Philly luthier supply makes aluminum radius beams (in various sizes... radius) 21'' long. Just clamp the beam down and your good to go. I have used this technique in my shop (for new bolt on necks for several years. Thanks for the great videos.
Interesting. I'm doing my first re-fret and have considered pouring mortar using the neck for a form that will result in a jig that wraps perfectly to the back of the neck so that I can hammer in the new frets with perfect support. This would work for your idea too. It would be heavy but it would be cheap.
Another fascinating video thanks ! I’ve always been curious as to why frets are leveled on a straight fretboard but the guitar is played with relief. Surely this makes the frets uneven again.
I don't add relief to my necks. I keep them straight even under string tension. A lot of players think you're supposed to add relief to eliminate string buzz, which is okay if you're about to walk out on stage. However, inducing relief as a permanent buzz kill can cause more problems than it can solve. That's why we have all of these goofy and expensive tools like string tension simulating jigs and Katanas. Keep the fretboard level and make life so much easier.
Would it be advantageous to remove the tuners thus taking the weight of those out of the equation? Or does this not matter? Ooor does it help? Thanks for your insights man
Really enjoy your videos. Thanks for taking time to make them. How would you do this with a compound radius neck? Any reason why it wouldn't work with a multi-scale (fanned fret)?
Surely it would depend on the length of the sanding strokes? If these were kept short enough (~ 20mm) the compound radius should be very close to perfect, any 'error' would certainly be almost undetectable. I also like the Crimson Guitars idea of using two strips of thin masking tape to secure the tape: one has the the superglue put on it, as in your video, and the other (on the rear of the sandpaper) has a light spray of accelerator. This would ensure that the sandpaper didn't absorb too much of the thin superglue, making a faster, more secure bond. I really enjoy your videos, and find them very informative. Keep up the good work!
This is great, there's just one thing I don't get.... what happens when you have a compound radius and you're leveling all the frets to the same radius? I have seen people do the same thing with a flat surface, does'nt that affect the radius? I'm kinda lost here...!
Thanks for everything you put out! How would one go about checking your fretboard is level on custom scale length or multiscale necks? I just built a 25.08" scale length and there obviously isn't a notched machinist's bar for that. I'm also looking at making some multiscale extended range guitars and want to make sure i can be prepared to check the neck is level.
Buy a precision straightedge and cut notches into it. In reality, it doesn't need to be a precision straightedge. It can be one of those 4' long aluminum rulers you can buy at the hardware store. Use a Dremel (or similar) with a cutting wheel to form the notches where you need them.
Another great video. Thanks Chris. Can you please post a link for the sandpaper. Might as well have you get the credit for it. Also can you post the CNC project file on your eguitar page? I'm not looking to get it for free. Thank you
Sandpaper: www.harborfreight.com/2-34-in-x-25-ft-240-grit-sandpaper-roll-63332.html I didn't save the CNC file because it took less than 5 minutes to make. I might make one down the road if I can find the time.
I use a neck jig to simulate string tension. It might be overkill but it makes me feel safer...especially when working on other people's guitars. :) Does your sanding block ever change or warp over time? Great video. Thanks for your hard work.
In my humble opinion I would not say it's the best method of levelling frets, but your way certainly does a basic linear levelling of the global radius of the sum total of frets. In my personal experience, when I do a compound radius or say creating a fall-off profile beyond the 12th fret requires me to use a flat profile sanding beam operated from above the frets. This is not a criticism btw. I fully appreciate there are many ways to achieve the same result due to personal work tastes. Great video!
Are there any cautions or pitfalls to using a less than fretboard length radius beam? Like the ones that are 8-9 inches that are more prevalent and affordable.
Short beams are for spot leveling and/or creating falloff. Longer beams ensure that all of the frets are at the same level. Short beams can’t. Of course it all comes down to skill and experience.
Why cant you just spot level the frets after installing it on a new guitar? If you sanded the fretboard well, and pressed the frets in well, shouldn't the luthier be able to only do spot leveling?
You can easily account for the thickness of the sandpaper and the adhesive used, however, the difference is only going to be maybe .02" or less and doubt there is a human alive who can reliably detect the difference between a 12" radius and a 12.02" radius. Also, if you level the frets with the same sanding block and sandpaper that was used to radius the fretboard, both the fretboard and fret wire will have the same radius. However, the fret wire's radius will be slightly offset above the fretboard by the height of the fret's crown. As long as ALL of the frets have the same radius, that is all that matters with regard to eliminating string buzz.
@@HighlineGuitars I thought about with the sanding of the fretboard radius. You're dead on if the fretboard and the frets have the same radius, who'd care? But look at the different radii you're quickly at a different radius if you look at them them all in a excel sheet. The "debth" (or height of the curve) difference is very close together, especially when it gets pretty flat. Example: Between a 12'' and a 14'' radius is a "debth" difference of 0.0043''. So if someone is anal about the radius you end up with something different. I'm overthinking it. How do you like the new fretwire after a few refrets? Thx for all your answers.
Wait a second, wouldn't you just make the frets absolutely flat? I thought they needed to be curved, or is this only for flat necked guitars like Gibsons and not for the curved ones like the Fender strats?
Sometimes it makes sense to apply the tool to the work, other times it makes sense to apply the work to the tool... I've always used hand held radius blocks and leveling beams, but applying the neck to the block here makes a great deal of good sense. Plus, the long block is a multi-tasking tool. Another option for getting a block like this made is a local Makerspace -- either as a one-off or as a project when taking a class. Clyde
Ben Crimson seems to be rather a traditionalist, while this folk (unfortunately forgot his name even though subbed since years, sorry) is a bit more open to different approaches
@@HighlineGuitars No, it's because you can't see exactly how much material you're taking off the frets, and the fact that wood changes shape so your radius beam will warp over time. From what I remember of his video on the topic, he said that if he did level frets with a radius beam, he would want it to be a perfectly machined piece of aluminum and would use tiny strokes, checking after every single one to avoid taking more fret material than necessary. Your comment seems quite cynical. You should watch more of Ben's videos and get to know him better.
I don’t do the compound thing. As for how many strokes for fall off depends on the fret material, the grit of sandpaper, how much downward force you apply and the weight of the radius block. But plan on 5-10 strokes.
Τhat is an excellent idea but do you really need a cnc machine for this?cant you just find an cylindrical object with the radius you are after,attach double sided tape and sandpaper on it and then sand your beam till the radius is created?
If we were to be way too nerdy, we would realize that a 12" radius block being used to clamp frets into a 12" radiussed board is a slight mismatch. The radius of the top of the frets is actually 12" plus the height of the frets. Enough different to matter?? Probably not. I do enjoy your videos.
Let me take it up a notch. To accurately account for the mismatch, you would have to make a sanding block with a radius equal to the fretboard's radius, PLUS the height of the fret wire, MINUS the amount of material you expect to be removed after the frets have been leveled. That's impossible since we don't know how much material will be removed. In the end, the time spent to do this might be better spent learning how to play better. ;-)
I'm one of those nerdy goofballs who thinks about things like that. For instance, the scale length of the E and G strings on a Jazz bass are longer than those of a P bass, or even the D&A strings on the Jazz bass. Why? I'm glad you asked. Bridge is the same width both, but the nut is(normally) narrower on the Jazz. As such, the outside strings are crossing the frets at more of an angle. Longer path. Barely. Measurable? Probably. Make any real difference at the end of the day? No. I think Chris is right. Forget that crap and practice more.
Hi Chris, I am really grateful for the amazing videos you post. According to Ben Crow from Crimson Guitars, a radiusing block should not be used for fret leveling for a bunch of reasons. (ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-GBoP8ZeO_uw.html). What is your answer to his argument? I would love to have your point of view.
I'm sure this works for you, but my question is, how did you check to see if your wood block is level? I use a metal beam to do my frets. Since yours is wood, wouldn't you worry about warping? I love the idea and I don't really question if you're beam is level. I just don't see how someone else can expect their wood beam to be used like you have used yours. Let's face it; you have a bit more skill than most.
