Good files are getting very rare in captivity. Like - new old stock are like hen’s teeth and priced like diamonds. Always a pleasure to catch the master at it again.
This 8 and 10" Cant Saw file is currently available, and good quality, although, as you correctly cite, the file field is fading away, and it's a colossal bummer. Buy all you can while you can. I'm pretty sure I have over 500 of 'em, but, no I'm not counting them for you.
These videos are so informative and helpful. So many of your techniques are new to me and sometimes contrary to conventional available information. I really admire how you have created unique and logical methods of moving the instrument into new territory.
When I watch you work, to answer your query, longer is better to get an understanding of how much, where, when, and why, as well as which tools to look for.
Great explanation and wonderful demonstration as usual Ken. Wonder what you would define the minimum height of frets before you have to go through refretting
Beautiful; when it comes to stainless steal frets, do you have any videos on the process of that material or a method recommendation? As well as tools. It’s a bit more tough to handle due to the hardness but would apréciate any advice or information.
Frets. Fret material. Wow, big subject. I'll say that I haven't used anything except the gold colored EVO wire since I first tried it in 2005. This material is mostly copper, just like so called "Nickle" fretwire, but instead of being mostly copper and nickle, the EVO wire is mostly copper and tin. I'll add this subject to the list of things to fully explore in a film episode. So, for now, for every reason I can think of, the EVO wire is the absolute best stuff available for fretting wooden fingerboards, www.jescarguitar.com/jescar-fret-wire/
One simple way would be to use a hand held belt sander firmly clamped upside down in a vise, and slightly rock the obtuse angle of the cant saw file until you have formed a smooth, slightly convex, shiny stripe of steel that is the same width end - to - end. The idea is that you can press down hard to keep the file engaged in the cut when removing materialon the side of the fret, firmly contacting the mask protecting the fingerboard surface, so hoping not to cut up the metal mask too quickly. Any belt sander would work, but it seems most folks have one of these cheap and cheerful hand held ones.
Well ? In the process of playing the guitar, the main effort falls on the rigid fixation of the string on the frets. That is, the height of the frets, the linearity and the quality of their processing, determine the sound of the guitar in the hands of the musician.
I would say that the sound production of an acoustic guitar, or really any stringed instrument, is the product of an uncountable and even unknowable large number of variables in three main arenas... The qualities of the guitar as a physical structure (many many things define this, of course including the aspects of the frets that you cite) The composition, quality and freshness of the strings The behavior of the player In my experience, although play-ability or set-up is critically important to the player, unless something is really wrong with the setup, it's unlikely to be a big part of the sound. Lots of folks have made what I consider wild claims about the sound differences they claim to be able to detect in material or subtle shape variations of the frets. (See "Can you hear the difference in your fuzz box by changing battery brands?") I'm just not hearing important sound differences caused by the fret's metallurgy, shape or size. I have done my own tests, and the differences are minute; barely, if at all detectable, unless as I mentioned, something is way off, e.g. frets way too low or way too flat on top. All of this having been said, I remain obsessed with delivering the most efficient and organism - friendly playing experience that I can create on a guitar. In my previous life as a repairman, I learned countless lessons from my customers, many of which helped to guide me to my current understanding.
@@kenparkerarchtoppery9440 Mr Parker! The difference between batteries of even the same brand is huge if they have a different charge (voltage). In addition, the same form factor can have different current strengths. Thank you very much for such a detailed answer. I follow your work with great interest.
@@tchernishev I guess I used the wrong example to illustrate my point. I was assuming we might be on the same page, but maybe not. I was referencing this kind of Nitwittery, delicious-audio.com/does-the-type-of-battery-you-use-affect-your-pedals-sound/ What I was trying to communicate is that, out of all the things that are important contributors to the sound made by a human, a set of strings, and a stringed instrument, it baffles me that so much attention is paid to things that make trivial differences, if that. Deep in your heart, I know you didn't think I was claiming that voltage doesn't matter. Let's agree to try to focus on important aspects of instrument making, and let others argue over meaningless trivia.
![Eminem - Fuel (Shady Edition) feat. Westside Boogie & GRIP [Official Audio]](http://i.ytimg.com/vi/k1OquBida9s/mqdefault.jpg)
What a brave man to be cutting metal over an unprotected (and incredibly valuable) body. Hats off!
I only practiced on 3 or 5000 other guitars first.
Just a wealth of information in this series....THANKS!
It's my pleasure.
I sure appreciate your videography. I can see the filed "facets" better here than when I do it myself.
Nice. Light is everything, as it turns out. Let there be light!
Good files are getting very rare in captivity. Like - new old stock are like hen’s teeth and priced like diamonds. Always a pleasure to catch the master at it again.
This 8 and 10" Cant Saw file is currently available, and good quality, although, as you correctly cite, the file field is fading away, and it's a colossal bummer. Buy all you can while you can. I'm pretty sure I have over 500 of 'em, but, no I'm not counting them for you.
These videos are so informative and helpful. So many of your techniques are new to me and sometimes contrary to conventional available information. I really admire how you have created unique and logical methods of moving the instrument into new territory.
You are so welcome!
When I watch you work, to answer your query, longer is better to get an understanding of how much, where, when, and why, as well as which tools to look for.
Thanks! We're all learning.
Great explanation and wonderful demonstration as usual Ken. Wonder what you would define the minimum height of frets before you have to go through refretting
I did cover this, and although some will disagree, below .030, or .75mm is probably too low for most of us.
Beautiful; when it comes to stainless steal frets, do you have any videos on the process of that material or a method recommendation? As well as tools. It’s a bit more tough to handle due to the hardness but would apréciate any advice or information.
Frets. Fret material. Wow, big subject. I'll say that I haven't used anything except the gold colored EVO wire since I first tried it in 2005. This material is mostly copper, just like so called "Nickle" fretwire, but instead of being mostly copper and nickle, the EVO wire is mostly copper and tin.
I'll add this subject to the list of things to fully explore in a film episode.
So, for now, for every reason I can think of, the EVO wire is the absolute best stuff available for fretting wooden fingerboards,
www.jescarguitar.com/jescar-fret-wire/
How do you remove material and smooth the "peak" on the file?
One simple way would be to use a hand held belt sander firmly clamped upside down in a vise, and slightly rock the obtuse angle of the cant saw file until you have formed a smooth, slightly convex, shiny stripe of steel that is the same width end - to - end. The idea is that you can press down hard to keep the file engaged in the cut when removing materialon the side of the fret, firmly contacting the mask protecting the fingerboard surface, so hoping not to cut up the metal mask too quickly.
Any belt sander would work, but it seems most folks have one of these cheap and cheerful hand held ones.
Thanks Ken!@@kenparkerarchtoppery9440
Well ? In the process of playing the guitar, the main effort falls on the rigid fixation of the string on the frets. That is, the height of the frets, the linearity and the quality of their processing, determine the sound of the guitar in the hands of the musician.
I would say that the sound production of an acoustic guitar, or really any stringed instrument, is the product of an uncountable and even unknowable large number of variables in three main arenas...
The qualities of the guitar as a physical structure (many many things define this, of course including the aspects of the frets that you cite)
The composition, quality and freshness of the strings
The behavior of the player
In my experience, although play-ability or set-up is critically important to the player, unless something is really wrong with the setup, it's unlikely to be a big part of the sound.
Lots of folks have made what I consider wild claims about the sound differences they claim to be able to detect in material or subtle shape variations of the frets.
(See "Can you hear the difference in your fuzz box by changing battery brands?")
I'm just not hearing important sound differences caused by the fret's metallurgy, shape or size. I have done my own tests, and the differences are minute; barely, if at all detectable, unless as I mentioned, something is way off, e.g. frets way too low or way too flat on top.
All of this having been said, I remain obsessed with delivering the most efficient and organism - friendly playing experience that I can create on a guitar. In my previous life as a repairman, I learned countless lessons from my customers, many of which helped to guide me to my current understanding.
@@kenparkerarchtoppery9440
Mr Parker! The difference between batteries of even the same brand is huge if they have a different charge (voltage). In addition, the same form factor can have different current strengths. Thank you very much for such a detailed answer. I follow your work with great interest.
@@tchernishev I guess I used the wrong example to illustrate my point. I was assuming we might be on the same page, but maybe not. I was referencing this kind of Nitwittery,
delicious-audio.com/does-the-type-of-battery-you-use-affect-your-pedals-sound/
What I was trying to communicate is that, out of all the things that are important contributors to the sound made by a human, a set of strings, and a stringed instrument, it baffles me that so much attention is paid to things that make trivial differences, if that.
Deep in your heart, I know you didn't think I was claiming that voltage doesn't matter. Let's agree to try to focus on important aspects of instrument making, and let others argue over meaningless trivia.
More please .
Coming right up.