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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“Practice Loud”! How Duane Denison Preps for a New Jesus Lizard Record
After 26 years, the seminal noisy rockers return to the studio to create Rack, a master class of pummeling, machine-like grooves, raving vocals, and knotty, dissonant, and incisive guitar mayhem.
The last time the Jesus Lizard released an album, the world was different. The year was 1998: Most people counted themselves lucky to have a cell phone, Seinfeld finished its final season, Total Request Live was just hitting MTV, and among the year’s No. 1 albums were Dave Matthews Band’s Before These Crowded Streets, Beastie Boys’ Hello Nasty, The Miseducation of Lauryn Hill, Korn’s Follow the Leader, and the Armageddonsoundtrack. These were the early days of mp3 culture—Napster didn’t come along until 1999—so if you wanted to hear those albums, you’d have to go to the store and buy a copy.
The Jesus Lizard’s sixth album, Blue, served as the band’s final statement from the frontlines of noisy rock for the next 26 years. By the time of their dissolution in 1999, they’d earned a reputation for extreme performances chock full of hard-hitting, machine-like grooves delivered by bassist David Wm. Sims and, at their conclusion, drummer Mac McNeilly, at times aided and at other times punctured by the frontline of guitarist Duane Denison’s incisive, dissonant riffing, and presided over by the cantankerous howl of vocalist David Yow. In the years since, performative, thrilling bands such as Pissed Jeans, METZ, and Idles have built upon the Lizard’s musical foundation.
Denison has kept himself plenty busy over the last couple decades, forming the avant-rock supergroup Tomahawk—with vocalist Mike Patton, bassist Trevor Dunn (both from Mr. Bungle), and drummer John Stanier of Helmet—and alongside various other projects including Th’ Legendary Shack Shakers and Hank Williams III. The Jesus Lizard eventually reunited, but until now have only celebrated their catalog, never releasing new jams.
The Jesus Lizard, from left: bassist David Wm. Sims, singer David Yow, drummer Mac McNeilly, and guitarist Duane Denison.
Photo by Joshua Black Wilkins
Back in 2018, Denison, hanging in a hotel room with Yow, played a riff on his unplugged electric guitar that caught the singer’s ear. That song, called “West Side,” will remain unreleased for now, but Denison explains: “He said, ‘Wow, that’s really good. What is that?’ And I said, ‘It’s just some new thing. Why don’t we do an album?’” From those unassuming beginnings, the Jesus Lizard’s creative juices started flowing.
So, how does a band—especially one who so indelibly captured the ineffable energy of live rock performance—prepare to get a new record together 26 years after their last? Back in their earlier days, the members all lived together in a band house, collectively tending to the creative fire when inspiration struck. All these years later, they reside in different cities, so their process requires sending files back and forth and only meeting up for occasional demo sessions over the course of “three or four years.”
“When the time comes to get more in performance mode, I have a practice space. I go there by myself and crank it up. I turn that amp up and turn the metronome up and play loud.” —Duane Denison
the Jesus Lizard "Alexis Feels Sick"
Distance creates an obstacle to striking while the proverbial iron is hot, but Denison has a method to keep things energized: “Practice loud.” The guitarist professes the importance of practice, in general, and especially with a metronome. “We keep very detailed records of what the beats per minute of these songs are,” he explains. “To me, the way to do it is to run it to a Bluetooth speaker and crank it, and then crank your amp. I play a little at home, but when the time comes to get more in performance mode, I have a practice space. I go there by myself and crank it up. I turn that amp up and turn the metronome up and play loud.”
It’s a proven solution. On Rack—recorded at Patrick Carney’s Audio Eagle studio with producer Paul Allen—the band sound as vigorous as ever, proving they’ve not only remained in step with their younger selves, but they may have surpassed it with faders cranked. “Duane’s approach, both as a guitarist and writer, has an angular and menacing fingerprint that is his own unique style,” explains Allen. “The conviction in his playing that he is known for from his recordings in the ’80s and ’90s is still 100-percent intact and still driving full throttle today.”
“I try to be really, really precise,” he says. “I think we all do when it comes to the basic tracks, especially the rhythm parts. The band has always been this machine-like thing.” Together, they build a tension with Yow’s careening voice. “The vocals tend to be all over the place—in and out of tune, in and out of time,” he points out. “You’ve got this very free thing moving around in the foreground, and then you’ve got this very precise, detailed band playing behind it. That’s why it works.”
Before Rack, the Jesus Lizard hadn’t released a new record since 1998’s Blue.
Denison’s guitar also serves as the foreground foil to Yow’s unhinged raving, as on “Alexis Feels Sick,” where they form a demented harmony, or on the midnight creep of “What If,” where his vibrato-laden melodies bolster the singer’s unsettled, maniacal display. As precise as his riffs might be, his playing doesn’t stay strictly on the grid. On the slow, skulking “Armistice Day,” his percussive chording goes off the rails, giving way to a solo that slices that groove like a chef’s knife through warm butter as he reorganizes rock ’n’ roll histrionics into his own cut-up vocabulary.
“During recording sessions, his first solo takes are usually what we decide to keep,” explains Allen. “Listen to Duane’s guitar solos on Jack White’s ‘Morning, Noon, and Night,’ Tomahawk’s ‘Fatback,’ and ‘Grind’ off Rack. There’s a common ‘contained chaos’ thread among them that sounds like a harmonic Rubik’s cube that could only be solved by Duane.”
“Duane’s approach, both as a guitarist and writer, has an angular and menacing fingerprint that is his own unique style.” —Rack producer Paul Allen
To encapsulate just the right amount of intensity, “I don’t over practice everything,” the guitarist says. Instead, once he’s created a part, “I set it aside and don’t wear it out.” On Rack, it’s obvious not a single kilowatt of musical energy was lost in the rehearsal process.
Denison issues his noisy masterclass with assertive, overdriven tones supporting his dissonant voicings like barbed wire on top of an electric fence. The occasional application of slapback delay adds a threatening aura to his exacting riffage. His tones were just as carefully crafted as the parts he plays, and he relied mostly on his signature Electrical Guitar Company Chessie for the sessions, though a Fender Uptown Strat also appears, as well as a Taylor T5Z, which he chose for its “cleaner, hyper-articulated sound” on “Swan the Dog.” Though he’s been spotted at recent Jesus Lizard shows with a brand-new Powers Electric—he points out he played a demo model and says, “I just couldn’t let go of it,” so he ordered his own—that wasn’t until tracking was complete.
Duane Denison's Gear
Denison wields his Powers Electric at the Blue Room in Nashville last June.
Photo by Doug Coombe
Guitars
- Electrical Guitar Company Chessie
- Fender Uptown Strat
- Taylor T5Z
- Gibson ES-135
- Powers Electric
Amps
- Hiwatt Little J
- Hiwatt 2x12 cab with Fane F75 speakers
- Fender Super-Sonic combo
- Early ’60s Fender Bassman
- Marshall 1987X Plexi Reissue
- Victory Super Sheriff head
- Blackstar HT Stage 60—2 combos in stereo with Celestion Neo Creamback speakers and Mullard tubes
Effects
- Line 6 Helix
- Mantic Flex Pro
- TC Electronic G-Force
- Menatone Red Snapper
Strings and Picks
- Stringjoy Orbiters .0105 and .011 sets
- Dunlop celluloid white medium
- Sun Studios yellow picks
He ran through various amps—Marshalls, a Fender Bassman, two Fender Super-Sonic combos, and a Hiwatt Little J—at Audio Eagle. Live, if he’s not on backline gear, you’ll catch him mostly using 60-watt Blackstar HT Stage 60s loaded with Celestion Neo Creambacks. And while some boxes were stomped, he got most of his effects from a Line 6 Helix. “All of those sounds [in the Helix] are modeled on analog sounds, and you can tweak them endlessly,” he explains. “It’s just so practical and easy.”
The tools have only changed slightly since the band’s earlier days, when he favored Travis Beans and Hiwatts. Though he’s started to prefer higher gain sounds, Allen points out that “his guitar sound has always had teeth with a slightly bright sheen, and still does.”
“Honestly, I don’t think my tone has changed much over the past 30-something years,” Denison says. “I tend to favor a brighter, sharper sound with articulation. Someone sent me a video I had never seen of myself playing in the ’80s. I had a band called Cargo Cult in Austin, Texas. What struck me about it is it didn’t sound terribly different than what I sound like right now as far as the guitar sound and the approach. I don’t know what that tells you—I’m consistent?”
YouTube It
The Jesus Lizard take off at Nashville’s Blue Room this past June with “Hide & Seek” from Rack.
The two pedals mark the debut of the company’s new Street Series, aimed at bringing boutique tone to the gigging musician at affordable prices.
The Phat Machine
The Phat Machine is designed to deliver the tone and responsiveness of a vintage germanium fuzz with improved temperature stability with no weird powering issues. Loaded with both a germanium and a silicon transistor, the Phat Machine offers the warmth and cleanup of a germanium fuzz but with the bite of a silicon pedal. It utilizes classic Volume and Fuzz control knobs, as well as a four-position Thickness control to dial-in any guitar and amp combo. Also included is a Bias trim pot and a Kill switch that allows battery lovers to shut off the battery without pulling the input cord.
Silk Worm Deluxe Overdrive
The Silk Worm Deluxe -- along with its standard Volume/Gain/Tone controls -- has a Bottom trim pot to dial in "just the right amount of thud with no mud at all: it’s felt more than heard." It also offers a Studio/Stage diode switch that allows you to select three levels of compression.
Both pedals offer the following features:
- 9-volt operation via standard DC external supply or internal battery compartment
- True bypass switching with LED indicator
- Pedalboard-friendly top mount jacks
- Rugged, tour-ready construction and super durable powder coated finish
- Made in the USA
Static Effectors’ Street Series pedals carry a street price of $149 each. They are available at select retailers and can also be purchased directly from the Static Effectors online store at www.staticeffectors.com.
So, you want to chase the riches and glories of being a mid-level guitar YouTuber. Rhett and Zach have some reality checks.
This outing of Dipped In Tone kicks off with an exciting update from Zach Broyles’ camp: He’s opening a brick-and-mortar guitar shop in Nashville, called High Voltage Guitars. Opening on October 8, the store will carry gear from Two-Rock, Divided By 13, Dr. Z, Castedosa, Fano, Novo, and of course Mythos Pedals. Zach hints that there might be some handwired JHS pedals from Josh Scott himself, too, and Rhett reveals that he plans to consign some of his guitars at the shop.
The business side of Zach’s new venture brings them to a key piece of today’s episode: Rhett and Zach aren’t running charities. They do what they do to make money; guitars, gear, podcasting, and content creation are their literal jobs. And they’re not as glamorous and breezy as most armchair commentators might guess.
Want to do what Rhett and Zach do? Welcome to the club. The guitar-influencer field is what one might call “oversaturated” at the moment, and it’s difficult to break out—but not impossible. As our hosts explain, it requires putting in 60-hour work weeks, a diverse skillset, a knack for catching people’s attention, and a certain level of genuineness. Rhett knows this path well, and he has hard-earned advice for staying true to oneself while building a following in the gear world.
Tune in to learn why Rhett thinks Fretboard Summit, a three-day guitar festival organized by Fretboard Journal, blows NAMM out of the water and builds legitimate connections between guitarists, and catch the duo dipping a Dick Dale-inspired, all-Fender rig.
Get 10% off your order at stewmac.com/dippedintone
Computerized processes have given repair techs the power to deliver you a better-playing guitar. But how do they work?
When we need to get our guitars fixed by a professional, a few nagging questions run through our heads: Will the repair specialist be thorough? Will their procedures ensure an optimal sounding and easy-to-play instrument, or will they merely perform cursory work to make the guitar somewhat playable without resolving underlying issues? Have they followed the tested advancements in understanding, tools, and techniques, or are they stuck in the ideas of the ’70s?
Presently, many certified guitar-repair specialists possess the expertise required to deliver an instrument that both sounds and plays wonderfully. The standards set by manufacturers and distributors have significantly risen, safeguarded by rigorous quality protocols to guarantee the best possible acoustic experience for customers. Additionally, lutherie training has raised the bar for critical processes, and one of the most tricky is fretwork.
Traditional fretwork once involved manual labor, with technicians utilizing sandbags or similar supports to steady the neck as they straightened it with a truss rod during the filing process. A notable advancement in this field came in the mid 1970s when Don Teeter, an author and repair expert, imposed a new method: fixing the guitar body to the bench and using blocks to maintain the neck in a playing position. This refinement was one of many in the continued quest to produce superior instruments by standardized methods.
An example of the Plek’s readings from an acoustic guitar.
Photo courtesy of Galloup Guitars
In the late 1970s, another pivotal innovation was introduced by Dan Erlewine. He created an advanced fret jig with a specialized body-holding system and neck supports, adding another layer of precision to the repair process. During my collaboration with Dan in 1985, we developed a rotating neck jig that counterbalanced the forces of gravity, keeping the instrument in its playing orientation while adjusting the neck supports. This step represented a significant leap in establishing control and standardization of fretwork procedures in our industry. By 1986, our approach had evolved into a freestanding workstation coupled with a sophisticated hold-down mechanism and enhanced neck supports, culminating in increased accuracy, efficiency, and consistency. Over the decades, the Erlewine/Galloup rotating neck jig has become a benchmark in numerous shops, enhancing fretwork performance.
"This step represented a significant leap in establishing control and standardization of fretwork procedures in our industry."
By the 1990s, automated and computerized technologies permeated the guitar manufacturing and repair sectors. Initially applied by import companies in the mass production of guitars, the technology, although expediting processes, did not immediately achieve high execution standards. However, the tech dramatically improved over time, with computer-driven systems eventually transforming the industry. Contemporary automated production utilizing such advancements meets exceedingly high standards of precision. Some bespoke guitar manufacturers, such as Steve Andersen, were pioneers in adopting these methods, but it was companies like Taylor that established them in the modern era.
Inevitably, the progression of technology extended beyond the mere production of parts. Around 1995, German engineer Gerd Anke envisioned the integration of computer-assisted technology into enhancing instrument playability, giving rise to Plek technology, which uses computers to precisely measure and analyze the various components of a guitar, like neck relief, fret height, nut and bridge specs, and more. Nashville guitar-repair tech Joe Glaser was among the first to recognize the machine’s value, followed by San Francisco luthier Gary Brawer. When Heritage Guitar Inc. invested in a Plek machine, the guitar industry could no longer disregard the significance of this innovation.
“The machine’s scanning data confirmed that there was one nature of an ideal fret plane, done by hand or machine, and unsurprisingly, it conformed exactly to what physics predicts, not personal mojo.”
In the spring of 2022, Galloup Guitars obtained its first Plek machine. Promptly, our technician Adam Winarski paved the way for the Plek’s integration in our shop. Now, it’s a rarity for an instrument to leave our shop without having undergone Plek analysis and machining. Impressed by the results of our integration, we created “Intro to Plek” as a course for all students enrolled at the Galloup School of Lutherie, offering our students a practical introduction to this technology. We furthered this educational initiative with a comprehensive one-week intensive “Plek Certification Training Course” for both students and the public. This advanced Plek course serves those seeking to boost their knowledge base and employability in this high-precision field.
Plek is rapidly becoming an industry standard for major manufacturers and smaller shops alike. However, this does not mean that those without access to this technology cannot execute proficient fretwork. Personally, I continue to use my Erlewine/Galloup neck jig—not only out of nostalgia, but also because it remains an excellent method for delivering accurate and reliable guitars. Still, it’s undeniable that the process of fretting, fret dressing, and analytics of fretted instruments has undergone significant transformation, resulting in better sounding—and playing—guitars. And ultimately, that’s what it’s all about.