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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On her new record with her trio, Molly Miller executes a live-feeling work of structural harmony that mirrors her busy life.
Miller has a lot on her plate. In addition to gigs leading the Molly Miller Trio, she also plays guitar in Jason Mraz’s band, and teaches at her alma mater, the University of Southern California (USC), where, after a nine-year stint, she earned her bachelor’s, master’s, and doctorate in music. In 2022, she became a professor of studio guitar at USC. Prior to that, she was the chair of the guitar department at the Los Angeles College of Music.
Molly Miller's Gear
Miller plays a fair bit of jazz, but considers herself simply a guitarist first: “Why do I love the guitar? Because I discovered Jimi Hendrix.”
Photo by Anna Azarov
Guitars
- 1978 Gibson ES-335
- Fender 1952 Telecaster reissue with a different neck and a bad relic job (purchased from Craigslist)
- Gibson Les Paul goldtop with P-90s
Amps
- Benson Nathan Junior
- Benson Monarch
- Fender Princeton Reverb Reissue (modified to “widen sound”)
Effects
- Chase Bliss Audio Dark World
- Chase Bliss Audio Warped Vinyl
- EarthQuaker Devices Dispatch Master
- EarthQuaker Devices Dunes
- EarthQuaker Devices Special Cranker
- JAM Pedals Wahcko
- JAM Pedals Ripply Fall
- Strymon Flint
- Fulltone Clyde Wah
- Line 6 Helix (for touring)
Strings & Picks
- Ernie Ball .011s for ES-335 and Les Paul
- Ernie Ball .0105s for Telecaster
- Fender Celluloid Confetti 351 Heavy Picks
To get things done, Miller has had to rely on a laser-focused approach to time management. “I’ve always kind of been juggling different aspects of my career. I was in grad school, getting a doctorate, TA-ing full time—so, teaching probably 20 hours a week, and then also doing probably four or five gigs a week, and getting a degree,” explains Miller. “I had to figure out how to create habits of, ‘I really want to play a lot of guitar, and gig a lot, but I also need to finish my degree and make extra money teaching, and I also want to practice.’ There’s a certain level of organization and thinking ahead that I always feel like I have to be doing.”
“The concept of the Molly Miller Trio—and also a part of my playing—is we are playing songs, we are bringing back the instrumental, we are thinking about the arrangement.”
The Molly Miller Trio’s latest release, The Battle of Hotspur, had its origins during the pandemic. Miller and bassist Jennifer Condos started writing the songs in March 2020, sending files back and forth to each other. They finally finished writing the album’s last song, “Head Out,” in December 2021, and four months later, recorded the album in just two days. The 12-song collection is subtle and cool, meandering like a warm, sparkling country river through a backwoods county. The arrangements feel spacious and distinctly Western—Miller’s guitar lines are clean and clear and dripped with just the right level of reverb, trem, and chorus, while Jay Bellerose’s brush-led percussion trots alongside like a trusty steed.
The Battle of Hotspur has a live feel, and that aspect was 100-percent deliberate. Miller says, “That’s the exact intention of our records—we want to create a record that we can play live. Jason Wormer, the recording and mixing engineer that did our record, came to a show of ours and was like, ‘This is incredible.’ He’s recorded so many records and was like, ‘This is the first time I’ve ever recorded a record that sounds the same live.’ And that was our exact intention. Because I feel like [the goal of] the trio itself was to be full. It’s not supposed to be like, ‘Oh, let’s put saxophone and let’s put keys and other guitars on it.’ The concept of the record is a full trio like the way Booker T. & the M.G.’s were. It’s not, ‘Wouldn’t it be cool if you added another instrument?’ No, we’re an instrumental trio.”
Musicality is what separates Miller from the rest of the pack. She has prodigious chops but uses them appropriately, when it makes musical sense, and her ability to honor a song’s written melody and bring it to life is one of her strong suits. “That’s a huge part of what we do,” she says. “The concept of the Molly Miller Trio—and also a part of my playing—is we are playing songs, we are bringing back the instrumental, we are thinking about the arrangement. The solo is a vehicle to further the story, to further the song, not just for me to shred. So often, you play a song, and you could be playing the solo over any song. There’s not enough time spent talking about how to play a melody convincingly, and then play a solo that’s connected to the melody.... Whether it’s a pop song, an original, or a standard, how you’re playing it is everything, and not just how you’re shredding over it.”
Miller still gets pigeonholed by expectations in the music industry, including the assumption that she’s a singer-songwriter: “I don’t sing. I’m a fucking guitar player.”
Photo by Anna Azarov
Miller’s strong sense of melody can be traced to her diverse palette of influences. Even though she’s a “jazzer” by definition, she’ll cover pop songs like the Everly Brothers’ “All I Have to Do is Dream” and the Rolling Stones’ “(I Can’t Get No) Satisfaction.” Miller says, “I spent nine years in jazz school. I practice ‘Giant Steps’ still for fun because I think it’s good for my guitar playing. But it was a release to be like, ‘I am not just a jazz guitar player at all!’ Why do I love the guitar? Because I discovered Jimi Hendrix, right? What made me feel things in high school? Bob Dylan, Jimi Hendrix, and No Doubt. It’s like, Grant Green’s not why I play the guitar.
“I play jazz guitar, but I’m a guitar player that loves jazz. What do I put on my playlist? It’s not like I just listen to Wes Montgomery. I go from Wes Montgomery to the Beach Boys to freakin’ Big Thief to Bob Dylan to Dave Brubeck. The musicians I love are people who tell stories and have something to say—Brian Wilson, Cat Stevens.... They’re amazing songwriters.”
“Whether it’s a pop song, an original, or a standard, how you’re playing it is everything, and not just how you’re shredding over it.”
Despite a successful career, Miller continually faces sexism in the industry. “I went to a guitar hang two days ago. It was a big company, and they invited me to come and check out guitars. And I’m playing—I clearly know how to play the instrument—and this photographer there is like, ‘Oh, so are you a singer?’ And I’m just like, ‘No, I don’t sing. Fuck you,’” recalls Miller. “It’s such an internal struggle because of the interactions I have with the world. This kind of gets this thing in me where I feel like I need to prove to people, like, I am a guitar player. And at this point, I know I’m established enough. I play the guitar, and I know how to play it. I’m good, whatever. There still is this ego portion that I’m constantly fighting, and it comes from random people walking up to me and asking about me playing acoustic guitar and my singer-songwriter career or whatever. And I’m like, ‘I don’t sing. I’m a fucking guitar player.’”
YouTube It
Molly Miller gets to both tour with and open up for Jason Mraz’s band. Here’s a taste of Miller leading into Mraz’s set with some adeptly and intuitively performed riffs from a show in July 2022.
George Benson’s Dreams Do Come True: When George Benson Meets Robert Farnonwas recorded in 1989. The collaboration came about after Quincy Jones told the guitarist that Farnon was “the greatest arranger in all the world.”
On that recommendation,Benson tapped Farnon for a 1989 recording project encompassing the jazz standards “My Romance” and “At Last” next to mid-century pop chestnut “My Prayer,” the Beatles’ “Yesterday,” and Leon Russell’s “A Song for You,” among others.
Across the album, Benson’s voice is the main attraction, enveloped by Farnon’s luxuriant big-band and string arrangements that give each track a warm, velveteen sheen. His guitar playing is, of course, in top form, and often sounds as timeless as the tunes they undertake: On “Autumn Leaves,” you could pluck the stem of the guitar solo and seat it neatly into an organ-combo reading of the tune, harkening back to the guitarist’s earlier days. But as great as any George Benson solo is bound to be, on Dreams Do Come True, each is relatively short and supportive. At this phase of his career, as on 1989’s Tenderlyand 1990’s Count Basie Orchestra-backed Big Boss Band, Benson was going through a jazz-singer period. If there’s something that sets the ballad-centric Dreams Do Come Trueapart, it’s that those other records take a slightly more varied approach to material and arranging.
When it was finished, the Benson/Farnon collaboration was shelved, and it stayed that way for 35 years. Now released, it provides a deeper revelation into this brief phase of Benson’s career. In 1993, he followed up Big Boss Man with an updated take on the smooth, slick pop that brought him blockbuster fame in the previous two decades and delivered Love Remembers.
Love is Blue (feat. The Robert Farnon Orchestra)
This kind of stylistic jumping around, of musical discovery, is a thread through Benson’s legendary career. From his days as a young child busking in Pittsburgh, where his favorite song to play was “On the Sunny Side of the Street,” he evolved through backing Brother Jack McDuff and leading his own organ combo, into his soulful and funky CTI Records phase, where he proved himself one of the most agile and adroit players in the jazz-guitar game. He eventually did the most improbable—and in anyone else’s hands thus far, impossible—feat and launched into pop superstardom with 1976’s Breezin’ and stayed there for years to come, racking up No. 1 hits and a host of Grammy awards.
At this moment, deep into his career at 81 years old, Benson continues to dive into new settings. While anyone observing from the sidelines might conclude that Benson has already excelled in more varied musical situations than any other instrumentalist, he somehow continues to discover new sides to his musicality. In 2018, he joined the Gorillaz on their technicolor indie-pop single “Humility,” and in 2020 he tracked his guitar onBootsy Collins’ “The Power of the One.” Benson assures me that not only are there more recordings in the archive that he’s waiting to reveal, but there are more wide-ranging collaborations to come.
On Dreams Do Come True, Benson covers classic jazz repertoire, plus he revisits the Beatles—whose work he covered on 1970’s The Other Side of Abbey Road—and Leon Russell, whose “This Masquerade” brought Benson a 1976 Grammy award for Record of the Year.
PG: The range of songs that you’ve played throughout your career, from your jazz records to 1970’s The Other Side ofAbbey Road or 1972’s White Rabbit album to 2019’s Chuck Berry and Fats Domino tribute, Walking to New Orleans, is so broad. Of course, now I’m thinking about the songs on Dreams Do Come True. How do you know when a song is a good fit?
George Benson: Well, you can’t get rid of it. It stays with you all the time. They keep popping up in your memory.
All the stuff that Sinatra did, and Nat King Cole did, and Dean Martin, that’s the stuff I grew up on. I grew up in a multinational neighborhood. There were only 30 African Americans in my school, and they had 1,400 students, but it was a vocational school.
I remember all that stuff like yesterday because it’s essential to who I am today. I learned a lot from that. You would think that would be a super negative thing. Some things about it were negative—you know, the very fact that there were 1,400 students and only 30 African Americans. But what I learned in school was how to deal with people from all different parts of the world.
After my father made my first electric guitar. I made my second one….
You made your second guitar?
Benson: Yeah, I designed it. My school built it for me. I gave them the designs, sent it down to the shop, they cut it out, I sent it to the electric department, and then I had to put on the strings myself. I brought my amplifier to school and plugged it in. Nobody believed it would work, first of all. When I plugged it in, my whole class, they couldn’t believe that it actually worked. So, that became my thing, man. “Little Georgie Benson—you should hear that guitar he made.”“I can let my mind go free and play how I feel.”
George Benson's Gear
The Benson-designed Ibanez GB10 was first introduced in 1977.
Photo by Matt Furman
Strings & Picks
- Ibanez George Benson Signature pick
- Thomastik-Infeld George Benson Jazz Strings
Accessories
- Radial JDI Passive Direct Box
So, your environment informed the type of music you were listening to and playing from a young age.
Benson: No doubt about it, man. Because remember, rock ’n’ roll was not big. When the guitar started playing with the rock bands, if you didn’t have a guitar in your band, you weren’t really a rock band. But that was later, though. It started with those young groups and all that hip doo-wop music.
I was known in Pittsburgh as Little Georgie Benson, singer. Occasionally, I would have the ukulele or guitar when the guitar started to get popular.
What’s your playing routine like these days? Do you play the guitar every day, and what do you play?
Benson: Not like I used to. Out of seven days, I probably play it four or five days.
I used to play virtually every day. It was just a natural thing for me to pick up. I had guitars strategically placed all over my house. As soon as I see one, my brain said, “Pick that up.” So, I would pick it up and start playing with new ideas. I don’t like going over the same thing over and over again because it makes you boring. I would always try to find something fresh to play. That’s not easy to do, but it is possible.
I’m looking for harmony. I’m trying to connect things together. How do I take this sound or this set of chord changes and play it differently? I don’t want to play it so everybody knows where I’m going before I even get there, you know?
“I wasn’t trying to sound loud. I was trying to sound good.”
How did you develop your guitar tone, and what is important about a guitar tone?
Benson: Years ago, the guitar was an accompaniment or background instrument, usually accompanying somebody or even accompanying yourself. But it was not the lead instrument necessarily. If they gave you a solo, you got a chance to make some noise.
As it got serious later on, I started looking for a great sound. I thought it was in the size of the guitar. So, I went out and bought this tremendously expensive guitar, big instrument. And I found that, yeah, that had a big sound, but that was not it. I couldn’t make it do what I wanted it to do. I found that it comes from my phrasing, the way I phrase things and the way I set up my guitar, and how I work with the amplifier. I wasn’t trying to sound loud. I was trying to sound good.
George Benson at Carnegie Hall in New York City on September 23,1981. The previous year, he received Grammy awards for “Give Me the Night,” “Off Broadway,” and “Moody’s Mood.”
Photo by Ebet Roberts
When I think about your playing, I’m automatically thinking about your lead playing so much of the time. But I think that your rhythm playing is just as iconic. What do you think is the most important thing about rhythm guitar parts, comping, and grooving?
Benson: That word comp, I finally found out what it really represents. I worked with a man called Jack McDuff, who took me out of Pittsburgh when I was 19 years old. He used to get mad at me all the time. “Why are you doing this? Why are you doing that? I can’t hear what you’re playing because you play so low”—because I used to be scared. I didn’t want people to hear what I was playing because then they would realize I didn’t know what I was doing, you know? I would play very mousy. He said, “Man, I don’t know if you play good or bad because I can’t hear you. Man, play out. People don’t know what you’re playing. They’ll accept whatever it is you do; they’ll think you meant to do it. Either it’s good or bad.”
So I started playing out and I found there’s a great truth in what he said. When you play out, you sound like you know what you’re doing. People say, “Oh wow, this cat is a monster.” It either feels good and sounds good or it doesn’t. So, I learned how to make those beeps and bops and things sound good and feel good.
The word comp comes from complementing. Whoever’s coming in to solo is out front. I gotta make them sound good. And that’s why people call me today. I had a record with a group called the Gorillaz. That’s the reason why they called me is because they realized that I knew what to do when I come to complement somebody. I did not have a lead role in that song. But I loved playing it once I found the space for me. I said, “Man, I don’t wanna just play it on an album. I wanna mean something.”
I did something with Bootsy Collins, who is a monster. I said, “Why is he calling me? I’m not a monster, man.” But he heard something in me he wanted on his record, and I couldn’t figure out what it was. I said, “No, I don’t think I can do it, man. I don’t think I can do you any good.” He said, “Try something, man. Try anything.” So I did. I didn’t think I could do that, but it came out good. Now I’m getting calls from George Clinton.
You worked on something with George Clinton?
Benson: Not yet, but that’s what I’m working on now, because he called me and said, “Man, do something with me.”
That’s not going to be easy. You know, I gotta find something that fits his personality, and where I can enhance it, not just throw something together, because that wouldn’t be right for the public. We want something musical, something that lasts for a long time.
“I can let my mind go free and play how I feel.”
In the liner notes for Dreams Do Come True, you say that there’s always more to be discovered. You just mentioned the Gorillaz, then Bootsy Collins and George Clinton. You have such a wide, open exploration of music. How has discovery and exploration guided your career?
Benson: Well, this is the thing that we didn’t have available a few years ago. Now, we can play anything. You couldn’t cross over from one music to another without causing some damage to your career, causing an uproar in the industry.
When Wes Montgomery did “Going Out of My Head” and Jimmy Smith did “Walk on the Wild Side,” it caused waves in the music industry, because radio was not set up for that. You were either country or jazz or pop or blues or whatever it was. You weren’t crossing over because there was no way to get that played. Now there is.
Because I’ve had something to do with most of those things I just mentioned, my mind goes back to when I was thinking, “What if I played it like this? No, people won’t like that. What if I played it like this? Now, they won’t like that either.” Now, I can let my mind go free and play how I feel, and they will find some way to get it played on the air.
YouTube It
George Benson digs into the Dave Brubeck-penned standard “Take Five” at the height of the ’80s, showing his unique ability to turn any tune into a deeply grooving blaze-fest.
