
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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After decades of 250 road dates a year, Tab Benoit has earned a reputation for high-energy performances at clubs and festivals around the world.
After a 14-year break in making solo recordings, the Louisiana guitar hero returns to the bayou and re-emerges with a new album, the rock, soul, and Cajun-flavoredI Hear Thunder.
The words “honesty” and “authenticity” recur often during conversation with Tab Benoit, the Houma, Louisiana-born blues vocalist, guitarist, and songwriter. They are the driving factors in the projects he chooses, and in his playing, singing, and compositions. Despite being acclaimed as a blues-guitar hero since his ’80s days as a teen prodigy playing at Tabby Thomas’ legendary, downhome Blues Box club in Baton Rouge, Benoit shuns the notion of stardom. Indeed, one might also add simplicity and consistency as other qualities he values, reflected in the roughly 250 shows a year he’s performed with his hard-driving trio for over two decades, except for the Covid shutdown.
On his new I Hear Thunder, Benoit still proudly plays the Fender Thinline Telecaster he purchased for $400 when he was making his debut album in Texas, 1992’s Nice & Warm. After that heralded release, his eclectic guitar work—which often echoes between classic blues-rock rumble-and-howl, the street-sweetened funk of New Orleans, and Memphis-fueled soul—helped Benoit win a long-term deal with Justice Records. But when the company folded in the late ’90s, his contract and catalog bounced from label to label.
Tab Benoit - "I Hear Thunder"
This bucked against Benoit’s strong desire to fully control his music—one reason he settled on the trio format early in his career. And although his 2011 album, Medicine, won three Blues Music Awards—the genre’s equivalent of Grammys—he stopped recording as a leader because he was bound by the stipulations of a record deal, now over, that he deemed untenable.
“I wanted to make records that reflected exactly how I sounded live and that were done as though we were playing a live concert,” Benoit says. “So, I formed my own label [Whiskey Bayou Records, with partner Reuben Williams] and signed artists whose music was, to me, the real deal, honest and straightforward. I couldn’t do anything on my own, but I could still continue putting out music that had a positive impact on the audience.”
Benoit’s new album, which includes Anders Osborne and George Porter Jr., was recorded in the studio at the guitarist’s home near the bayou in Houma, Louisiana.
Those artists include fellow rootsers Eric McFadden, Damon Fowler, Eric Johanson, Jeff McCarty, and Dash Rip Rock. Benoit also spent plenty of time pursuing his other passion: advocating for issues affecting Louisiana’s wetlands, including those around his native Houma. His 2004 album was titled Wetlands, and shortly after it was issued he founded the Voice of the Wetlands non-profit organization, and later assembled an all-star band that featured New Orleans-music MVPs Cyril Neville, Anders Osborne, George Porter Jr., Big Chief Monk Boudreaux, Johnny Vidacovich, Johnny Sansone, and Waylon Thibodeaux. This ensemble, the Voice of the Wetlands All-Stars, has released multiple CDs and toured.
Essentially, Benoit comes from the bayous, and when it’s time to record, he goes back to them, and to the studio he has in Houma, which he refers to as “the camp.” That’s where I Hear Thunder came to life. “George and Anders came to me and said, ‘Let’s go make some music,” Benoit offers. “So, we went out to the camp. They had some songs—and George and Anders and I go back so many years it was really a treat to put everything together. It only took us a couple of days to do everything we needed to do.”
“George Porter and Anders Osborne and I saw this alligator sitting around the boat where we were writing the entire time. I guess he really liked the song.”
I Hear Thunder has become his first number one on Billboard’s blues chart. Besides the fiery-yet-tight and disciplined guitar work of Benoit and Osborne, the latter also an esteemed songwriter, the album features his longtime rhythm section of bassist Corey Duplechin and drummer Terence Higgins. Bass legend Porter appears on two tracks, “Little Queenie” and “I’m a Write That Down.” Throughout the album, Benoit sings and plays with soul and tremendous energy, plus he handled engineering, mixing, and production.
Once again, that ascribed to his aesthetic. “My main reason for taking on those extra duties was I wanted to make sure that this recording gives the audience kind of a preview of how we’re going to sound live,” he declares. “That’s one of the things that I truly don’t like about a lot of current recordings. I listen to them and then see those guys live and it’s like, ‘Hey, that doesn't sound like what was on the album.’ Play it once or twice and let’s run with it. Don’t overdo it to the point you kill the honesty. All the guys that I love—Lightnin’ Hopkins, Albert King—they played it once, and you better have the tape machine running because they’re only going to give it to you that one time. That’s the spontaneity that you want and need.
“One of the reasons I don’t use a lot of pedals and effects is because I hate gimmicks,” he continues. “ I’m playing for the audience the way that I feel, and my attitude is ‘Let’s plug into the guitar and let it rip. If I make a mistake, so be it. I’m not using Auto-Tune to try and get somebody’s vocal to seem perfect. You think John Lee Hooker cared about Auto-Tune? You’re cheating the audience when you do that stuff.”
Tab Benoit’s Gear
Benoit in 2024 with his trusty 1972 Fender Thinline Telecaster, purchased in 1992 for $400. Note that Benoit is a fingerstyle player.
Photo by Doug Hardesty
Guitar
- 1972 Fender Telecaster Thinline
Amp
- Category 5 Tab Benoit 50-watt combo
Strings
- GHS Boomers (.011–.050)
The I Hear Thunder songs that particularly resonate include the explosive title track, the soulful “Why, Why” and the rollicking “Watching the Gators Roll In,” a song that directly reflected the album’s writing experience and environment. “George and Anders and I saw this alligator sitting around the boat where we were writing the entire time. I guess he really liked the song. He’d be swimming along and responding. That gave it some added punch.” As does Benoit and Osborne’s consistently dynamic guitar work. “I’m not one of these people who want to just run off a string of notes or do a lot of fast playing,” Benoit says. “It has to fit the song, the pace, and most of all, really express what I’m feeling at that particular moment. I think when the audience comes to a show and you play the songs off that album, you’ve got to make it real and make it honest.”
When asked whether he ever tires of touring, Benoit laughs and says, “Absolutely not. At every stop now I see a great mix of people who’ve been with us since the beginning, and then their children or sometimes even their grandchildren. When people come up to you and say how much they enjoy your music, it really does make you feel great. I’ve always seen the live concerts as a way of bringing some joy and happiness to people over a period of time, of helping them forget about whatever problems or issues they might have had coming in, and just to enjoy themselves. At the same time, I get a real thrill and joy from playing for them, and it’s something that I always want the band’s music to do—help bring some happiness and joy to everyone who hears our music.”
YouTube It
Hear Tab Benoit practice the art of slow, soulful, simmering blues on his new I Hear Thunder song “Overdue,” also featuring his well-worn 1972 Telecaster Thinline.
The range of clean, dirty, and complex tones available from this high-quality, carefully crafted Dumble modeler make it a formidable studio and performance device.
Fantastic variation in many delicious sounds makes it a bargain. High-quality. Easy to use and customize. Killer studio path to lively, responsive guitar sounds.
Price may be hard for some to swallow if they don’t leverage the whole of its potential.
$399
UAFX Enigmatic ’82 Overdrive Special
uaudio.com
I’ve never played a realDumble. I’d venture most of us haven’t. But given my experiences with James Santiago’s UAFX modeling pedals, most recently theUAFX Lion, I plugged in the new Dumble-inspired UAFX Enigmatic confident I’d taste at least the essence of that very rare elixir. You could argue there is no definitive Dumble sound. Each was customized to some extent for the customer, and they are renowned nearly as much for dynamic responsiveness and flexibility as their singing, complex, clean-to-dirty palettes.
The Enigmatic nails the flexibility, for sure. To my ears, its tone foundation lives somewhere on a sliver of Venn diagram where a black-panel Fender and a 50-watt Hiwatt intersect. It’s alive, dimensional, snappy, sparkly, massive, and, at the right EQ settings, hot and excitable. But the Enigmatic’s powerful EQ and gain controls, multiple virtual cab and mic pairings, rock, jazz, and custom voices, plus additional deep, bright, and presence controls enable you to travel many leagues from that fundamental tone. The customization work you can do in the app enables significant changes in the Enigmatic’s tone profile and responsiveness, too. All these observations are made tracking the Enigmatic straight to a DAW—making the breadth of its personality even more impressive. But the Enigmatic sounds every bit as lively at the front end of an amp, and black-panel Fenders are a primo pairing for its saturation and sparkly attributes. The Enigmatic is nearly $400, which is an investment. But considering the ground I covered in just a few days with it, and the quality and variety of sounds I could conjure with the unit just sitting on my desk, the performance-to-price ratio struck me as very favorable indeed.
The legendary string-glider shows Chris Shiflett how he orchestrated one of his most powerful leads.
Break out your glass, steel, or beer bottle: This time on Shred With Shifty, we’re sliding into glory with southern-rock great Derek Trucks, leader of the Derek Trucks Band, co-leader (along with wife Susan Tedeschi) of the Tedeschi Trucks Band, and, from 1999 to 2014, member of the Allman Brothers Band.
Reared in Jacksonville, Florida, Trucks was born into rock ’n’ roll: His uncle, Butch Trucks, was a founding member of the Allman Brothers Band, and from the time he was nine years old, Derek was playing and touring with blues and rock royalty, from Buddy Guy to Bob Dylan. Early on, he established himself as a prodigy on slide guitar, and in this interview from backstage in Kalamazoo, Michigan, Trucks explains why he’s always stuck with his trusty Gibson SGs, and how he sets them up for both slide and regular playing. (He also details his custom string gauges.)
Trucks analyzes and demonstrates his subtle but scorching solo on “Midnight in Harlem,” off of Tedeschi Trucks Band’s acclaimed 2011 record, Revelator. In it, he highlights the influence of Indian classical music, and particularly sarod player Ali Akbar Khan, on his own playing. The lead is “melodic but with Indian-classical inflections,” flourishes that Trucks says are integral to his playing: It’s a jazz and jam-band mentality of “dangling your feet over the edge of the cliff,” says Trucks, and going outside whatever mode you’re playing in.
Throughout the episode, Trucks details his live and studio set ups (“As direct as I can get it”), shares advice for learning slide and why he never uses a pick, and ponders what the future holds for collaborations with Warren Haynes.
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.
A 6L6 power section, tube-driven spring reverb, and a versatile array of line outs make this 1x10 combo an appealing and unique 15-watt alternative.