Fretless Neck for Guitar Refretting a standard guitar is not all that difficult if you are patient, careful and have the right tools. Although a functioning microtonal guitar can be made with fewer specialized tools, and with less attention to detail, the following is in my opinion the minimum necessary to do a professional job, one you could charge money for and have a satisfied customer. Making a fretless guitar is
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Refretting a standard guitaris not all that difficult if youare patient, careful and have
the right tools. Although afunctioning microtonal guitarcan be made with fewerspecialized tools, and with lessattention to detail, thefollowing is in my opinion theminimum necessary to do aprofessional job, one youcould charge money for and
block6. At least one sheet each of 40, 80, 120, 220, 320, 400 and600 grit sandpaper
7. A weighted plastic or brassfaced hammer, or,alternatively, a ball peenhammer with a piece of leather glued to the flat face8. A ruler marked off inhundredths of an inch (at agood art supply store or themechanical drawing section of
a university book store)9. Several tubes of super glue10. Single edge razor blades
11. X-acto knife with narrow(scalpel blades are the best)
and wide blades12. Jewelers files and/or nutcutting files13. A flat smooth file about
10" long and and 1" wide.Sight down a number of files if you can to find the flattest.14. Paste wax15. Fret wire (available fromLuthier's Mercantile, Stewart-MacDonald, GHS strings, orother sources)16. A mechanical pencil with .
5 mm lead17. A set of new strings18. An X-acto razor saw
loosen the truss rod unless theneck is significantly back
bowed (back bow is when thecenter of the neck is higherthan the ends). You want theneck to be flat or have the
slightest back bow when youdo this work. If the neck doesnot come off, remove thetuning pegs (except on aclassical guitar) and coverevery part of the face of thebody with paper affixed byartist's masking tape. Irecommend artist's tape since
it is not as sticky as painter'stape and is less likely to leavegum on the finish, or even pull
some of it off. This paper willprotect the finish of the top as
you work on the guitar.
Wax the fingerboard and backof the neck thoroughly with
paste wax (Johnson's or other)and let it dry. Do not buff. Thiswax coating will help repel thesuper glue that will inevitablydrip where you don't want itwhen you are gluing in frets orrepairing fingerboard chips.
Heat the frets with the
soldering pencil to remove oldglue. I have found that about 8seconds at three evenly
spaced positions on the fret issufficient. Hold the soldering
pen against the fret with theflat part contacting as muchfret area as possible. Start atone end of the fret and move
in as the fret is being pulled.Immediately after heating,place the end of the endnipper at the end of the fretand squeeze until the fret haslifted up enough for the nipperto move in a little. Move in alittle and squeeze until the fretraises up a little more. Keep
this up until you have movedthe nipper all the way acrossand the fret is out of the slot.
All this time, the soldering penis moving ahead of the nipper.
Little chips of wood willinevitable come out as thetang of the fret lifts out of the
slot. If you should remove alarge chip by accident,immediately replace it andglue in place with super glue.Should you lose a chip, thehole can be filled with superglue and wood dust. Mosthardwood dust is slightly basicand will cause super glue to
harden almost immediately(much as will saliva, blood,sweat and tears). Place a little
super glue in the hole andcover with sawdust from the
same kind or lighter coloredwood than in the fingerboardyou are working on. You canget a little dust by running the
saw blade through an emptyfret slot. You are just going tofill it with wood dust anyway. The glue will wick into the dustand harden very quickly. Ittakes a little practice to get just the right amount of glueand dust. I recommend gluingchips back in right away, and
Now that the frets are all out,it is time to fill the fret slots. If you are refretting to an octaveequivalent tuning, it is not
necessary to fill the octavefret. First, run the fret sawthrough the slots to removeany remaining glue orobstructions. If you have abound fingerboard, run the tipof the saw through frombinding to binding and blowthe dust out. If you have a
fingerboard made from darkwood, there are several goodways to fill the fret slots. If you
have a maple or other lightwood fingerboard, there are
no really good good ways Iknow of to fill the slots, asfilled fret slots are alwaysdarker than maple even if you
fill them with maple veneer(although see ****** below fora method I have recently hadsome success with). The gluelines at the edges of the fretslot almost always show updark. I will list the four bestways I know of filling darkwood fret slots.
of a wood that is the samecolor or a little lighter in hue
than the wood from whichyour fingerboard is made. Getveneer as close in thickness asyou can to the thickness of
your fret slots. Cut strips of veneer a little wider than thedepth of the fret slots and asclose as you can to the exactwidth of the guitar neck at thefret slot you are filling. It isdifficult to cut off protrudingends without marring thefinish on the side of the
fingerboard. Do the fretclosest to the bridge first forpractice. If you mess it up, it
won't be noticed as much asthe first fret, for instance.
Place the veneer in the fretslot and carefully wick a smallamount of glue into the woodbetween the veneer and the
fret slot. Make sure that all thesurfaces are bound, but don'tput glue into the side of theslot yet. With luck, the gluewill wick into the end of theslot by itself.When the glue is dry (to speedthis up, you can us Hot Shot orother commercial super glue
accellerators available athobby shops or throughLuthier's Mercantile), carefully
slice off the protruding veneerwith the razor blade by pulling
the blade at a 45 degree angleto the fret slot with the bladeas flat as you can against theneck. A series of short strokes
is best, and be careful not tocut into the fingerboard. Youwill not remove all of theveneer on the first pass.Repeat the cutting processuntil there is barely anyveneer protruding. Place paperunder the neck to catch thesawdust for later use. Sand
the stub with the grain of theneck using the small sandingblock and 120 grit paper.
dust with an old toothbrushand inspect your work. If youthink you can improve yourtechnique, do the next fret slot
down.
When you are confident thatyou have the knack, fill all theremaining slots with veneer,glue, cut and sand. Brush off and inspect your work. Thereare probably a number of littleholes you missed. Fill these
with wood dust and superglue. Remove the old positionmarkers by drilling them out,
being careful to go no deeperthan necessary (you need that
truss rod!). Place a little gluein the bottom of the hole andcover it with wood dust. Fillthe hole to the top with wood
dust and tamp in, leaving onlythe slightest crown. Wicksuper glue into the dust andlet set. This will take a fewminutes, and the fillet mayeven smoke a little as the gluesets up.
When everything has
hardened, sand the wholeneck with the long sandingblock with 120 grit sandpaper.
Sand straight along the neckwith even pressure, with the
grain of the fingerboard,taking care to follow the radiusof the neck. You will want tosand all the way across the
width of the neck, angling thesanding block to conform tothe curvature of the neck. Take care to stay away fromthe edges. The are certain toget sanded as a result of sanding near the edges.Inspect the fingerboard againand make any necessary
than the wood you are using. The mixture of dust and glueis always much darker thanthe wood the dust came from.
If you are a perfectionist, andyou should be if you want tobe satisfied with your guitar,you should make some testson wood dust to glue ratio inorder to match the color of your fingerboard. Comparecolor of a sanded patch of fingerboard, as some
manufacturers dye their wood,and your fingerboard isprobably darker as the result
****** If you have a lightwood fingerboard, Irecommend the veneermethod, although recently I
was able to do a pretty goodmatch on a maple fingerboardwith acetone-diluted PlasticWood. It took a lot of testing,but it worked pretty well. Itdoes need a top coat of superglue or urethane, as PlasticWood is not that flexible.
If you are making a fretlessguitar, you are almost done.Once you have the fret slots
filled and level sanded, youmust sand with increasinglyfine grits. Sand with 220, 320,400 and 600 grit, then brushoff with an old toothbrush.Inspect the side of the neckand carefully trim anyprotruding veneer or glue witha single edge razor bleade or
x-acto knife. If you have beenextremely careful, you won'tneed any touch-up. Wax the
fingerboard, remove the tapeand polish the entire guitar
with a soft cloth.
You will need to sand the nutdown since the distance
between the strings and theneck is now less by the heightof the frets. Mark off a littleless than the height of a fretalong the bottom of the nutwith a sharp pencil. Glue apiece of 80 grit sandpaper to aflat piece of wood and sandthe nut by rubbing the bottom
of the nut over the sandingblock, sanding almost to theline. Put the strings on and try
the guitar. Play it for a whileand adjust the height of the
nut until it is just right.
Calculating the fret positions
Now you have a smooth, filledfingerboard and are ready tomark the positions for fretslots. To calculate the lengthof your fret scale, measure thedistance from the nut to theoctave fret and multiply bytwo. Measuring from the nut tothe bridge is not reliable. The
general formula for thedistance from the nut to thekth fret is
ratios, we use powers of two(unless you are using a non-
octave scale).
The formula
f(k)=length(1-1/r)is better written as
f(k)=length(1-2^(-k/n))where the carat is the powersign and n is the number of equal tempered steps to theoctave. As an example, let'scalculate a few fret
measurements for 19tet with a35" bass guitar scale. The 0thfret is the nut, and the
f(8)=35(1-2^(-8/19))=35(1-.7469)=35(.2531)=8.86".Keep your figures accurate tofour places and your finalmeasurement should beaccurate to 1/100". Notice that
.2531 is very close to 1/4. Thisis as it should be, since the8th fret in 19 approximates
line down the centerline of theneck. Tape your ruler against
this line with two sided tapewith the end exactly againstthe end of the fretboard, andmake a mark where the first
fret will be. Be sure you dothis very precisely. Use a verysharp pencil or a mechanicalpencil with .5mm lead. Markeach fret position until youreach the octave. The lastmark should line up exactlywith the former 12th fret.Retape the ruler at the octave,
and mark at 1/2 the distancecalculated for the first octave.Now, depending on the type of
ruler you have, either flip itover and tape it on the other
side of the center mark, orslide it over and tape itparallel to the center mark. Ineither case you want a new
set of marks parallel to thefirst and on the other side of the neck. Repeat the processuntil you have two sets of parallel marks. Connect themarks and you have a set of lines marking where all thefrets will be placed. It is veryimportant to do the measuring
and cutting precisely. Checkyour work and redo theprocess if you have any doubt
It is time to cut the fret slots. If you are cutting the slots by
hand, you will need a guide toclamp or tape on the neck toassure that the saw cuts theslots accurately. I use astraight piece of wood that hasa little cup cut out so as to fitsnug against the face of thefingerboard. It is possible tocut fret slots by hand without
a guide, but you increase thepossibility that the saw will slipand mar the fingerboard. Tape
or clamp the guide to the neckusing a leather or cork jawed
clamp, being careful to line itup about 1/2 the width of thefret saw behind the pencilledin fret mark. Making sure the
saw is parallel to the neck,take one light swipe over theneck from side to side to makesure the block is properlyplaced. If the saw has cut outthe line you are OK. Realignthe guide if necessary. Cutinto the fingerboard to a depthof about 1/40th of an inch
deeper than the fret tang. Youdon't have to be anal aboutthis--you just don't want to cut
the slot too deep or tooshallow. The same depth as
the old slots is usually aboutright. Continue up the neckuntil you have all the slots cut. You may want to cut the top
fret slots first so that yourtechnique improves as you getcloser to the lower frets,which, in general, will be themost used. If you nick thefingerboard during thisprocess, wait until after theposition markers are laid in tofix the nicks.
We will now lay in the positionmarkers. Decide where you
want the position dots (if any)and mark them by connectingwith pencil the left and rightends of the fret slots between
which the markers will beplaced. You now have an "X"whose center marks the dot'sposition. Punch the center anddrill the hole to the depth of the marker. Place the positiondot in the hole and wick insuper glue. When the dots areset, sand the fingerboard with
the long sanding block using120, 220, 320 and 400 gritpaper until the neck is smooth
and blemish free. If there isany touch up you need to do,
now is the time to do it, asonce the frets are laid in thischore will be extremelydifficult.
Placing the frets
Re-wax the fingerboard, beingcareful not to get any in theslots. If you do, drag the fretsaw lightly through the slot acouple times to remove it. Thewax will help keep the super
glue leaks from sticking to thefingerboard. To lay in thefrets, cut off a piece of fret
wire with the end nippers (orfret puller or toenail clipper),
making sure there is enoughstraight tang to span theentire slot. The fret should bea little longer than the slot so
that the deformed end whereis was cut does not have to bepounded into the slot. Theprotruding ends will be cut off later with the end nipper. Laythe neck in a padded cradlemade from a 4"x4"x4" piece of wood with a cup cut out aboutthe same radius as the back of
the neck. I use a piece of sheepskin to line the cradle. This cradle insures that the
back of the neck is protectedwhile the fret is being
hammered in and also thatthere is a good coupling fromthe table to the neck totransfer the energy of the
hammer into the fret. For aclassical guitar, the cradlemay have to be taller. Plasethe fret over the slot and tapthe fret in lightly on one sideof the fingerboard using thefret hammer. Once the fret isseated on one side, tap acrossthe fret to seat it all the way
across. Check to make sure itis seated against thefingerboard by eye and by
trying to run you fingernailunder it. If it needs to be
tapped in harder, tap from thecenter to the outside in bothdirections. Be especiallycareful when doing this on a
classical guitar. I prefer not tofret a classical above the 12thfret using a hammer since therisk of cracking the top orloosening braces is so greatwith this method. If you wantto get fancy, there are anumber of products availableto press in frets. Again, you
might want to practice on thehigher frets first until you geta hang of the method.
from the lower frets, nippingoff the protruding frets flushwith the edge of thefingerboard. With care, you
will not mar the surface.Carefully apply a coat of waxwith a Q-tip to the edge of thefingerboard, avoiding the fretslots. Apply one drop of superglue at a time to the fret ends,allowing it to wick in. About 3drops is enough for each sideis enough. Make sure glue is
not oozing out the other sideof the fret slot. If there are anyfrets whose ends just wouldn't
before you apply the glue. Alittle baking soda on the gluewill help it set up faster(though super glue accelerator
is better). When the frets areall glued in, you may find thata little glue has seeped outbetween the fret and thefingerboard. Carefully cut theglue off with a single edgerazor blade. You can score theglue next to the fret so it willcome off easily. Here is where
the fingerboard waxing is soimportant. With enough wax,the glue actually just peels off.
Your frets are laid and it istime to dress them. Polish thewax on the fingerboard until it
shines, then lay masking tapebetween all the frets toprotect the fingerboard. Thistime, you may need to usepainter's masking tape so itwill stick better to the waxedsurface. Run a magic markeracross the top of each fret soyou can tell what has been
cut. Run the flat file lightlyover the surface of the fretsalong the length of the neck,
fret material will be wider thanothers, and that is all right.
Brush off the filings and re-inkthe frets. If you have a fretcrowning file, run it across thetop of each fret until there is a
thin continuous line of fretmaterial showing.
If you don't have a fretcrowning file, run the longsanding block lightly over thefret surfaces using 320 gritsandpaper until a thin line of fret material shows through
every inked fret. Now is agood time to lay in sideposition dots if you want them.
future. With a jeweler's file ora file with a flat, noncutting
edge (place the non cuttingedge in contact with thefingerboard), using one or twolight strokes only, file the tips
of the fret at the edge of thefingerboard where the fretmeets the fingerboard surface. The file should start at 45degree angles to both theplane of the fingerboad and aparallel to the length of thefret. The file remains at a 45degree angle with the plane of
the fingerboard, but during thestroke its angle relative to thelength of the fret changes
little practice, but the endresult is a fret with a smoothedge where the hand is likelyto contact it.
To finish the frets, start with220 paper (or 320 if you useda crowning file) and vigorouslyhand sand (no block, fingersgripping a small piece of sandpaper) each fret along itslength to smooth the crownand remove nicks. When you
are done with one grit, moveup to the next finer, takingcare to brush the fingerboard
to adjust the height of the nut. You can remove material from
the bottom of the nut or fromthe slots, or if you need toraise the height of the nut(more likely) you can shim it
with slips of brass strip (to befound at hobby stores), or withdrops of super glue on thebottom of the nut hardenedand filled by dropping bakingsoda on it. File the baking-soda-super-glue filler with a jeweler's file of an X-acto sawto get the right string height
at the nut. You will probablyhave to adjust the bridgeheight too. Open a new set of
faced hammer, ruler markedoff in hundredths of an inch,and fretwire can be obtainedfrom Luthier's Mercantile,Stewart McDonald, GHS, orany number of luthiers'ssupply companies. A hand fretsaw may be made bypurchasing a good quality
miter saw of approximately0.023" blade width andflattening the kerf (the