
Fig. 1. A clean, well-condition fretboard just begs to be played.
Learn how to clean and condition your guitar and discover why it’s crucial to stay on top of such routine maintenance.
The proper cleaning and conditioning of your instrument is critical to its health. Over the years, I've seen many extreme cases of guitars that were permanently damaged from neglect. Without proper care, a guitar will lose value and eventually become unplayable. However, it's not difficult to clean and condition a guitar—it simply takes a little time and effort. And that's a worthy investment: Keeping your instrument in top condition will save you a lot of money in future repairs.
Fig. 2. Not only does fretboard gunk look unattractive, over time it can damage your instrument.
As we play, dead skin cells, sweat, and dirt build up on the fretboard and collect around the frets. Not only is this unattractive (Fig. 2), but the moisture, acids, and salts in sweat cause the wood around the frets to deteriorate. This can cause dry rot in the fretboard, which results in loose frets and very expensive repairs.
Fig. 3. These frets have become corroded through neglect.
I can always tell if a fretboard hasn't been conditioned when I examine the frets. This is especially noticeable when I'm doing a refret. After I remove the old frets, I can see nasty gunk on the tangs and green corrosion all over the fret wire (Fig. 3).
Fig. 4. If you don't clean and condition your fretboard, it may crack.
Cracks are another terrifying byproduct of not conditioning your fretboard (Fig. 4). When sweat evaporates, it can dry out the fretboard and cause it to crack.
Fig. 5. If they're not cleaned regularly, pickups, potentiometers, and switches can become corroded by the salts and acids in sweat.
A guitar's electronics can also suffer from dead skin cells and sweat. When acids and salts build up on a pickup, they can corrode the coils and magnets and cause the pickup to fail. These corrosive materials have the same effect on potentiometers and switches (Fig. 5).
Many string and accessory manufacturers offer conditioners for your guitar. But be aware that most of these products, including lemon oil, contain harmful chemicals and solvents that will damage your guitar's wood and finish. Avoid anything that contains d-Limonene, alcohol, or silicone.
Derived from oil extracted from citrus rind, d-Limonene contains natural acids. These acids can act as a solvent and break down finishes and cause the wood around the frets to deteriorate. Alcohol dries out the fretboard, bridge, and other unfinished wood, and can cause cloudiness in certain types of finish. Silicone prevents the wood from breathing and can cause the finish on your guitar to become hazy. It's also very difficult to remove.
Fig. 6. When wood isn't sufficiently humidified, it can dry out and crack. This guitar back has seen better days.
Controlling humidity is another important aspect of guitar care. When a guitar gets too dry, the wood cracks (Fig. 6). Conditioning wood certainly helps prevent it from cracking, but it's also a good idea to use a humidifier. New guitars tend to be more prone to humidity cracks than older instruments. Here's why: Most older or vintage guitars were made from air-dried wood. This wood was dried out over several decades, and during this process any pieces that cracked were culled out. The older harvested wood gets, the more stable it becomes, but it's a lengthy, painstaking way to dry wood. Modern guitars are primarily made from kiln-dried wood. Kiln drying is designed to speed up the aging process, but only time can truly age a piece of wood. Guitars made from kiln-dried wood are more susceptible to changes temperature and humidity. Maintaining a guitar-friendly humidity level helps prevent wood from cracking, and we'll discuss how to do this in a moment.
Cleaning and conditioning the fretboard. We'll start by cleaning the fretboard, and the first step here is to remove the strings. Yes, all of them! People often say, “Won't removing all the strings at the same time damage the neck?" The fact is, it won't. Wood has an excellent memory, so you don't have to worry about removing all the strings to service your fretboard. Luthiers do it all the time.
There are several ways to clean a fretboard, and one approach is to use 0000 steel wool. This works great, especially when you want to make your frets shine, but it makes a big mess. Caution: Do not use steel wool on a maple fretboard that has a glossy finish. Rubbing steel wool on any finish will make it hazy.
If you decide to use steel wool, use only 0000 grade. This is the finest steel wool and will not damage the fretboard or frets. If you're cleaning an electric guitar (or an acoustic with a magnetic soundhole pickup), cover the pickups with painter's tape to prevent the steel fibers from collecting around the pole pieces. These very fine steel fibers can cause a pickup to corrode, and they also cause noise if they contact the strings.
Fig. 7. If you opt to clean your fretboard and polish its frets with 0000 steel wool, remember to vacuum up the fibers that inevitably shed during this procedure.
Apply a fretboard conditioner to the fretboard and gently rub the conditioner into the wood with the steel wool pad, turning it frequently. Move across the fretboard, cleaning the wood between the frets, and then work the pad along the side of each fret. Once the fretboard is clean, run the pad up and down along the top of the frets to polish them.
After cleaning the fretboard with steel wool, use a vacuum to carefully remove the steel fibers that inevitably shed from the pad (Fig. 7). Avoid getting the fibers on the guitar's finish, as they can scratch it.
My preferred method for cleaning the fretboard is to use an old toothbrush and Planet Waves Hydrate, a type of fretboard conditioner. This approach is less messy than using steel wool, but it's important to note that Hydrate is only for dark fretboards—don't use it on maple 'boards.
Fig. 8. An alternative to steel wool: Clean the wood with a toothbrush and fretboard conditioner.
I like using a toothbrush because you can scrub all you want without damaging the wood or the frets. Simply spray Hydrate onto your fretboard and work it into the wood and around the frets with the toothbrush bristles (Fig. 8). Once the gunk is loosened, wipe it off with a paper towel. Also be sure you wipe off any excess conditioner to prevent it from coating the strings.
But the toothbrush technique won't polish the frets. If you're not too keen on using 0000 steel wool to do this (and I don't blame you), Planet Waves makes a product called the Fret Polishing System. Basically, it's super-fine polishing paper that's packaged with a protective stiff paper template that covers the wood while exposing the fretwire. The template fits medium or jumbo frets and you can use the kit on maple or dark fretboards.
Fig. 9. Planet Waves' Fret Polishing System includes super-fine abrasive paper and a guard to protect the wood.
Simply lay the template over the fretwire and polish the frets until they glisten (Fig. 9). The kit works great and there is little mess to clean up. But even with this system, you'll want to vacuum the residue off the neck left by the polishing paper.
Fig. 10. Like the fretboard, an acoustic guitar's bridge needs to be cleaned and conditioned.
Cleaning and conditioning a bridge. It's very simple to clean and condition the bridge on an acoustic guitar. Remove the bridge saddle and then scrub the bridge with a toothbrush and conditioner (Fig. 10). Use cotton swabs to clean inside the saddle slot. When the gunk is cleaned off, wipe down the bridge with a paper towel. That's it!
Fig. 11. Filth can build up on a bridge and its saddles. When hardware gets this dirty and rusty, you'll need to disassemble and clean it with WD-40 or 3-in-One oil.
Cleaning the hardware. Sweat is a big enemy of hardware because its acids and salts corrode the metal plating and attract dirt that clogs up any moving parts. In extreme cases, a guitar's bridge (Fig. 11) and tuning keys (Fig. 12) can begin to rust. Cleaning these important mechanisms keeps them looking good and functioning at their best.
Fig. 12. If left on metal hardware, sweat can eat right into the plating and cause rust.
For cleaning metal hardware, I've had success with 3-in-One oil and WD-40. Remember that these products are only safe on metal, so avoid getting them on the fretboard or finish. I typically remove the hardware to clean it with an old toothbrush and then carefully wipe it off before reinstalling.
Cleaning the finish. When cleaning your guitar's finish, avoid furniture polishes like Pledge, which contains lemon oil, or products that contain d-Limonene, alcohol, solvents, or silicone. All of these will damage the finish over time. Sweat is another finish-eater because it causes lacquer to soften and break down.
Water actually works well to clean a guitar finish. Use a slightly damp micro-fiber cloth to wipe away dust and grime, and rinse the cloth frequently to remove any debris. As for a good polish, I only use pure carnauba wax, which is safe for most finishes.
The Issues
Before we discuss how to clean and condition a guitar, it's important to understand where the potential problems lie and why we need to address them.
Two important components to clean, condition, and humidify are the fretboard and bridge. This is crucial because they are typically made of unfinished or untreated wood. Maple fretboards are an exception because they have some type of finish and therefore just need to be cleaned, but not conditioned. Rosewood and ebony fretboards and bridges must be cleaned and conditioned to prevent sweat and dirt from damaging the wood. A clean fretboard not only looks great (Fig. 1), but it feels great under your fingertips.
Fig. 2. Not only does fretboard gunk look unattractive, over time it can damage your instrument.
As we play, dead skin cells, sweat, and dirt build up on the fretboard and collect around the frets. Not only is this unattractive (Fig. 2), but the moisture, acids, and salts in sweat cause the wood around the frets to deteriorate. This can cause dry rot in the fretboard, which results in loose frets and very expensive repairs.
Fig. 3. These frets have become corroded through neglect.
I can always tell if a fretboard hasn't been conditioned when I examine the frets. This is especially noticeable when I'm doing a refret. After I remove the old frets, I can see nasty gunk on the tangs and green corrosion all over the fret wire (Fig. 3).
Fig. 4. If you don't clean and condition your fretboard, it may crack.
Cracks are another terrifying byproduct of not conditioning your fretboard (Fig. 4). When sweat evaporates, it can dry out the fretboard and cause it to crack.
Fig. 5. If they're not cleaned regularly, pickups, potentiometers, and switches can become corroded by the salts and acids in sweat.
A guitar's electronics can also suffer from dead skin cells and sweat. When acids and salts build up on a pickup, they can corrode the coils and magnets and cause the pickup to fail. These corrosive materials have the same effect on potentiometers and switches (Fig. 5).
Many string and accessory manufacturers offer conditioners for your guitar. But be aware that most of these products, including lemon oil, contain harmful chemicals and solvents that will damage your guitar's wood and finish. Avoid anything that contains d-Limonene, alcohol, or silicone.
Derived from oil extracted from citrus rind, d-Limonene contains natural acids. These acids can act as a solvent and break down finishes and cause the wood around the frets to deteriorate. Alcohol dries out the fretboard, bridge, and other unfinished wood, and can cause cloudiness in certain types of finish. Silicone prevents the wood from breathing and can cause the finish on your guitar to become hazy. It's also very difficult to remove.
Fig. 6. When wood isn't sufficiently humidified, it can dry out and crack. This guitar back has seen better days.
Controlling humidity is another important aspect of guitar care. When a guitar gets too dry, the wood cracks (Fig. 6). Conditioning wood certainly helps prevent it from cracking, but it's also a good idea to use a humidifier. New guitars tend to be more prone to humidity cracks than older instruments. Here's why: Most older or vintage guitars were made from air-dried wood. This wood was dried out over several decades, and during this process any pieces that cracked were culled out. The older harvested wood gets, the more stable it becomes, but it's a lengthy, painstaking way to dry wood. Modern guitars are primarily made from kiln-dried wood. Kiln drying is designed to speed up the aging process, but only time can truly age a piece of wood. Guitars made from kiln-dried wood are more susceptible to changes temperature and humidity. Maintaining a guitar-friendly humidity level helps prevent wood from cracking, and we'll discuss how to do this in a moment.
Cleaning and Conditioning the Fretboard.
We'll start by cleaning the fretboard, and the first step here is to remove the strings. Yes, all of them! People often say, "Won't removing all the strings at the same time damage the neck?" The fact is, it won't. Wood has an excellent memory, so you don't have to worry about removing all the strings to service your fretboard. Luthiers do it all the time.
There are several ways to clean a fretboard, and one approach is to use 0000 steel wool. This works great, especially when you want to make your frets shine, but it makes a big mess. Caution: Do not use steel wool on a maple fretboard that has a glossy finish. Rubbing steel wool on any finish will make it hazy.
If you decide to use steel wool, use only 0000 grade. This is the finest steel wool and will not damage the fretboard or frets. If you're cleaning an electric guitar (or an acoustic with a magnetic soundhole pickup), cover the pickups with painter's tape to prevent the steel fibers from collecting around the pole pieces. These very fine steel fibers can cause a pickup to corrode, and they also cause noise if they contact the strings.
Fig. 7. If you opt to clean your fretboard and polish its frets with 0000 steel wool, remember to vacuum up the fibers that inevitably shed during this procedure.
Apply a fretboard conditioner to the fretboard and gently rub the conditioner into the wood with the steel wool pad, turning it frequently. Move across the fretboard, cleaning the wood between the frets, and then work the pad along the side of each fret. Once the fretboard is clean, run the pad up and down along the top of the frets to polish them.
After cleaning the fretboard with steel wool, use a vacuum to carefully remove the steel fibers that inevitably shed from the pad (Fig. 7). Avoid getting the fibers on the guitar's finish, as they can scratch it.
My preferred method for cleaning the fretboard is to use an old toothbrush and Planet Waves Hydrate, a type of fretboard conditioner. This approach is less messy than using steel wool, but it's important to note that Hydrate is only for dark fretboards—don't use it on maple 'boards.
I like using a toothbrush because you can scrub all you want without damaging the wood or the frets. Simply spray Hydrate onto your fretboard and work it into the wood and around the frets with the toothbrush bristles (Fig. 8). Once the gunk is loosened, wipe it off with a paper towel. Also be sure you wipe off any excess conditioner to prevent it from coating the strings.
But the toothbrush technique won't polish the frets. If you're not too keen on using 0000 steel wool to do this (and I don't blame you), Planet Waves makes a product called the Fret Polishing System. Basically, it's super-fine polishing paper that's packaged with a protective stiff paper template that covers the wood while exposing the fretwire. The template fits medium or jumbo frets and you can use the kit on maple or dark fretboards.
Fig. 9. Planet Waves' Fret Polishing System includes super-fine abrasive paper and a guard to protect the wood.
Simply lay the template over the fretwire and polish the frets until they glisten (Fig. 9). The kit works great and there is little mess to clean up. But even with this system, you'll want to vacuum the residue off the neck left by the polishing paper.
Cleaning and Conditioning a Bridge.
Fig. 10. Like the fretboard, an acoustic guitar's bridge needs to be cleaned and conditioned.
It's very simple to clean and condition the bridge on an acoustic guitar. Remove the bridge saddle and then scrub the bridge with a toothbrush and conditioner (Fig. 10). Use cotton swabs to clean inside the saddle slot. When the gunk is cleaned off, wipe down the bridge with a paper towel. That's it!
Cleaning the Hardware.
Fig. 11. Filth can build up on a bridge and its saddles. When hardware gets this dirty and rusty, you'll need to disassemble and clean it with WD-40 or 3-in-One oil.
Sweat is a big enemy of hardware because its acids and salts corrode the metal plating and attract dirt that clogs up any moving parts. In extreme cases, a guitar's bridge (Fig. 11) and tuning keys (Fig. 12) can begin to rust. Cleaning these important mechanisms keeps them looking good and functioning at their best.
For cleaning metal hardware, I've had success with 3-in-One oil and WD-40. Remember that these products are only safe on metal, so avoid getting them on the fretboard or finish. I typically remove the hardware to clean it with an old toothbrush and then carefully wipe it off before reinstalling.
Cleaning the Finish.
When cleaning your guitar's finish, avoid furniture polishes like Pledge, which contains lemon oil, or products that contain d-Limonene, alcohol, solvents, or silicone. All of these will damage the finish over time. Sweat is another finish-eater because it causes lacquer to soften and break down.
Water actually works well to clean a guitar finish. Use a slightly damp micro-fiber cloth to wipe away dust and grime, and rinse the cloth frequently to remove any debris. As for a good polish, I only use pure carnauba wax, which is safe for most finishes.
Controlling Humidity
Once your guitar is clean, you'll want to protect the wood with some type of humidifier. For a guitar that's stored in its case, I recommend the Humidipak from Planet Waves. It's a simple, accurate, and effective way to maintain the ideal humidity for your guitar. If you keep your guitar out in a studio or living area, try running an ultrasonic or warm mist humidifier in that room. For most stringed instruments, the optimum humidity level is 45 percent.
[Updated 3/24/22]
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Create, layer, and jam with the BOSS RC-1 Loop Station and BIC cable! Enter the I Love Pedals giveaway now and come back daily to increase your odds!
Boss RC-1 Loop Station Looper Pedal
The RC-1 Loop Station is the most intuitive looper pedal from BOSS. Its compact layout provides all the essential functions—record, playback, overdub, and undo/redo—encouraging instant creativity right out of the box.
The BIC 10-A cable from BOSS delivers uncompromising performance that faithfully transfers every nuance of tone and adds a vibrant touch with color options inspired by the brand's most iconic compact pedals.
The National New Yorker lived at the forefront of the emerging electric guitar industry, and in Memphis Minnie’s hands, it came alive.
This National electric is just the tip of the iceberg of electric guitar history.
On a summer day in 1897, a girl named Lizzie Douglas was born on a farm in the middle of nowhere in Mississippi, the first of 13 siblings. When she was seven, her family moved closer to Memphis, Tennessee, and little Lizzie took up the banjo. Banjo led to guitar, guitar led to gigs, and gigs led to dreams. She was a prodigious talent, and “Kid” Douglas ran away from home to play for tips on Beale Street when she was just a teenager. She began touring around the South, adopted the moniker Memphis Minnie, and eventually joined the circus for a few years.
(Are you not totally intrigued by the story of this incredible woman? Why did she run away from home? Why did she fall in love with the guitar? We haven’t even touched on how remarkable her songwriting is. This is a singular pioneer of guitar history, and we beseech you to read Woman with Guitar: Memphis Minnie’s Blues by Beth and Paul Garon.)
Following the end of World War I, Hawaiian music enjoyed a rapid rise in popularity. On their travels around the U.S., musicians like Sol Ho’opi’i became fans of Louis Armstrong and the New Orleans Rhythm Kings, leading to a great cross-pollination of Hawaiian music with jazz and blues. This potent combination proved popular and drew ever-larger audiences, which created a significant problem: How on earth would an audience of thousands hear the sound from a wimpy little acoustic guitar?
This art deco pickguard offers just a bit of pizzazz to an otherwise demure instrument.
In the late 1920s, George Beauchamp, John and Rudy Dopyera, Adolph Rickenbacker, and John Dopyera’s nephew Paul Barth endeavored to answer that question with a mechanically amplified guitar. Working together under Beauchamp and John Dopyera’s National String Instrument Corporation, they designed the first resonator guitar, which, like a Victrola, used a cone-shaped resonator built into the guitar to amplify the sound. It was definitely louder, but not quite loud enough—especially for the Hawaiian slide musicians. With the guitars laid on their laps, much of the sound projected straight up at the ceiling instead of toward the audience.
Barth and Beauchamp tackled this problem in the 1930s by designing a magnetic pickup, and Rickenbacker installed it in the first commercially successful electric instrument: a lap-steel guitar known affectionately as the “Frying Pan” due to its distinctive shape. Suddenly, any stringed instrument could be as loud as your amplifier allowed, setting off a flurry of innovation. Electric guitars were born!
“At the time it was positively futuristic, with its lack of f-holes and way-cool art deco design on the pickup.”
By this time, Memphis Minnie was a bona fide star. She recorded for Columbia, Vocalion, and Decca Records. Her song “Bumble Bee,” featuring her driving guitar technique, became hugely popular and earned her a new nickname: the Queen of Country Blues. She was officially royalty, and her subjects needed to hear her game-changing playing. This is where she crossed paths with our old pals over at National.
National and other companies began adding pickups to so-called Spanish guitars, which they naturally called “Electric Spanish.” (This term was famously abbreviated ES by the Gibson Guitar Corporation and used as a prefix on a wide variety of models.) In 1935, National made its first Electric Spanish guitar, renamed the New Yorker three years later. By today’s standards, it’s modestly appointed. At the time it was positively futuristic, with its lack of f-holes and way-cool art deco design on the pickup.
There’s buckle rash and the finish on the back of the neck is rubbed clean off in spots, but that just goes to show how well-loved this guitar has been.
Memphis Minnie had finally found an axe fit for a Queen. She was among the first blues guitarists to go electric, and the New Yorker fueled her already-upward trajectory. She recorded over 200 songs in her 25-year career, cementing her and the National New Yorker’s place in musical history.
Our National New Yorker was made in 1939 and shows perfect play wear as far as we’re concerned. Sure, there’s buckle rash and the finish on the back of the neck is rubbed clean off in spots, but structurally, this guitar is in great shape. It’s easy to imagine this guitar was lovingly wiped down each time it was put back in the case.
There’s magic in this guitar, y’all. Every time we pick it up, we can feel Memphis Minnie’s spirit enter the room. This guitar sounds fearless. It’s a survivor. This is a guitar that could inspire you to run away and join the circus, transcend genre and gender, and leave your own mark on music history. As a guitar store, watching guitars pass from musician to musician gives us a beautiful physical reminder of how history moves through generations. We can’t wait to see who joins this guitar’s remarkable legacy.
SOURCES: blackpast.org, nps.gov, worldmusic.net, historylink.org, Memphis Music Hall of Fame, “Memphis Minnie’s ‘Scientific Sound’: Afro-Sonic Modernity and the Jukebox Era of the Blues” from American Quarterly, “The History of the Development of Electric Stringed Musical Instruments” by Stephen Errede, Department of Physics, University of Illinois at Urbana-Champaign, IL.
In our third installment with Santa Cruz Guitar Company founder Richard Hoover, the master luthier shows PG's John Bohlinger how his team of builders assemble and construct guitars like a chef preparing food pairings. Hoover explains that the finer details like binding, headstock size and shape, internal bracing, and adhesives are critical players in shaping an instrument's sound. Finally, Richard explains how SCGC uses every inch of wood for making acoustic guitars or outside ventures like surfboards and art.
Featuring torrefied solid Sitka Spruce tops, mahogany neck, back, and sides, and Fishman Presys VT EQ System, these guitars are designed to deliver quality tone and playability at an affordable price point.
Cort Guitars, acclaimed for creating instruments that exceed in value and quality, introduces the Essence Series. This stunning set of acoustic guitars is designed for musicians looking for the quintessential classic acoustic guitar with fabulous tone all at an exceptional price point. The Essence Series features two distinct body shapes: The Grand Auditorium and the OM Cutaway. Whatever the flavor, the Essence Series has the style to suit.
The Essence-GA-4 is the perfect Grand Auditorium acoustic. Wider than a dreadnought, the Essence-GA-4 features a deep body with a narrower waist and a width of 1 ¾” (45mm) at the nut. The result is an instrument that is ideal for any number of playing styles: Picking… strumming… the Essence GA-4 is completely up for the task.
The Essence-OM-4 features a shallower body creating a closer connection to the player allowing for ease of use on stage. With its 1 11/16’th (43mm) nut width, this Orchestra Model is great for fingerpickers or singer/guitarists looking for better body contact for an overall better playing experience.
Both acoustics are topped with a torrefied solid Sitka Spruce top using Cort’s ATV process. The ATV process or “Aged to Vintage”, “ages” the Spruce top to give it the big and open tone of older, highly-sought-after acoustics. To further enhance those vintage tones, the tops bracing is also made of torrefied spruce. The mahogany neck, back, and sides create a warm, robust midrange and bright highs. A rosewood fingerboard and bridge add for a more balanced sound and sustain. The result is amazing tone at first strum. 18:1 Vintage Open Gear Tuners on the mahogany headstock offer precise tuning with vintage styling. The herringbone rosette & purfling accentuates the aesthetics of these instruments adding to their appeal. Both acoustics come in two choices of finish. Natural Semi-Gloss allows the Sitka spruce’s natural beauty to shine through and classic Black Top Semi-Gloss.
A Fishman® Presys VT EQ System is installed inside the body versus other systems that cut into the body to be installed. This means the instrument keeps its natural resonance and acoustic flair. The Presys VT EQ System keeps it simple with only Volume and Tone controls resulting in a true, crisp acoustic sound. Lastly, Elixir® Nanoweb Phosphor Bronze Light .012-.053 Acoustic Strings round out these acoustics. This Number 1 acoustic guitar string delivers consistent performance and extended tone life with phosphor bronze sparkle and warmth. The Essence Series takes all these elements, combines them, and exceeds in playability, looks, and affordability.
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