
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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Though Lou Reed seemed to only use a handful of chords, his shrewd right-hand strumming created limitless rhythmic variations.
Beginner to Intermediate
Beginner to Intermediate
- Focus on syncopation.
- Add muted strums to enhance your rhythm playing.
- Learn how to modify complex rhythmic patterns into smaller, more comprehensible figures.
Though usually more lauded for his lyrics than his guitar playing, Lou Reed had a distinctive style of strumming that can make replication a challenge and seemingly impossible for beginners to comprehend. With a combination of syncopations and muted strums, Reed’s rhythm guitar—from his time with the Velvet Underground to his solo career—has a groove and feel that all guitar players can learn from.
We’ll start with a relatively simple strummed hook that shows Reed’s roots. Ex. 1 is a variation on “There She Goes Again” from The Velvet Underground and Nico, which was recorded in 1966 and released in 1967. This strum was clearly inspired by Marvin Gaye’s “Hitch Hike,” as it duplicates Gaye’s intro almost exactly, albeit in a different key. (It is worth mentioning that “Hitch Hike” also inspired the Beatles “You Can’t Do That.”)
Ex. 1
Ex. 2 is the samething but performed with cowboy chords instead of barres.
Ex. 2
With Ex. 3, a la “Sister Ray” from 1967’s White Light/White Heat, we get into Reed’s more syncopated strums. Note that after the first beat, the emphasis of each strum is on an upbeat, including the changes from G to F, then from F to C, followed at the end by a typical Lou Reed-ism of strumming while in mid-change (though in all fairness, many guitarists do this). Thus, the last upbeat notes, which imply a G chord, are in fact a byproduct created by the switch, not a specific chord.
Ex. 3
Ex. 4 is the same strum but capoed at the 5th fret, using cowboy chords instead of barres.
Ex. 4
Our final Velvet reference, Ex. 5, comes from “Sweet Jane” (Loaded, 1970), which is a song I loathe teaching to students as it is deceptively tricky—it was the inspiration for this lesson—and can make one feel demoralized. True, the song has only four chords, but the syncopated switching and muted strums can cause problems for many players, and not just beginners. Take your time to get the nuances of the switches and mutes.
Ex. 5
Better yet, start with Ex. 6, which is a simplified version of Ex. 5, using cowboy chords instead of barre chords, as well as a more straightforward strum. True, it does not conform completely to the original, but it is a worthwhile starting point. Once this is mastered, try playing Ex. 5 with the open-position chords before moving onto the barres.
Ex. 6
Solo Years
Ex. 7 is a take on “Walk on the Wild Side” from 1972’s Transformer, arguably the most famous Lou Reed song. Here we’ve graduated from eighth-notes to 16th-notes in the right hand. Once again, the muted strums play a vital role.
Ex. 7
Like the previous two examples, you might want to start with the simpler Ex. 8, although the only change is that the mutes have been omitted. This example demonstrates how essential the mutes are, as the feel changes completely when you leave them out.
Ex. 8
Ex. 9 also comes from Transformer and is a variation on“Vicious.” Additional syncopations and muted strums, both different from “…Wild Side,” complicate what should be carefree.
Ex. 9
Ex. 10 is, again, a simplified alternative.
Ex. 10
Examples 11 and 12 demonstrate two options for fretting chords, using Reed’s “Leave Me Alone” from Street Hassle (1978) as a vehicle.
Ex. 11
Ex. 12
Our last example, Ex. 13, is based on Reed’s late-’80s “comeback” hit, “Dirty Boulevard” from New York. Here we not only get syncopations, but a rhythmic variation in the chorus—same chords, different rhythms. Pay attention to that quick, almost-ghosted B note on the “and” of 1 in measure two. It almost seems like a mistake but it adds so much.
Ex. 13
The Lou Reed Legacy
When most fans think of Lou Reed, the first thing that comes to mind is his pioneering subversive, transgressive, and poetic lyrics. But, clearly, that is not all there is to his work. In truth, Lou Reed is an incomparable musician whose guitar playing should not be underestimated. So, take this lesson as a starting point and search out more of his idiosyncratic strums. You will be well rewarded.
Xotic revamps a classic Vox-boost-in-a-box pedal, creating a new one in the process.
Smart, feature-packed update on a classic. Nice size and price.
Small boost knob.
$180
Xotic Effects AC Booster V2
Xotic Effects newest version of the Vox-flavored AC Booster, the AC Booster V2, adds a second, footswitchable boost circuit (tweakable via a small, clear knob tucked among the four main-channel controls), plus a set of four dip switches on the box’s righthand side which engage compression, modern or classic voicing, low-mid boost, and high-mid boost.
This new suite of features packs significant extra functionality into V2’s still-diminutive enclosure. The Vox sounds are all there, and with the high-mids juiced and treble nudged, you’re squarely in clanging Top Boost territory. The modern voicing trades some furry mid-range chunk for a bit more aggression and clarity, while the compression is useful for leveling leads and smoothing out unruly playing.
The boost knob is a little difficult to access, situated as it is in the center of the primary four-knob array. I don’t have particularly big fingers, but even I had trouble twiddling it. That’ll annoy some. But it’s a small price to pay for such a pedalboard-friendly footprint. The boost doses you with a healthy bump in level and gain that’s great for stand-out leads and solos. And speaking of standing out, the upper-mid boost switch is a treat. I found that creating a greater disparity between the high mids from the low mids made for a more precise and satisfying tone-shaping experience than I would experience using a standard mids knob.
There are no shortage of pedals that ape Vox AC30 mojo, but I haven’t seen many that will give you the range of utility that the AC Booster V2 will, for less for $200. Xotic nailed a smart and versatile redesign here.
Stringjoy has introduced the Ariel Posen Signature String Set, a heavy-gauge Nickel Wound set designed in close collaboration with acclaimed slide guitarist and singer-songwriter Ariel Posen.
The Ariel Posen Signature String Set from Stringjoy
Ideal for B Standard, Open C, and other lower tunings, this set offers exceptional tone and feel for players who want to explore new sonic territory while maintaining their guitar's unique voice.
Each string in this set is built with Stringjoy’s trademark quality: wound at tension with high compression winds for maximum output, durability, and smooth playability. The result? Strings that hold up under pressure while delivering a natural, expressive voice—perfect for hybrid playing and expressive slide work.
Ariel Posen Signature Set Specs:
• .014 – .018p – .026w – .038 – .050 – .062
• Wound 3rd string
“If you didn’t know these were 14-62 gauges, you’d swear they were just 11s tuned down,” said Ariel Posen. “They feel like home and preserve the sound of the guitar, even in lower tunings. That’s the biggest thing—it still sounds like guitar.”
“We’ve spent ten years experimenting and testing together to find the right combination,” said Scott Marquart, Stringjoy Founder & President. “This release is more than just a new product—it’s the culmination of a shared journey between friends and musicians. Ariel’s set is uniquely him, and I think players will love how it feels and responds.”
Stringjoy’s Ariel Posen signature string set carry a street price of $13.99. Learn more at at stringjoy.com.
Nashville luthier and guitar tech Dave Johnson shows us the baker's dozen of tools he thinks any guitar picker requires to be a guitar fixer.
3. Guitar Tech Screwdriver Set - 3000
4. Nut File Set (for medium guitar strings) - 0882
8. String Spacing Ruler - 0673
9. Nut and Saddle Files - 4556
The Ultimate Guitarist's Tool Chest Giveaway
Whether you're setting up your first guitar or fine-tuning a custom build, these are the 13 tools every guitarist needs. Now you can win them all. We've partnered with our friends at StewMac to give away a complete pro-level toolkit valued at over $750.
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