and EHX POGIII. A wah and Mission Engineering expression pedal sit on the left side, while a Lehle volume pedal and Gamechanger Audio Plus hold down the right edge.
Utility units include two SGI TX interfaces, two Strymon Ojais and a Strymon Zuma, and a Cioks Crux.
More From the Creston Crew
Blankenship, too, has brought along a few guitars from Lea, including these Precision-bass and Jazz-bass models. The dark-sparkle P-style rocks with GHS flatwound strings, while the natural-finish J-style has roundwounds.
Emperor's New Groove
Blankenship just got these brand-new Emperor cabinets, through which he cranks his Mesa Boogie WD-800 Subway heads.
Tom Blankenship’s Pedalboard
Like James, Blankenship uses a GigRig QuarterMaster to jump between his effects. After his Boss TU-3, that includes an Origin Effects Cali76, DigiTech Whammy Ricochet, Pepers’ Pedals Humongous Fuzz, MXR Bass Octave Deluxe, Tronographic Rusty Box, and EHX Bassballs Nano. A Voodoo Labs Pedal Power 2 Plus lights things up, and a Radial SGI TX keeps the signal squeaky clean.
Shop My Morning Jacket's Rig
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Electro-Harmonix Mel9 Tape Replay Machine Pedal
EarthQuaker Devices Spatial Delivery Envelope Filter Pedal
Universal Audio UAFX Starlight Echo Station Delay Pedal
Universal Audio UAFX Astra Modulation Machine Pedal
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