
When a fretboard dries out from low humidity, the wood shrinks, exposing sharp fret ends. Here’s how to deal with this vexing problem.
I can always tell when we've had a cold winter by the guitars that come into my shop. When folks crank up the heat during cold weather, it removes moisture from the air. A guitar's fretboard can actually shrink in a low-humidity environment, causing the fret ends to protrude slightly on either side of the neck. You can generally prevent this by using a room humidifier or inexpensive guitar-humidifying device, but once the sharp fret ends are poking out, you need to deal with them, because they make the guitar very uncomfortable to play. It's not difficult to repair sharp frets, but it takes the right tools and materials, and you have to know what you're doing.
Photo 1 shows an example of sharp frets. This is a fairly new guitar, but the owner has obviously never humidified it. At this point, the fret ends need to be filed, shaped, and buffed.
Photo 2
You need two files for this job: a fine-tooth flat file (Photo 2) and a three-corner miniature file (Photo 3) that has been customized for fretwork.
Photo 3
Fine-tooth flat files come in many sizes and shapes, and they're available from specialized guitar-tool companies like Stewart-MacDonald, Luthiers Mercantile, and Allparts, and even home improvement stores. Look for a file with fine teeth that's between 3 1/2" and 8" long. Several companies carry diamond-coated files, and these also work well.
I prefer Nicholson three-corner miniature files, but most brands get the job done. A three-corner file is perfect for rounding the sides of a fret end, and the best type for this job is a "single-cut" file. In other words, the file's teeth only cut in one direction, which limits debris buildup.
Important: Make sure you round and sand smooth one of the corners of the file. Otherwise, the file can cut into the fretboard (and binding, if the guitar has it). I used a belt sander to gently remove the teeth from one of the edges of my file. If you don't want to do this yourself, the guitar-tool suppliers mentioned above sell three-corner files with smoothed leading edges intended for fretwork.
Filing fret ends.
Photo 4
The first step is to file the protruding fret ends flush to the fretboard. Hold the fine-tooth flat file against the side of the fretboard and gently drag the file from the first fret down to the last fret (Photo 4). Let the tool do the work—you're just guiding it. If you press too hard, you may cut into the fretboard or binding.
Once the frets are filed flush to the fretboard, angle the flat file slightly—approximately 35 to 45 degrees—and glide along the tips of the frets until they have a uniform bevel. But make sure you don't add too much of a bevel. If the bevel is too long, the E strings can slip off the frets when you play.
It's not difficult to repair sharp frets, but it takes the right tools and materials, and you have to know what you're doing.
When the fret ends on both sides of the fretboard look uniform and feel flush, you're ready to take the next step.
Rounding the fret ends. This operation takes patience and skill. The goal is to smooth off the edges of the frets where they meet the fretboard so the frets don't feel sharp. Using the special three-corner file, place the "toothless" edge facing down toward the fretboard and gently roll the file over the edge of the fret end (Photo 5). It only takes about three or four gentle strokes to smooth out the fret end.
Photo 5
Repeat this process for each side of every fret until all frets are smooth and rounded. Be aware of your file at all times, especially when working over the body. You don't want to knick or gouge that top! File slowly and methodically. If you want to protect the guitar, you can use low-tack painter's tape to mask off vulnerable areas.
Removing tool marks. Now it's time to clean up. Using a single-edged razor blade, carefully scrape back and forth on the fretboard until any tool marks are gone (Photo 6). Use a light touch and don't scrape away too much wood. The goal is to remove the minimum amount of material required to smooth out the marks.
Photo 6
Polishing the fret ends.
The next step is to use super-fine polishing paper, which is available in many styles (including micro-mesh cloths and fret "erasers" in a sequenced series of grits) from luthier suppliers and guitar-accessory companies like Dunlop and Planet Waves.
Grip your polishing paper or cloth and gently rub the fret ends along the fretboard. This gives the frets a nice shiny look. While you're at it, why not polish the tops of all the frets?
Conditioning the fretboard.
The final step in our process is to condition the fretboard. There are dozens of products available for cleaning and conditioning a guitar's open, unfinished wood. With a little research and some trial and error, you'll find a product that works well for you.
Apply the conditioner onto the fretboard and scrub it in using an old toothbrush. This removes built-up dirt and sweat and helps the wood absorb the conditioner. When the fretboard is completely covered, wipe it off with a paper towel.
Parting thoughts.
As we've seen, the primary cause of sharp fret ends is a lack of humidity. The optimum humidity level for any guitar is between 40-50 percent. Conditioning your fretboard helps minimize humidity issues, but it's still imperative to keep your guitar humidified. The bottom line: It pays to check out various guitar humidifiers. Designed to fit into the guitar body or case, they're inexpensive and easy to use. Humidifiers can prevent sharp fret ends and save you a ton of work.
[Updated 9/30/21]
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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