Arlington Fret Works

 

The first thing I noticed was a severe back bow in the neck, causing the strings to sit flat on the first fret. With the allen wrench I turned the truss rod nut counter-clockwise to correct the back bow and add some "relief", a tiny bit of up bow, about .008" measured at the 7th fret.

Next I measure the string height at the first fret with feeler gauges.  These string slots had previously been filed too low, so some of the strings were still touching the fret, and buzzing. We decided to install a new Tusq nut. Then I used a variety of thin files to lower each string to comfortable playing height.

I go over the entire fret board checking for high frets. Sometimes these can be corrected on the spot with a tap from a small hammer. I use a wooden dowel to fit between the strings and just tap. If this doesn't work the frets will need leveling.

Time to clean and oil the fret board, and polish the frets.  I found a great fretboard oil called Fret Doctor which was first developed for clarinets. Made from all plant oils, it penetrates the wood and brings back the original color. I'll also use it on the rosewood bridge of an acoustic if it looks dry.

When I put on the new strings I always stretch them thoroughly so they will hold pitch.  Sometimes owners will complain about their tuners not working, when actually the problem is the strings. I've found strings that were 6 months old that still hadn't stretched in, so manually stretching them is a must.

Next I adjust the string height and saddle radius. On a Strat  the individual saddle heights need to match the radius of the fretboard. With a Tun-o-matic bridge the radius is pre-set, but I always check the older ones. They can collapse over time because of the string tension, especially if the stop tailpiece was screwed down too low to the body.

This guitar had frets that were nice and level, so I could get the action low ... 4/64ths" for the bass E, and 3/64th" for the treble E, measured at the 12th fret.  The owner wanted it a bit higher, so I raised them 1/64th" on each side.  I also raised the stop tailpiece a bit to create a better string angle over the bridge.

I set the saddles for intonation using a Peterson strobe tuner.  Using a small screw driver I move the saddles back or forth to adjust for sharp or flat intonation. 

I first adjust the saddles with a capo on the guitar at the first fret, matching the harmonics to the fretted notes notes at the 8th and 13th frets. This takes the nut out of the equation. Then I check without the capo, matching the notes at the 7th and 12th frets.  If any of the nut slots are worn or filed at the wrong angle the intonation will be off on those open strings.  I'll mark the bottom of the slot with a fine pencil, for a visual aid, and then file the correct angle.  When I'm sure they're right I put a tiny drop of Tufoil Lubit-8 in each slot. It contains teflon and makes tuning much smoother, and it doesn't look messy like graphite. 

When intonated correctly the saddles will have a sort of Z pattern. They end up staggered by degree, according to the stiffness of each string. The wound strings have one row and the plain strings another:

I usually set the pickup heights to factory specs  and let the owner personalize them later. Factory is usually around 3/32" to 1/8" below the strings, when fretted at the top fret.  Active pickups can go closer to the strings, because they have less magnetic pull.

I check the pots and switches, and if necessary spray them with contact cleaner. Also tighten any loose hardware.  

Time to pretty it up. It doesn't take much to get a modern guitar finish clean. I first use a damp cloth then follow up with a little lighter fluid to get off any oils. Lighter fluid is even safe for lacquer, but I always use it sparingly.

Stelling Glyde-Cote is a great polish for vintage instruments. I recently discovered Virtuoso Premium Cleaner, also for vintage instruments where the dirt gets imbedded in the lacquer. This is great stuff, especially helpful on the back of the neck.