The Project
To illustrate this process, we'll use a 2004 Fender Mexican (MIM) Strat. When it landed on my bench, it was in great structural condition, but I knew some mods and a good setup could make it a pro-level instrument.
My first step was to sonically evaluate the guitar. Though it played well, it didn't have a lot of sustain and the stock tuners tended to drift out of tune. The single-coil pickups sounded weak and too bright, and I decided to begin the transformation by upgrading them.
Install new pickups.
The owner wanted to stick to a traditional single-coil configuration. There are dozens of great options made by independent pickup makers, as well as excellent upgrades from Fender. Based on feedback from other clients, I chose a set of Seymour Duncan Five-Two single-coils, which employ a combination of alnico 2 and alnico 5 magnets. The three treble pole pieces are made from alnico 2, which produces a warmer sound. This reduces that "ice-pick-in-the-ear" tone when you play a solo. Conversely, the three bass pole pieces are alnico 5, a magnet known for producing a bright, clear tone. This is perfect for adding clarity to rhythm parts and chord voicings. Duncan Five-Twos sound louder than traditional Strat pickups, but when adjusted properly, they offer excellent tone and balance.
Whenever I replace a trio of single-coil Strat pickups, I use a reverse-wound/reverse-polarity (RW/RP) middle pickup. In position 2 or 4 (the combined neck/middle and middle/bridge settings) of a 5-way switch, the paired pickups become humbuckers. The benefit? You cancel the 60-cycle hum that plagues single-coils, but still get that traditional Strat tone we all love.
Adjust pickup height.
Fig. 1: Measuring the gap between the pole piece and the 6th string on a Strat.
This is commonly overlooked during a setup. It's important to set the pickups at the right distance from the strings. If the pickups are adjusted too close, you can lose sustain and run into intonation problems because the magnets are pulling on the vibrating strings. But if the pickups are too low, you'll end up with a weak signal.
To adjust the pickups, I fret the 1st and 6th strings at the last fret. Then, using a 6" metal machinist ruler, I measure the gap between the top of the pole pieces to the bottom of the 1st and 6th strings (Fig. 1) Carefully turning the screws on either side of the pickup lets me raise or lower its height to my preferred measurements:
- Bridge pickup: 2/64" 1st string, 3/64" 6th string
- Middle pickup: 3/64" 1st string, 4/64" 6th string
- Neck pickup: 3/64" 1st string, 4/64" 6th string
These measurements are starting points, but I wouldn't recommend adjusting Strat pickups any higher. If a pickup is too loud relative to its mates, lower it to balance its volume. Don't bring the quieter ones closer to the strings.
Upgrade the tuners.
Fig. 2: Replacing vintage-style tuners with a set that has a higher turning ratio, like these 16:1 keys, can make it easier to tune a string quickly and accurately.
Upgrading your guitar's tuning keys requires some research. There are many excellent brands available that will retrofit a Strat, and it's important to explore all the options before you drop cash on a set that doesn't fit.
In the case of our Fender MIM Strat, I had to find a quality set that would retrofit the existing holes in the neck. The owner and I decided to use sealed Gotoh keys with a 16:1 turning ratio (Fig. 2) This ratio determines how many times you have to completely turn the button in order for the post to make one full revolution. The higher the ratio (i.e., 16:1, 18:1), the finer the tuning. Most vintage keys have a 12:1 or 14:1 turning ratio. Keys with lower turning ratios can make it frustrating to tune a string because it's so easy to jump past the desired pitch as you approach it.
Replace the string nut.
Fig. 3: The string nut plays an important role in a guitar's sound and performance. Most guitars sport a stock plastic nut, and replacing it with a bone nut can yield sonic benefits and improve tuning stability.
Believe it or not, the nut material makes a noticeable sonic difference. Most guitars come from the factory with a plastic string nut (Fig. 3) Plastic is easy (and cheap) to install, but it insulates the guitar from string vibration and thus negatively impacts tone and sustain.
Other materials I've seen used are graphite, bone, ivory, brass, and aluminum. Each has specific tonal properties and varying sustain, and based on years of working with guitars, here's my take on these materials: Graphite is great for keeping your guitar in tune (especially if you use a tremolo) because strings slide easily through the nut slots, but it sounds rather dead. Bone has excellent sustain and broadens the dynamic range of virtually any guitar. Ivory has good sustain and produces a warmer tone. (Of course, there are serious conservation and even legal issues surrounding the use of ivory, but that's beyond the scope of this column.) Brass and aluminum produce a bright tone but have little sustain.
Bone is always a good choice for string nuts—it's very hard, it lasts longer than plastic and graphite, and produces a sweeter tone than metal.
For this project, we decided to carve a new string nut from bone. Bone is always a good choice for string nuts—it's very hard, it lasts longer than plastic and graphite, and produces a sweeter tone than metal. You can buy pre-slotted string nuts, but I find the spacing is never quite right. I prefer to use a "Stratcut" bone blank from Allparts or Stewart-MacDonald.
Caution! When replacing a string nut, be aware that they're often glued into the nut slot from the bottom or they may be lacquered in. You want to avoid damaging the end of the fretboard facing the tuning keys when removing the nut. If you're not sure how to safely remove a nut, take your guitar to a qualified repair tech or luthier.
Carve a bone nut.
Fig. 4: Carving a new nut is an art. You need to consider string spacing, slot width and depth, and the string angle over the headstock.
Carving a string nut requires skill and patience (Fig. 4) One cut too far and you'll have to start all over again with a new nut blank. If you don't have the proper experience, training, and tools, turn this part of the project over to someone who does.
Fig. 5: The saying "measure twice, cut once" certainly applies to getting the correct string spacing on a new nut.
To see photos and read a detailed explanation of the process I use to cut a bone nut and what tools are required, read the March 2012 feature "How to Convert Your Axe to a Baritone."
Fig. 6: A nut slot needs to angle down toward the tuner, and its highest point must be right at the leading edge where the nut meets the fretboard.
Step 4 in that article explains how to carve a nut, measure string spacing (Fig. 5), and cut the string slots (Fig. 6).
Consider your moves before you make them.
Fig. 7: Gig worthy! Tricked out with 16:1 tuners, a new bone nut, and a rockin' set of replacement pickups, this imported Strat is now ready for prime time.
When upgrading the parts on your guitar, always buy quality hardware that can be installed without any major modification to your instrument. In other words, if you have to route out the body or drill new holes, it's best not to do it. The more holes, routing, or finish work you do, the less your instrument is worth. Keep the upgrades clean, simple, and reversible.
[Updated 10/13/21]
Fret wear is a normal by-product of playing your instrument. As a guitarist, it's important to know how to evaluate fret damage and understand what options you have to correct it. The big question is, can I refurbish my frets or is it time to replace them? Let's explore the subject starting with the fretwire itself.
What are frets made of?
Though fretwire is frequently called "nickel silver," it doesn't actually contain silver. Rather, it's typically composed of 18 percent nickel, 80 percent copper, and small amounts of such other materials as zinc, lead, and cadmium. Really good fret wire has more zinc and less copper. One of my favorite brands is Jescar, and their NS formula is 62 percent copper, 18 percent nickel, and 20 percent zinc. Because it's harder than traditional fretwire, it lasts longer.
Another option is stainless steel. Stainless steel is very difficult to work with, but it lasts dramatically longer than traditional fretwire. However, stainless steel frets come with a hefty price tag. Most luthiers will charge more than double to re-fret a guitar with stainless steel because it nearly destroys their tools and the job takes much longer to do. In the long run, it could be the perfect solution for your guitar since you may never have to replace the frets again!
How are frets sized?
Fig. 1. Fretwire is measured by the crown's width (A) and height (B), as well as the size of the barb (C) and depth of the tang (D).
Fretwire comes in a variety of sizes and shapes. Fig. 1 illustrates the four elements that determine a particular style of fretwire. They are the width and height of the crown, the size of the barb, and the depth of the tang.
The crown is the exposed part of the fret. When you fret a note, you're pressing the string to the very top of the crown. Like a row of hooks, barbs secure the fret to the fretboard. Barb width determines the width of the fret slot and the tang determines the depth of the fret slot—i.e., how far the fretwire penetrates into the fretboard.
The size and shape of each of these four elements are specifically designed for different playing preferences and types of guitars. The crown width can vary from ultra narrow (.053") to super jumbo (.118"). The fret height can be anywhere from a short .032" to a tall .060". The width of the barbs and depth of the tang also vary from .019" to .040".
All these dimensions have a specific purpose and are important considerations when choosing fretwire. For example, wider frets can produce a stronger tone, but as they wear, the guitar's intonation "drifts" farther than with narrow frets. But narrow wire has its drawbacks, too: Narrow frets won't cause your intonation to drift as much, but they wear down faster than wide frets.
Tall frets will last longer before they need to be replaced. However, I don't recommend them for someone who plays with a strong grip. If you grip the neck tightly while playing or use a capo, the strings will pull sharp as you play. On the other hand, shorter frets wear out faster (especially if you use a capo) and need to be replaced more often.
The size of the barbs and tang have a profound effect on a guitar neck, and if you decide to install new frets, it's very important to use the correct size. If the barbs and tang are too narrow or shallow for the slots, the frets won't seat securely in the fretboard. This causes them to lift out when the weather changes and yields uneven frets and a lot of buzzy or dead notes. When the barbs and tang are too wide, they can crack and chip the fretboard, or even cause the neck to back-bow. In the case of a back-bow, you have to re-fret the guitar.
To summarize: A neck must have the correctly sized frets to match the fretboard and player. Otherwise, you'll end up with a very expensive mess!
Can the dents in my frets be repaired?
Dents always create problems with frets. But does discovering dents mean you need to replace your frets or is re-crowning an option?
It can go either way, and the answer depends on the depth of the dents. When the dents are deep, your tech would have to remove too much material from all the frets to correctly repair the problem ones. When the height of the fret is below .038" and it has deep pits and dents, chances are a re-fret is in order.
Fig. 2. A dented and pitted fret causes intonation problems, creates string rattle, and impedes smooth string bends.
Look at Fig. 2 and notice the deep pits in these frets. These dents are too deep to repair, so the frets must be replaced.
Fig. 3. A flat fret also creates rattle and intonation problems.
Dents and pits are not the only reason to replace frets. Flat spots in the frets are another culprit. For a fret to function properly, it must have a domed crown. If the crown is flat, as in Fig. 3, it will cause string rattle and intonation issues. Much like dents and pits, if the fret has a flat crown and is too short, it will need to be replaced.
Fig. 4. Re-crowning a fret with a specialized tool.
If the frets are tall enough to repair, they are first leveled and then re-crowned. To level a fret, your tech grinds and sands the frets to an equal height. This leaves the frets with a flat crown. The next step is to re-crown the fret by removing material from its sides until the crown offers a narrow point of contact for the string Fig. 4. This is a very painstaking process and it takes years of practice to develop the proper skills—definitely a job for a pro.
What's involved with a re-fret?
Fig. 5. A complete re-fret gives a guitar a new lease on life.
In a re-fret, all the frets in the neck are replaced. The process is very precise and requires expensive tools and great skill. The basic steps include disassembling the guitar, removing all the old frets, planing the fretboard, radiusing the fretboard, cleaning out the fret slots, installing the new frets and then leveling and re-crowning them, cleaning the fretboard and polishing the frets, and finally reassembling the guitar Fig. 5.
And this is just a basic overview of the process. There are many, many more steps—enough to fill an entire book. Re-fretting is expensive and time consuming, but generally worth the cost.
Over the years, I've had clients who choose to replace an old bolt-on neck with a new one, rather than opt for a re-fret. This can be a great choice, but beware—almost every new neck needs a fret level and re-crowning. Most guitar parts factories don't take the time that a luthier would to ensure that the frets are level. So keep in mind that by the time you pay for a new neck and the additional fretwork, you could have re-fretted the original neck and had some leftover change!
What about a partial re-fret?
Sometimes simply replacing several frets, rather than all of them, gets the job done. This is usually preferable for a neck that only has wear on the first six or seven frets and has a level fretboard. If the fretboard is in good condition and the rest of the frets are tall enough, a partial re-fret is a great way to save money. Not all guitars can qualify for this operation. If the fretboard has a twist or wave in it, a total re-fret is required.
Capo is a four-letter word.
The capo is a fret's worst enemy. Of course, I love capos because I love to do fretwork! If no one used capos, my income from fretwork would drop at least 60 percent. The more you use a capo, the more damage it does to the frets. As the capo clamps down on the strings, it smashes the strings into the frets and much harder than if you were to play a chord. As a result, frets begin to flatten and develop pits and dents. This is great news for a guitar tech, but not so good for the player.
To avoid unnecessary "capo-inflicted" fret damage, I suggest you use a capo with a tension adjustment. Many capos simply press the strings down to the fretboard without offering a way to adjust the tension. If you use a capo with a tension adjustment, you can clamp the device with just enough force to prevent string rattle, yet reduce additional fret wear.
Another great benefit to using a capo with adjustable clamping tension: It will help avoid tuning issues versus a nonadjustable capo. There are several great capos on the market that will diminish fret damage and tuning problems, including Planet Waves Dual Action capo and all the various Shubb models. If your capo doesn't offer a tension adjustment, buy one that does. This will save you a ton of money in fretwork.
[Updated 8/10/21]