Established Since 1982
FRET WORKS presents :
DIRECT- EXPERIENCE or HANDS-ON TRAINING
in multiple areas of acoustic and electric fretted musical string instrument
set up- maintenance-repair and introduction to “scratch” building PLUS options to develop and plan your own up to date high quality, precision, professional guitar tool, jig & shop infrastructure
 
Hi and welcome to the Fret Works Training Program Syllabus. Please allow me to introduce myself; My name is Miles Jones. Twenty five years ago, in February 1982 I began   earnestly learning everything I could about the proven traditional methods and techniques of electric and acoustic fretted musical string instrument set up, repair and construction. I was very fortunate to be in the company of an excellent luthier for approximately two and one half years at the beginning of my journey and although I now have considerable experience applying myself to the tasks and truly enjoy this type of work, I happily still learn something new everyday!
 
In 1998, I began considering accepting people with little or no experience working on acoustic and electric fretted musical instruments who expressed an interest in getting to know how to approach maintaining, setting up, repairing or constructing fretted musical instruments and who were looking for comprehensive hands-on training to gain some valuable experience in
these crucial areas.   The equipment provided here along with the training programs can actually turn people with little or no experience into responsible, self-generating , able, confident and competent, if not budding “expert” acoustic and electric fretted musical string instrument technicians.
 
The biggest challenge facing new and used fretted musical instrument owners and players is finding someone locally who truly knows his or her way around the finer points of setting up and adjusting store-bought, mass- produced acoustic and electric instruments so that the instrument in question is handed back truly fit for the intended purpose. It is especially difficult finding someone who actually “cares” if the instrument players are experiencing any difficulties with regards to the overall fitness for the intended purpose which their instruments are designed to be capable of having in the first place.
 
 The question is if there is someone locally at all, does that person actually have the knowledge, expertise, enthusiasm, courage and at least some of the special tools required to tackle doing whatever it takes to at least elevate, if not perfect the playability of the instruments shown to them and thus keep the players more than satisfied and loving the way their fretted musical instruments feel and respond when they play their kind of music on them?
 
Real world experience proves again and again that the primary reason for poor satisfaction, wherever it exists among new or used acoustic and electric fretted instrument players, regardless of whether they are amateur or professional, is not due to lack of selection or the purchase price point among the many brands and styles of instruments available for sale and instead is, in my opinion based simply on the lack of truly well informed and well equipped, customer-focused follow-up service on site at any given retail fretted musical instrument dealership. .
 
Highly competent acoustic and electric fretted musical instrument technicians are the ones most sought after byamateur and professional players in any city. Given thatthe retail establishments by and large tend to fail miserably to lend support to and actively culture the luthier trade and instead neglect the crucial area of value-added fretted musical instrument technical service. It naturally follows that the valuable and marketable skills sets taught here can, with a minimum of effort and the right tools, be employed profitably by anyone who wants to take advantage of the opportunity to supply these most urgently needed and wanted services to the eager end-users.
 
The best investment a would be acoustic or electric fretted musical instrument technician can make is in getting this type of hands-on, direct-experience based training. The classical style of training utilized at Fret Works shortens and flattens out what would normally be a steep learning curve, which is why this training is recommended over and against attempting to learn any of these skills by trial and error.
 
 In the end, having accurate and up to date knowledge of the way guitars need to be to play great and the new found ability to exploit these skills makes it possible to become established as an independent professional service provider. 
 
These highly valuable and marketable skills can be used to make a lasting contributionand an objective difference to the players in your community. Also in the process, successful relationships with clients generate a cash flow and will allow you to develop an appreciative and loyal clientele on your own home turf. 
 
When the work is done properly, by and large, people are happy, glad and willing to pay the going rate, which does vary from city to city. Please give me a call to discuss how I can help you make an informed decision.
 So What’s Here for You?
A key to the front door. You have more or less full time access to the whole shop, within reason. There are a few ground rules when staying late but having a key to the front door means you can stay as long as you like each day; working on projects, reading or watching excellent training DVDs either as research or reinforcement of what you have been attempting or doing or are going to be doing in a hands-on environment. There is an area to make tea or coffee in as well as micro-wave oven and a toaster, refrigerator so bringing sandwich material s or snack food to munch on is recommended.
Your own work bench. The whole shop is well lit with storage for the projects you may bring to work on or the jigs and tools you may want to work making during your program. 
A fully equipped fretted instrument repair and construction work shop. All kinds of modern, high quality woodworking tools and equipment, including a spray booth for spray finishing practice and every kind of modern up to date specialty jig, fixture and fretted musical instrument hand tool you’d find in only the best shops around the world.
A vast collection of World Famous “Dan Erelewine” Guitar Repair Training Films spanning the last 25 years of professional quality guitar repair and guitar construction techniques and in them are revealed most importantly all the key trade secrets and tool innovations which have rapidly occurred as The Independent Professional Guitar Repair Scene has gone through a series of what I consider to be monumental, evolutionary technological breakthroughs and developments.
There are more than 40 DVDs and videos plus all kinds of great books about the different guitars along with loads of trade technology manuals in the learning resource library, located right on site which are free to use. The “live” demonstrations caught on film serve very well as primers to bring key concepts “to life” before you begin learning about and taking ownership of a new skill set. The written materials also guide, provide insight, help to develop strategy when solving problems plus, like the films, reinforce what you have already learned how to   “do” as you take time off between hands-on sessions or prepare you to tackle a new skill.
 
 Have a Little or No Experience?                 
It’s certainly helpful to have tried out or perhaps even own a fretted musical string instrument, whether or not it is in good working order so that you have an experience of what it’s like to play a little bit on one especially if it caused you pain or discomfort. By the way it’s not all your fault if you quit because it was too much like work and not enough fun!
Overhauling or making hard to play instruments come alive in players hands is without question, my strongest suit and if you have instruments that don’t make you feel joyful to play on then you will want to bring all of them with you, if you decide this program would be a benefit to you to participate in.
Anyway, you don’t absolutely need anything like world class musical chops or serious repair or technical experience to get started. What I’m offering is an opportunity to learn how to make truly effective use of discovering what works the best, why that is so and how using these skills can make people rave about the seeming magic you worked on their instrument(s).
 The “direct-experience” based training or the “hands-on” training experience leads you to rapidly take ownership of this needed, wanted, practical, useful and valuable knowledge of how and where to make subtle, yet powerful adjustments on existing fretted musical string instruments so that the instrument in question ultimately functions in the hands of any player, no matter how skilled, at the peak of what is possible.
As you become acquainted with and get introduced to the various set up and maintenance skill sets and begin practicing various drills, you will rapidly discover how well this supports and strengthens your confidence in terms of the gradual yet certain mastery of all the fundamentals. This means you’ll have a solid foundation of knowledge, skill and experience to come from if and when designing and building instruments appeals to you.  
All you need is to be enthusiastic and alert while you experiment with each aspect of a skill set to see very clearly how it links up with all the other facets in the entire skill set to produce a specific and predictable end result. You will quickly be able to see for yourself how to move the instrument repair work or the playability perfecting work you are doing forward in a predictable, linear, step by step sequence and along the way, learning how truly important it is to avoid an unpleasant encounter with dreaded guesswork.
 
If you love playing the guitar, however painful that may be, and feel lacking in prior technical experience, then look and see if you are willing and open to explore brand-new ways of looking at things. I encourageyouto tackle the new challenges of seeing through an instrument to what’s actually going on with it in order to understand what’s possibly wrong with the way it was assembled. The observational side of training really helps you learn exactly how to determine what the facts suggest and then how to lay out a plan of action to correct what is not correct.   As your training program rolls out, you will very surely develop a healthy respect for what is truly possible when you come to know how to work the visual and the hands-on tool use side with skill and precision. Throughout the program it is hoped that you might develop and cultivate:
v     An appreciation for the real value you receive when you take ownership of and begin to respect what is objectively the true knowledge of how to produce the high quality fretted instrument set up playability and also proven repair techniques as opposed to the confusion which follows in the wake of incomplete understanding of only so-called “parroted” knowledge or hearsay which is simply false, untested assertion based or simply misguided. 
v    A growing sense ofconfidencein your desire and ability to accurately tune into and comprehend the current status of all the mechanical relationships which affect positively or negatively, any “whole” fretted instrument, and be able to do so, at will.
v    A growing sense ofconfidence in your ability to actually independently create a well thought out critical path of any fretted instrument repair work process in order to make the most efficient and effective use of the time required to run a job.
v    Your own power of initiative to take any fretted instrument and actually dominateit in such a way that when you are finished, it plays at an objectively, often breathtakingly high level of playability.
v    Your own  power to think creatively for yourself, on the fly, when facing unfamiliar challenges or problems with respect to fretted instruments.
 
Fretted musical instruments have never in the history of the world been more popular so demand for confident technicians in the marketplace is strong and growing. New or used fretted musical instrument owners and players really do need, want and deserve a fretted musical instrument which feels completely natural and effortless to play on, which plays clean, clear and with complete musical integrity. This is largely attainable as long as the entire instrument in question is properly adjusted and tweaked up to a very high standard of fitness for the intended purpose and this can actually be accomplished by anyone who is trained and willing to make this happen.
 
 
 There is demand in the public domain which is constant or growing for these types of skills.
Here are some more rational explanations of why the demand for more trained fretted musical instrument technicians has always existed and is steadily growing:
 
Ø   Retail musical instrument dealerships all over the country are thriving on selling tons of mass produced and what are honestly classifiable as at best, marginally playable instruments and selling them as if they are actually ready to play on from the moment they are sold.  This is happening so much so that the retailers have, in my opinion become fat, lazy and mostly indifferent to satisfying the end users most basic and essential need for a fretted instrument which plays in tune at the first fret and which feels reasonably easy and natural feeling in their hands when fretting the strings or making bare chords, and the playing experience to be more fun than frustrating, painfully hard work. Sometimes the case may likely be that the local retail fretted instrument dealership is simply unable, due to the lack of experienced personnel to really provide a proper set up or to repair any given fretted instrument so that it feels all right to play on and even though this is perhaps at least mildly shocking it is still an all too often true situation. 
Ø   Often a beginner player’s fingertips burn and their hands and wrists become quite irritated and painfully sore right after they begin practicing on their shiny, new store bought fretted instrument. This state of marginal playability is not necessary and is most definitely not conducive to “breaking the ice” and will, nine times out of ten, prove to be a real disincentive and a discourage “sticking” with practicing.
Ø   Players who actually already know how to play notice their enthusiasm to practice playing on a specific fretted musical instrument is actually waning because that fretted musical instrument is simply harder to pick up than it is to put down.
Ø   Players who know how to play can end up feeling frustrated or blocked artistically or musically just because of the way that fretted  musical instrument lacks the right feel or because it responds so harshly to their touch.
Ø   Players grow increasingly anxious because of subtle tuning issues which can be associated with high, stiff, unforgiving string height or action, which is a common complaint heard about brand new instruments.
Ø   Players who may have already tried to set up their fretted musical instrument(s) to play better; with an easier, softer feel, more in tune unfortunately have often met with less than outstanding results.
Ø   Players who are simply fed up with the overall lackof real objective playability of an instrument quit even making an effort to try because the instrument was not ever set up to play anything like it can and should be able to be.
Ø   Players noticing their fretted musical instrument feels so hardto play when they play it that they are simply unable to get the kind of response and natural feel which they expect and deserve from it. This can also be the case even with the most expensive instruments money can buy.
 
Modern mass manufacturing production techniques have now made it possible for factories to pump out fretted stringed musical instruments in mind-boggling volumes which are flooding the market world wide.
 
Where the rubber meets the road, where the fingers meet the strings on the fingerboard of any fretted instrument, the needed, wanted and expected “fitness” for the intended purpose which should be apparent on all new fretted instruments regardless of the country of origin, is most often seriously missing, and I assert this is often true even on supposedly top of the line American Made fretted instruments, which may be offered for sale retailing for many thousands of dollars and which sometimes don’t play as well as far less expensive pieces!
The questionable quality of playability or lack of even a minimal quality standard which should be evident on the vast majority of mass produced fretted instruments naturally suggests that all new fretted instruments come to the market with some form of a gap in between what is and what should be and for this reason the new instruments always have some combination of minor or major issues and problems which only a trained fretted instrument tech can smooth out and thus make the fretted instrument owner happy and smiling about their fretted instrument purchase.
 
 
 
The demand which exists for any professional independent service provider of these types of services has a direct relationship to exactly what volume of instruments are already in use plus those new instruments being sold as well as what quality of service exists if any, in a given geographic area under consideration. One might expect that any thriving retail fretted musical string instrument store front would die for and naturally crave the benefit enormously of having at least one, if not two or three well-informed, experienced, albeit trained, well equipped fretted instrument technicians on hand. Why not take a good look around your own community and attempt to tune into how many there are and if there are any, are they thriving? What is the quality of the service being rendered? If the market isn’t crowded, then you will be pleasantly surprised at how easy it is to begin to be noticed, especially when your work is done right the first time and right on the mark.
 
The sooner a guitar is made to play properly then it will naturally be played so much more often that eventually the well used guitar will require some routine maintenance or even repair work, from time to time as well.So there is a definite duty cycle or life cycle involved in any fretted instrument’s long life span and keeping a highly playable fretted instrument well maintained is a source of repeat interaction between any caring and respectable guitar tech and the players in any community. It all makes sense and it’s easy to see how every one wins when good work is on the table. The technician wins the respect, trust and excellent financial support of the player and the player can then become more valuable on all fronts because he or she will be able to play more expressively and not unusually; faster, with greater ease and still be able to maintain that crucial positive attitude towards working the guitar strings on a gig.
 
Fretted Musical Instrument Players, whether amateur or professional and of all levels, styles and calibers in any community urgently need sympathetic, knowledgeable and gutsy fretted musical string instrument technicians who truly care about solving their problems and resolving their issues because more often than not the retail fretted musical instrumentdealersare often just simply buying new instruments to resell as quickly as possible on “as is, where is” basis, just like at an auction, only unlike an auction, they dictate the minimum retail selling price, even when putting on a “sale” and they try to remain viable doing so sometimes under cut throat competition conditions. This is not necessarily fair to the paying customers who really need, want, expect and deserve a fun, satisfying music-making experience, and getting stuck with a brutally stiff playing guitar usually means the new fretted musical instrument owner may give up and put the guitar away under a bed or in a closet, hardly ever touching it because it exudes sub-par playability and may even have been sold in unplayable condition. In other words, many, many new fretted musical instruments are actually being sold every day with what by all appearances suggests as little effort or attention as possible is being paid to set them up at all before they make it into the hands of at least what are at the beginning, enthusiastic customers, with some hard earned money to invest in themselves.
 
Professional and amateur fretted musical instrument players everywhere constantly chatter about what kind of fretted musical instrument repair service they find locally: good, bad or indifferent. They always find out where to go by asking around and they will become strong supporters of anyone who proves they care about effectively solving their problems for a fair price and especially for anyone who goes out of their way to provide them with what they need, want and deserve, they are happy, glad and willing to pay a premium or what the market will bear. 
 
Armed with the skill sets taught here one can realize with each successful conclusion of a service order, find that each satisfied player will become a revenue stream and a loyal source of all kinds of referral business. The commercial potential withinany decently sized localmarketplacefor independent professional fretted musical instrument repair peopleis quite vast in as much as the retail fretted instrument dealers are so indifferent to players real needs and wants plus seldom have what it takes to retain a competent and reliably trained luthier or fretted musical instrument technician. 
 
I personally believe it all stems from a basic lack of commitment to end user satisfaction and besides, a confident, and more to the point, a newly trained competent fretted musical instrument technician really doesn’t need a retail store front image to attract fretted musical instrument playing customers and do a thriving niche market business. Marketing these services to the target market; local players, is actually not as difficult as it may seem and is actually fun finding new and innovative ways to let people know who you are, what you can do for them and with the Internet for example, leveling the playing field, it is very easily to get noticed and provide ways so that players can arrange to meet with you or to get hold of you.
 
This training program gives you the opportunity to master all of the key skill sets and can show you what it takes to become an expert. It is an ideal environment where the introduction to and the transfer of a wide array of valuable, reliable and proven skill sets can and does take place.
 Training Time Table Possibilities
Three Month
This time frame is the most popular. In an extended time frame you can set and maintain a steady pace for yourself and you can devote ample time to becoming familiar with and gaining valuable first hand experience practicing and experimenting with each facet of a skill sets involved in day to day encounters working with acoustic and electric fretted musical instruments.
In this training time table I provide you with your own key to the front door and thus you have full time access to the shop plus the freedom to work or study; reading or watching training videos as late as you like. In this extended time frame you really do have plenty of extra time to concentrate on focusing on any areas of a skill set if you find yourself needing to iron out any kinks and getting all the basics down pat.
Actually this scenario is normal and to be expected and means you will have adequate time to find any weak areas while in training and be able to do any fine tuning of any aspect of any skill set where the going might still be a little bit difficult. You will find you can learn, retain and be fluent and confidently able to utilize your new knowledge and you will develop the proper approach to applying the techniques working in a relaxed environment where there is no pressure on you to become overly hasty or to dangerously rush. The essence of high quality craftsmanship in this field is on first becoming knowledgeable and confident about exactly what to do and be patient and thorough in the execution of the action side of using these proven skill sets. With experience comes a workable velocity and with more and more practice comes refinement and notable acceleration.
The three month training program time frame also provides you with valuable access to the entire shop manufacturing assets. You can make use of my shop to produce as many money making fretted musical instrument repair shop infrastructure items as possible in all the extra time available including but not limited to: specialty fretted musical instrument repair precision hand tools, The Incredible Neck Jig, other useful jigs, fixtures and other handy professional fretted musical instrument repair shop “gadgetry”.
The student attending a three month program who elects to make tools during overtime periods can expect to save on average, approximately 35-50% of the costs of buying specialty fretted musical instrument repair hand tools from a trade supplier. Extra capital investment to buy the raw materials plus some sweat equity on your part is all that is required. I enjoy helping you build the gear and when required, any sublet services which may be required, such as light metal machining, are located nearby Fret Works in the light industrial neighbourhood of Manchester in the city of Calgary, so you will see that tool making is quite easy and effortless here during a training program.
Two Month
This is just as thorough an introduction to all the minor and major aspects of acoustic and electric fretted musical instrument trouble shooting, set up, maintenance and repair as the three month program except; It is just delivered in a much more tightly focused time frame.
Like the three-month program, it is designed to empower you to learn how to tune into your senses and confidently rely on and trust your native intelligence, instincts, and intuition while exploring and practicing these skills sets. There is just much less time available to spend fine tuning and practicing different skills or the needed time for making valuable infrastructure projects like tools and jigs, etc.
The goal is to have you quickly discover your ability to trouble shoot and do meaningful work on electric and acoustic fretted instruments very confidently and competently, by yourself at the program conclusion.
One Month
The one-month program is structured around a very narrow time frame.
The areas of study are centered on mainly getting all of the key concepts and applications across with far less time available for hands-on experimenting and practice. This program duration is best suited for individuals with some considerable previous experience who wish to explore a brand new area or perhaps make some tools and so forth.
You can choose from any or all of the formatted skill sets which will be presented and outlined after the time-tables, in the following pages.
Two Weeks
This is for people who simply want to focus on one or two specific areas of fretted musical instrument repair practice.
During this time frame, we can review and practice any of the areas of interest you find most useful. This sort of timetable is also for active repair people who want to refine their techniques or round out their overall knowledge base by perhaps tackling some new areas of interest.
One Week
This week long program will focus on a generalized area of interest in fretted musical instrument repair which a student chooses.
For example, people working in the retail music stores can sharpen up basic in–house tech services in order to keep the clientele business in their store where they work instead of at the nearest competitors’ location. It goes without saying that more retail store owners would benefit enormously by sending their staff people for this intensive workshop designed to sharpen up or perfect new fretted instrument set up skills as well as in-house repair services; a proven profit centre in any retail fretted instrument dealership.
Single Day
For the person who can only spend one day, then one specific area of interest in fretted musical instrument repair can be covered very thoroughly.
Players who are seeking knowledge and information which they can make immediate use of and apply to their own instruments, are welcome to bring their instrument(s) along. Weekends or extended weekend sessions can also be arranged.
 
Day By Day      Training
Fret Works Fretted Musical Instrument Repair Training Program Students are welcomed to attend the shop for valuable hands-on training for at least eight hours per day. You are also encouraged to be in the shop for more time than that each day, especially if you are intent on instrument building or fabricating specialty tools jigs or fixtures in advance preparation of opening your own fretted instrument repair practice at home or as part of a commercial retail operation.
No matter what you are doing, the common goal is in having you become clear in your understanding of the how and why of things in terms of cause and effect and thus why the processes are done in a specific, linear, way. As you concentrate on being attentive to what you are causing to happen while you are actually doing things, you will find that it is quite easy to stay focused on the process of bringing the state of the instrument forward, however gradually that might be occurring, until the desired result is produced.
These are very potent skills which will allow you to directly contribute to the full and complete musical expression of real world amateur, hobby or professional fretted musical instrument players, and this essentially adds the missing value which is usually sleeping inside the instruments which your future clients will bringing to your attention. As you learn about the basics and essentials and then experiment, practice and hone each facet of an acoustic and electric fretted musical instrument repair skill set, you will rapidly attain a higher and higher level of functionality. Over the course of time you spend at Fret Works, you will probably begin to realize what a difference you will be able to make to your future clients, knowing that you now know how to properly apply what you are experiencing first-hand using any one of these useful, valuable and highly marketable skill sets. This is a terrific source of satisfaction which can and will last a lifetime! During a comprehensive training program, you will constantly be discovering effective ways of working on perfecting the feel and playability of instruments which will allow you to actually cater to each fretted instrument players unique needs, wants and individual tastes, with a singular bent to harmonize the personal relationship which all fretted instrumentalists have or really wish they had, with their beloved fretted musical string instruments.From personal first-hand experience, a sense of real accomplishment happens quite naturally as proficiency develops, and the feeling is very good and so never, ever grows stale. Of course, the positive feedback from happy fretted instrument-playing clients also reinforces this long-lasting positive experience whether at a gig hearing your work being praised while being played or when at the bench, tackling some new project.
You can get the “inside scoop” on loads of fretted instrument repair industry supposed trade secrets, which would otherwise take years to figure out if you worked only by trial and error. I’m supremely interested in teaching you everything you should know about what not to do, when working on the instruments, showing you how to avoid doing the kinds of things you just can’t find out about in popular books about fretted musical instrument repair. I know because I have made my share of mistakes and whenever I found that I had made a new problem, I went out and bought books hoping for the needed help or coaching. Most of the time there was some help there in the pages and sometimes I had to keep looking elsewhere. Anyway, because books can be quite dry and because there is almost always some missing “key” and relevant information, even among all the brilliant tips and insightful information provided in their pages, this training program will make all the information you may have now or which you will read about literally come alive for you and you will soon experience what is like to harvest the good things you will learn how to produce as the knowledge become a vital component within yourself.
 
 
 
 
 
 
 
Unless you have considerable previous instrument repair experience or are receiving training in a specific area of interest, then you will no doubt enjoy kicking off your fretted instrument repair training program with a firm introduction to:
Acoustic & Electric Guitar Set Up
More than any other service requested by the players I work for, no matter whether they’re professional or amateur, it is usually a request aimed at softening up the “feel” over and above factory issued “generic” or “cookie cutter set up and action”, or if an instrument has been around for a while, what is usually asked for is a distinct improvement in the quality level of playability. The Fret Works hands-on training program quickly builds your confidence level upward in such a way that you touch upon and learn everything you need to know about using the best up to date tools in concert with the knowledge I will give you so that you gradually become prepared to determine and then correct or elevate the feel, response and playability of any fretted musical string instruments. That translates to being able to lower a string action to such an objective improvement in playability which is entirely natural and nearly effortless for the end-user!  In other words you’ll get to learn exactly how to proceed in order to be able to create truly perfect playability on virtually any instrument you encounter.
The evolution of various music styles combined with peoples natural desire to rapidly excel naturally works to increase the demand for a far higher than average factory issued set up typically found on the new instruments.
 
I will boldly assert that this applies to nearly every single make and model of factory made fretted musical instrument in circulation, regardless of purchase price.
Playability and true fitness for the intended purpose and not always the purchase price is what makes any fretted musical instrument one which is truly worth owning and one truly worth loving to own. Remember that!
As an independent professional fretted musical instrument service provider, more and more I see the demand for much higher quality instrument set up services rising because at the retail level, instrument dealerships almost always take the path of least resistance and that means they will simply hang the brand-new (mostly mass-produced) fretted musical instruments on the walls of their stores for sale to the public, without doing anything at all to get them set up the way the customers need, want and deserve them to be. Very often you hear from sales people that the guitars come set up from the factory and that is simply shading the truth
The keen to learn novice players have a rough go to become successful at breaking the ice and build their chops even if they have an intention and enthusiasm to seriously practice. The fretted instrument repair market is wide open to anyone with these skills because the players need, want and deserve a properly set up instrument to practice on and they should be able to simultaneously enjoy the fretted musical instrument “playing” experience. Playing guitar ought to be fun and relaxing and with these skills you can make that happen.
There is no major obstacle in the way of playing music on any fretted musical instrument just as soon as the fretted instrument in question is truly set up. Being set up means it sounds clean and clear, plays easy with little or no resistance to being fretted , plays in tune and without annoying string buzzing persisting throughout the decay of the vibrating strings. 
When it comes to defining what is killer acoustic and electric fretted instrument playability, the experienced fretted musical instrument player, part-time hobbyist or even first-time end-user knows instantly whether the fretted musical instrument they are playing on is harder to put down than it is to pick up. When a guitar plays killer, I call it being in the ZONE
Your investment of time and money in learning how to apply professional fretted musical instrument SET-UP skills at Fret Works means that if you do your part to master these skills, you will be more than able to do so without any hesitation and do so on demand or at will. Having these skill sets honed to razor sharpness alone will instantly make you celebrated among the local fretted instrument players wherever you come from, on account of the apparent magic you are able to work on their fretted musical instruments!
At Fret Works, you learn how to quickly size up any fretted musical instrument by looking it over and test playing the fretted instrument with what I like to call “New Eyes”, “New Ears” and, “New Hands”. As you learn how to perform a critical inspection and assessment of the way a fretted instrument feels, responds and plays, I will teach you how to interpret and distill the information you gather at that time to draw meaningful conclusions right on the spot about where and what exactly will be required to turn the fretted musical instrument around and make it a true joy to play and rock out on. 
I will teach you why it is so important to get all the facts straight first before picking up a tool and beginning to make any changes or taking action and doing any real work.
As you gain this type of valuable, highly marketable, hands-on experience you will begin to understand the work patterns which make up the linear, logical steps while you are working.
The Steel String Flat Top Acoustic Guitar
 Inspection & Set Up
 
v     The anatomy of the acoustic fretted instrument and the terminology used to describe the exterior and the interior parts or components.
v     Identifying the most common acoustic fretted instrument playability complaints.
v     How to “read” or evaluate the set up of the typical acoustic fretted instrument.
v    What the ideal or “universally desirable ” geometry or shape should be along the neck shape when the instrument is tuned to pitch and in the playing position and how to plan to correct any issues.
v     Simple tactile and auditory tests which quickly confirm what needs doing and why.
v     The key questions to ask a player to determine what will best suit him or her before actually doing anything.
v     Tools required and made use of in performing set up work.
v     How to identify the source of and then solve subtle tuning problems or issues.
v     How to clean a fingerboard in order to check out how solidly the frets are attached to the fingerboard.
v     How to accurately inspect frets for wear and test the fit of the frets to the fingerboard.
v     How to deal with prickly feeling fret ends, resulting from shrinkage of the fingerboard.
v     How to install strings so they actually stay in tune,
v     How to adjust string height at the nut for soft, forgiving and easy “feel” at the first position.
v     How to adjust string height at the saddle for lowest possible action.
v     How and why to service a truss rod adjustment nut before using it for the purpose it was intended.
v     How to relieve or adjust the all too common “too tight” bridge pin(s) fit on the bridge.
v     How string height or action affects intonation and what to do to improve and perfect it.
v    How to adjust intonation on the saddle crown by compensating the string   lengths for each string.
 
Solid Body Electric Guitar
Inspection & Set Up
 
 
v     The anatomy of the electric fretted musical instrument or bass parts and the terminology used to describe the exterior and the interior parts or components.
v   What is different about set up on an electric fretted instrument or bass.
v     Common playability complaints.
v     How to “read” or evaluate an electric fretted instrument or bass neck tuned to pitch and in the playing position.
v     What the ideal or “universally desirable” geometry or shape should be along the neck shape when the instrument is tuned to pitch and in the playing position and how to plan to correct any issues .
v   Simple tactile and auditory tests which quickly confirm what needs doing and why.
v   The key questions to ask a player before actually doing anything.
v   How to change the neck/body angle to help maximize the playability potential.
v   Tools used in this type of set up work.
v   How to solve subtle tuning problems.
v   How to clean a fingerboard safely.
v   How to inspect frets for wear and fit to fingerboard.
v   How to deal with prickly feeling fret ends.
v   How to install strings to actually play and stay in tune.
v   How to adjust string height at the nut for the most natural easy and soft feel. 
v   How to adjust string height at the saddles relative to the fingerboard radius.
v   How to service a truss rod before using it.
v   How to adjust pickup heights for best tone and maximum string response depending on string type and gauge or size.
v How to adjust the intonation of each string for maximum accuracy, especially after the octave fret in the high register.    
 
Acoustic & Electric Guitar Nut
Repair or Replacement
 
v   Various tools for working around or installing working on fitting nuts and the various alternate materials besides bone and plastic currently in use for making new replacement fretted instrument nuts.
v   Techniques for saving a chipped, broken, or damaged nut. Ways of saving the original without going to the trouble of making and fitting a replacement.
v   A method of curing open string buzz at the first fret, anytime it happens.
v   Adjusting the individual string slot depths on the nut of any instrument to produce a soft, accurate forgiving and easy feel and most especially for proper interval tuning at the first position, between open string and first fret. Accuracy of intonation begins at the start of the scale length and not at the twelfth fret.
v   Proper steps and workable options for safely removing an unsalvageable broken or chipped nut and preparation for the new blank.
v   Laying out a new nut blank so that it fits the neck perfectly.
v   Learn a universal method of laying out even string slot spacing on any instrument and which requires no template.
v   Cutting all the string slots to size, depth, and shape which will yield optimal playability.
v   How to put the finishing touches on a new nut to complete the installation and make the nut beautiful to look at and friendly to the touch.
 
 
 
 
 
 
 
 
Fret-Work: Fret“Dressing” & Fret-Replacement
Using Traditional & Modern Techniques,
Tools &Materials
vThe terminology used to describe the actual anatomy of a fret.
vThe terminology used to describe the notable relationship between a fret and the slot into which a fret will be situated.
vTraditional and modern hand tools used to “dress” or restore the shape of existing but well worn frets and all the gear required to remove and install new frets.
vTraditional and modern hand tools used to prepare cylinder or compound radii fingerboards prior to re-fretting.
vHow to identify when a fretted instrument fingerboard needs all frets, “dressed” or restored.
vHow to dress out or level uneven fret crowns.
vHow to identify when a fretted instrument fingerboard needs a complete re-fret and some rules of thumb to use.
vThe Incredible Neck Jigwasinvented byMr. Dan Erlewine. Learnhow to use this jig and you will be able to perform the most precise fingerboard preparation possible prior to fret installations or when dressing frets. I will heartily encourage you to build the jig for yourself, while you are mastering using the one supplied.
vHow to deal effectively with loosened frets which are not properly seated fully onto the fingerboard surface. This is a very serious problem plaguing almost all new fretted instruments and most used fretted instruments which simply will not set up to play with low, supple and fast action and without any persistent string rattle or buzz!
vHow to re-crown frets which have flat tops from either leveling or normal wear.
vHow to remove pearl inlay prior to planning a fingerboard.
vHow to accurately measure fret slots to help you pick the best tang size.
vHow to clean and prepare normal fret wire prior to installation.
vHow to work harden or anneal new fret wire up to 40% harder than the hardness of the original fret wire.
vHow to do Traditional Hammer–In Fretting Method.
vHow to do Compression Fretting Method-used on fretted instruments like older Martins which don’t have a truss rod
vHow to do The Glue–In Method a version of what is known as the Teeter Method plus even more thoughtful and modern methods and useful materials when gluing frets.
vHow to fret or re-fret bound fingerboards.
v How to safely cope with re-fretting worn-out vintage fretted instrument frets so as not to modify the fingerboard, fret slots or finish, if there is one, in any significant way.
v How to properly scallop a fingerboard and considerations to be made before attempting to scallop.
Acoustic Guitar Saddles
 
 
vThe anatomy and possible crown shape(s) of traditional acoustic fretted instrument bridge saddles.
vPopular saddle making materials.
vTools; traditional and modern used to work with saddles.
vSafety precautions dealing with exposure to dust when making   replacement saddles.
vHow to recognize and test for the best fit of a saddle in a saddle slot.
vHow to evaluate a fretted instrument saddle and then modify for optimal ease of playability.
vHow to lay out any corrections to lower a saddle which is deemed too high or too low.
vHow to make or carve a replacement saddle.
vHow to deal with loose fitting saddles
v                        How to intonate or compensate an acoustic fretted instrument saddle.
 
 
 
Acoustic Guitar Bridges
 
vCommon problems and issues with acoustic fretted instrument bridges.
vTools used when working on bridge repairs or making replacements.
vMethods used to correct a poorly routed or misshapen saddle slot.
vRestoring, where possible, cracked, split, broken, delaminated bridges.
vReplacing multi-ply bridge plates with solid wood.
vRepairing multi-ply soundboard material (found on more budget-type fretted instruments) which can sometimes delaminate from the soundboard and remain stuck to the bottom of a bridge if an acoustic fretted instrument bridge has begun to pull away from the soundboard.
vHow to prepare and re-glue a bridge that has become delaminated.
vHow to dupe an original bridge.
vConsiderations to make when attempting to employ “after-market replacement bridges, especially before they are glued onto the sound board.
v How to fit bridge pins properly to prevent splitting a bridge or mauling the pins when removing them during regular string changes.
v How to properly install a modern transducer-type pickup under a saddle.
 
 
 
Acoustic Guitar Soundboards & Braces
 
vHow to deal with humidity troubles that effect acoustic fretted instrument soundboards, either solid or multi-ply types.
vHow to flatten an overly “bellied” acoustic fretted instrument soundboard.
vThe tools used to work on soundboards.
vTools and techniques used to remove or replace unstable bridge plates.
vHow to install splints into cracked or split solid spruce soundboards.
vHow to touch up the color and the clear coat finish after making and installing a splint.
vHow to glue cracks on soundboards which will actually glue “closed”.
vTools and alignment techniques used for gluing and “cleating” cracked fretted instrument soundboards, sides, or backs making the repairs as even and as flat as possible.
vTools and very creative ways of working on the structures inside acoustic fretted instruments through the sound hole, especially on narrow bodied instruments.
v How to determine and make the proper considerations or re-gluing and clamping loose braces.
 
 
 
 
 
 
Acoustic & Electric
Guitar Headstock Repairs
 
vTools, materials and accessories required to re-glue broken headstocks.
vHow to fabricate padded clamping shoes for any headstock shape which protect all surfaces and edges during the clamping process.
vHow to quickly deal with small pieces of wood or chipped finish missing from around the damage.
vTools, equipment and materials required to do optional quick color finish and lacquer touch ups.
vHow to perform routing and splining techniques to channel out and rebuild to reinforce thin and weakened neck/ headstock resulting from multiple breaks and subsequent repairing.
vHow to plumb, alignment and clamping techniques to ensure the parts line up when gluing up.
vHow to avoid potentially serious complications after the gluing–up process if gravity is not accounted for during the drying time.
 
Acoustic Guitar Neck Resets
 
vHow to evaluate and determine when an acoustic fretted instrument neck should be removed and “re-set” to the body.
vThe tools and accessories required to safely remove and re-set acoustic fretted instrument necks utilizing glued dovetail joints.
vEstimating and calculating how much new angle to introduce when a change would prove to be a benefit.
vImportant observations and considerations for and about the shoulders of an acoustic fretted instrument where the neck attaches so that the final fit on both sides of the neck are flush to the body.
vHow to make and install tapered shims inside the female side of the joint so the fit of the neck is tight, before applying the glue.
vHow to dry fit everything to make sure the glue up operations will move forward without any interruption because of complications.
vHow to glue and clamp a neck to a body which has been re-set.
v Alternatives to a neck re-set where the end does not justify the means, especially on low-end instruments.
 
 
 
Solid Body Guitar General Repair
v The basic tools, materials, and supplies required to tackle solid body structural repair work.
v   Simple shop accessories, such as protective masks or guards, which make it completely safe to work on fully assembled fretted instruments.
v   How to repair loose fitting components which have stripped screw mounting holes, including bolt-on neck screw mounting holes.
v   How to repair loose body binding.
v   How to properly service and repair damaged machine heads or tuners, using spare parts, if you have some.
v   How to properly install new components into to modern electric fretted instruments, such as bridges like the “Floyd Rose”ä bridge system or the Hip-Shot “Trem Setter”ä
v   How to set up and tweak the vintage style Fender ä bridges..
v   How to identify the various Gibsonä electric fretted instrument bridges and how to properly install replacement saddles on them.
v   How to properly intonate any electric fretted instrument or bass bridge.
v   How to make custom pick guards or dupe an original pick guard.
v   How to adjust electric fretted instrument pickups for maximum power, tone, bite, punch and response.
v How to lay out and route new cavities in a solid body fretted instrument body when installing, for example, new non-stock pick ups.
 
 
 
 
 
 
Acoustic & Electric Guitar Electronics
 
 
v   The basic tools, accessories, and supplies required for trouble free working on fretted instrument electronics, acoustic or electric.
v   The anatomy of electric fretted instrument components; defining different types of pickups, common circuit layouts and the rules of thumb to follow when replacing worn out or damaged components or controls.
v   How single coil and hum bucking pickups work and how they differ.
v   Safety precautions to take when working on fretted instrument electronics.
v   How to make strong, reliable solder connections properly.
v   How to de-solder electric fretted instrument circuit components safely and without overheating them.
v   How to trouble shoot fretted instrument circuit problems using a multi-meter testing tool.
v   How to shield an electric fretted instrument circuit to reduce or eliminate annoying 60 Hz or 60 Cycle hum.
v   How a common sense approach used before attempting to replace components can eliminate confusion when re-assembling.
v   How volume and tone circuits work and the options available to achieve independence or variability of function between multiple control layouts.
v   How to install acoustic fretted instrument bridge or soundboard transducers correctly so that they produce an even string response, tone, and volume which yield a balanced and overall pleasing sound quality to the ear.
v   How modern updated components can be installed to expand pickup coil combinations without drilling any new holes on an electric fretted instrument body.
v   How to cope with wiring or re-wiring semi-hollow fretted instruments, supplies, tips and tricks to make life easier.
v Safety circuits which can be installed on electric fretted instruments which save lives when players are using high-powered P.A. systems and where there is a risk of exposure to the high voltage “mains”.
 
 
 
 
 
 
Acoustic or Electric Guitar Finishing &
Finish Touch-Ups: Past , Present & Modern
Up To Date Equipment, Techniques & Materials
 
v   The basic tools, equipment, and supplies used in preparing to apply colors or clear topcoat finishes to acoustic and electric fretted instrument necks or bodies.
v   How to properly select, use and maintain approved industrial safety equipment to fully protect yourself and reduce health risks associated with using finishing products.
v   How to choose the type of finish you want and how to plan the steps.
v   How to tell a dye from a stain, regardless of confusing manufactures labeling.
v   How to schedule a finish from preparation to applying the dyes or stains and topcoats.
v   How to make sense of sandpaper types, their selection, and correct use.
v   How to recognize when to use sanding sealers or pore-fillers and how to apply them.
v   How to repair dented wood using steam to swell the wood back up to the original elevation.
v   How to attempt repair of chipped, dented, scratched, or dinged topcoats; what works with what and what does not.
v   How to approach color matching by starting with a color wheel, then using base color and adding tints.
v   How to pre-mix and spray clear coat nitro-cellulose.
v   How to pre-mix and spray catalyzed automotive finishes.
v   How to hand-apply or spray the famous Sunburst finishes.
v   How to wet sand a finish between coats, more great tips, and helpful hints.
 v   How to make up and apply your own decals or replacement decals.
 
 
 
 
 
 
 
Fretted Instrument Inlay Techniques & Materials
v   The basic tools, materials, supplies, and equipment required to begin safely working with mother of pearl, abalone, or any of a wide range of popular inlay materials.
v   How to lay up a design for inlay and then transfer that design to the material you are using to make your inlay.
v   How to cut out the design on the selected material.
v   How to transfer the design image to the surface of your       project so that the outline is legible and how to route out the cavity into which,     the inlay will be glued. 
v Tips for seamless borders around inlay pieces, gluing techniques, leveling and polishing the inlay for first class results.
 
Solid Body Guitar or Bass Construction
 
To construct a custom-made solid body fretted instrument or bass, you must first consider what properties and qualities you would most enjoy building into your instrument. These include of course, the basic design, size, scale length, desired resonant sound qualities, and especially finished weight of the whole instrument. Even if it is your first attempt at building a fretted instrument, it is possible to achieve very good results the first time around.
If you do not know what to build and still want to learn how to do it, templates based on one of the worlds’ most famous fretted instrument designs will be supplied for you to use, as you get your feet wet.
On the other hand, if you arrive keen to create your own original fretted instrument or bass, then I will provide everything you require to get the design to the template stage as quickly as possible. At any rate, it is most helpful if you do make a reasonably scaled drawing, which illustrates the headstock shape and neck width, the body shape and any contours or profiles along with the pickup and control layout.
The idea is to keep your first solid-body fretted instrument design just as clean, simple and straight forward as humanly possible.
Acoustic Guitar Construction
As you may imagine, constructing an acoustic fretted instrument from scratch is challenging, and initially somewhat rather complicated. Depending on your budget, time frame and especially those areas of interest which are of most immediate use and value to you, program lengths of at least three months or longer can only practically afford a student the time required for carrying out the pre-production milling tasks required and yet still allow the student to keep up the pace with all of the intensive hands-on experience of practicing and working through the formatted skill-sets which make up the essence of this comprehensive fretted instrument repair training program.
 
In the event you want to try this out I will coach you wherever needed if you want to learn how to, for example, set up the jointer and then true up your raw lumber before you re-saw your top, backs and sides, perhaps make up a body mold out of MDF to support the side assemblies during construction, or say for example, make a neck holding/carving fixture out of a 2” X 10” to allow you to freely “carve” your neck, so if fretted instrument making is your calling, there will be many shop fixtures you will need and so anything you need that you want to have with you when you finish the training program to make life easier, we can build. 
 
If you plan on doing production type instrument building after your training program, then you may copy any of the fixtures here and you are free to exercise your initiative to design and make your own templates, molds and fixtures to keep and use later on.
 
A student who is enrolled in a shorter two-month program should consider the purchase of an acoustic fretted instrument kit. These kits can be purchased from a reputable firm such as; The Martin Fretted instrument Company, Stewart MacDonald’s Fretted instrument Shop Supply or from The Luthier’s Mercantile, as supplier’s examples. An acoustic fretted instrument kit is a great way to get acquainted with the assembly aspect of the various components used during the acoustic fretted instrument building process. It eliminates the pre-production re-sawing and milling operations more closely associated with scratch construction. Assembling a kit fretted instrument made of pre-shaped and pre-machined components will save valuable time, and resources. 
If acoustic fretted instrument making is of most interest to you, I think that’s great, but please do not purchase the most expensive raw materials you can find for your first couple of instruments. Pick relatively inexpensive materials to use for your first fretted instrument and save up both your money and your chops until you have gained enough experience with them to truly make the best use of both time and materials.
 
Unless you have ready access to a wood working shop where you come from, please know in advance you are heartily encouraged to take advantage of these shop facilities to learn how to sharpen tools, make patterns, plus you can save loads of hours by directly duping, wherever possible, any specialty hand tool, shop jig, fixture, template, or “gadget” you see in the shop.
Your instructor unconditionally supports you in the development of shop infrastructure stuff ; Tools, Jigs, Fixtures, Etc, while you are here during a
program. Doing so will mean that you can simply pick up where you left off being more or less prepared to begin booking and turning fresh work over, just as soon as you get back on your home turf and are set up with a work bench. The only stipulation or condition while you build up your gear to face the future is that you agree to cover the cost of the materials you use up as they are supplied for your consumption, on a cost plus basis (+15%, paid weekly) and agree to cover or at least share in any incidental expenses such as band-saw blade replacement or the odd router-bit breakage or re-sharpening charges. These are actually very nominal expenses, and in the end, you will surprise yourself with how much you were able to accomplish on how extra little capital.
To compliment your training and enhance your total learning experience, there is an impressive library combining up to date reading and video training information all relating to every aspect of acoustic and electric fretted instrument construction and acoustic and electric fretted instrument repair, World fretted instrument history, available for your use, free of charge, and all on site. These materials are here to prepare you in advance in the areas you are going to be working on and learning about in this hands-on setting. There is a complete list of the books and videos here for student use at the end of the syllabus.
A Brief Note On Work Shop Hazards and
The Serious Importance of Keeping “Safety First!”
in Mind.   
 Please also see
“A WORD OF CAUTION” page 28
 
As an integral aspect of hosting this type of hands-on training, there are ongoing warnings and discussions outlining how to deal with the presence of various health hazards found in busy fretted instrument repair shops and wood working areas. In training you how to make effective use of the materials and tools found in this workshop, your instructor will introduce you to the proper use of recognized industrial safety equipment and proper practices proven to reduce or eliminate preventable accidents or the risks associated with exposure to known hazardous tools, equipment and materials.
 
The emphasis while showing you how to effectively work with various tools and materials is on how to make the best use of proven safety practices and on the proper use of safety equipment to protect you from exposure to immediate danger and thus from exposure to any materials or products known to be hazardous over a longer term. Your instructor requires your complete cooperation and compliance while attending Fret Works for the duration of any training program with regards to any of the instructions which may be given to you from time to time regarding safety practices.
 
 
 
 
 
On Establishing Your Own Independent Professional
   Fretted Musical Instrument Repair Service Operation
Whether you’re looking to building or repairing instruments as an interesting hobby or whether you are bent on using these fretted instrument construction and repair service skills to begin tapping into your local market to support yourself professionally, Miles Jones and Fret Works are committed to providing you with everything you may need to make this type of hands-on training a satisfying educational experience. 
If you are leaning towards making this training experience the first step in a career move, by all means before you show up at Fret Works, please talk to the retail fretted instrument stores in your area and let them know you are thinking about getting this comprehensive training and see what they say. That way, when you return home, you will already have the word out and you ought to be able to immediately offer your services to fretted instrument players in your home town and surrounding area. If you can already see yourself providing these valuable skills to your own local music scene wherever you live, then you will need a minimum complement of specialized tools to generate a positive cash flow.  
A student training here is encouraged to invest some daily overtime copying and working on constructing all kinds of specialized fretted instrument construction and fretted instrument repair hand tools, solid body fretted instrument cavity routing templates, acoustic or electric fretted instrument construction fixtures, molds, jigs and so on. This saves pre-production time and saves start-up capital. No matter what options a student elects to exercise, the student has the run of the facilities and will have an ongoing opportunity to not only gain very valuable, real-world, hands-on experience in this challenging, stimulating and value-packed training format, he or she can use all the time spent with the facilities here at Fret Works to leverage the training dollars cost effectively as a launching pad into an independent professional service practice. There is more on this topic at the end of the syllabus.
 
If you appreciate what tools can do for you and you like saving money, there are different kinds of industrial suppliers around Fret Works where you can buy jig making components, raw materials, or even specialty fretted instrument repair hand tools “in the raw”. Then with Miles help and your own sweat equity, you can make any modifications, assembly, or what ever it might take to put the finishing touches on the tool, jig or shop fixture.
By duping these handy items, you will not have to spend precious time in the future doing the lay out and design of them or wonder what exactly you need to make them later on when you don’t have an example to look at and are by yourself. Having all the basic and most important fretting tools, straight edges, templates, jigs, or fixtures before you need them to do a tough job will make doing an otherwise monotonous job, a real pleasure! Provided you stay on course and put in some extra overtime every single day working on or making the gear you want to have when you finish, I can promise you right now that you will be ready and able to hit the deck running by the end of your program.
 
Please take a moment to consider the hidden value available here in as much as your paid tuition fee guarantees you unlimited access to the shop and the use of many thousands of dollars worth of workshop tools and equipment, related books, and videos at no extra charge, except for any incidental expenses incurred when making tools. Everything here is more or less at your disposal, for the duration of your program. You can feel free to make use all of my equipment to modify, make from scratch, dupe or fabricate many specialty fretted instrument repair hand tools, shop jigs, and shop fixtures.
However, there is one catch and that is you must agree to keep tabs on and pay your share for any router bit re-sharpening or for the replacement of worn out or broken router bits, bands-saw blades, and the like. You must also agree to pay for any consumption of raw materials supplied by Fret Works and pay for any shop supplies you use up, while constructing any of what will ultimately become your own gear. The raw materials consumed are resold to you on a cost-plus basis, usually around 10-15% to cover the incidental costs of getting the materials to the shop. With this out of the way, please know that you can save around 35-50% on the cost of buying tools from a trade supplier.
 
Here are only some of the really handy tools and items which your instructor knows you would most benefit from in the future by making them here for yourself when you come for training.
v             A rolling wooden tool box made with sliding steel drawers
v              Fret re-crowning files
v              Fret nipping pliers
v              Fret Bender Tool
v              Fret tang sizing tools
v              Fretwork or Fingerboard straight edge set
v              Fingerboard/Fret leveling sanding beams
v              Padded neck rests
v              Fingerboard multi-radius sanding block set
v               Rubber surgical tubing clamping set
v               Padded general gluing/clamping cauls stock 
v               Electric fretted instrument wiring trouble shooting test cables
v               The Erlewine or Incredible Neck Jig
v               Steel floor stand for use with The Neck Jig
v               Electric fretted instrument wiring reassembly labor saving inventions
v               Acoustic fretted instrument cracked soundboard gluing winches
v               Acoustic fretted instrument loose brace gluing jacks
v               Acrylic plastic electric fretted instrument pickup installation/routing templates
v               Acrylic plastic electric fretted instrument vintage style tremolo installation/routing templates
v               Acrylic plastic headstock padded gluing cauls
v               Radius Hollow Forms for acoustic production building/bracing
v               Acoustic fretted instrument production brace gluing Go Bar Deck
v               Acoustic fretted instrument production interior assembly turnbuckles
v               Popular electric fretted instrument neck and body profile router templates
v               Acoustic fretted instrument saddle slot routing jig
 
 This above list of fretted instrument shop tools which you can play a part in making for yourself is by no means complete.
 For practical purposes, it was decided to simply make mention of a few items and more importantly, to just let you know that your instructor is available to teach you everything you need to know to approach making, modifying or adapting store bought tools one way or another to render them into specialty fretted instrument repair tools.
 
    The tools being talked about here are at least those tools which are initially going to be of most interest to you and are essentially those tools with which you will gain valuable hands-on experience learning to use while you explore and practice the content of the training format. Making fretted instrument repair tools and jigs, instead of purchasing them from a trade supplier, wherever cost effective, always leverages your available working capital. Whatever you can do for yourself usually means you can actually accomplish more with less. In tool making, you learn the intricacies of how to be organized and effective in planning the construction and actual making of a tool and this fully exercises your creative faculties. When you begin using the tools you made during a program and use them successfully, this in turn greatly boosts your confidence and directly shows you that you really have the ability to be creative, responsible, and, self-reliant and in time will see that it pays a dividend to be that way! Anyway, when you do the math, you should be able to make an informed decision about whether this program has the scope of opportunity for gaining the realworld, hands-on experience you need and want to make a sound entry into the trade and unbeatable value for the training dollars and time invested.
 
A Word ofCaution
There is always an element of risk associated when working with sharp wood working hand tools and powered machine woodworking tools. There is also risk associated with exposure to the wide variety of shop materials including but not limited to lacquer and lacquer thinners, glues, saw and various airborne dusts including but not limited to those from made when sanding metals, woods, plastics, bone, or shell some or all of which may be encountered while participating in an intensive fretted instrument repair and construction training program.
 PLEASE MAKE SURE YOU READ AND YOU UNDERSTAND THE FOLLOWING before registering: Established industrial woodworking shop safety practices in concert with provision of proper and effective safety equipment are integrated into every aspect of training. Your written voluntary agreement to comply with the established safety practices* at Fret Works and the completion of a voluntary liability waiver* and general health form stating any known allergies are required from each participant before the start date of a training program. Those people who elect to participate in a training program at Fret Works should be both aware of and prepared to accept the element of risk as an inherent part of this activity.
Training Tuition Fees      
 You want to stop and think about the growing demand for fretted musical instrument tech services and you need to project becoming able by way of this training to eventually qualify your work and also charge thegoing rate where ever you live.  In Calgary, Alberta, Canada clients are happy, glad and willing to pay $80.00-$96.00 per hour, so although this is a substantial hourly rate, expect to be able to charge according to what the market will bear.
 
If you are having any problem getting the financial backing or a loan from any one of the established lenders or from a potential investor only because the uninformed believe that Fretted Instrument Repair is not Main Stream, please let me know and I will send you copies of some of the pages contained in the “Statistical Review of the Music Products Industry for 2005” published by NAMM. The entire report is available to anyone upon request, for a fee of $125 US. Essentially the report illustrates that acoustic and electric fretted string instruments sales proved to be the greatest in history in 2004, crossing the billion dollar mark, for the first time. The NAMM industry stats prove how popular among the public fretted instruments have become and thus support your case for getting all the necessary funding for this valuable training and for the basic tools of the trade.
 
The Winter 2009 / Spring 2010 Training Program Tuition Fees
are as follows, effective January 1st, 2008
 *Three Month Program : $11,505.50
 *Two Month Program:     $ 8684.25
*One Month Program:     $ 4,648.90
*Two-Week Program:      $ 3,042.50
*One Week Program:      $ 2,055.65
   Single Day Program:      $ 347.90
 
*A deposit of 50% is required
to reserve a seat for the Start-Finish Dates you want the most.
Please note the tuition is payable in Canadian Dollars.
*Accommodations are included in your tuition fee should you need a place to stay and the supplied accommodations are within easy walking distance to Fret Works.  If you don’t require the accommodations supplied you may reduce your tuition fee by $100.00 per week
 
 
 
 
 
 
 
 
 
 
 Fret Works Offers You Peerless Valueand Real
“Bang” for Your Training Buck
There is so much obvious value and so much hidden value available to you during a training program that it can easily will support your reaching all of your goals, long and short term, as long as you come prepared to either motivate yourself to seize upon the unique opportunities provided or allow me to gently push you. Besides comfortable accommodations, and the ongoing opportunity to realize the transfer of valuable, useful fretted instrument set up and repair skill sets which your paid tuition buys you, you have 24/6 unfettered access to :
 
IBM Computer which has 24/7 Internet service.
All kinds of traditional as well as modern up to date high quality specialized fretted musical instrument specialty hand tools.
All kinds of heavy duty industrial woodworking and metal shop tools and equipment, which you can also use to help you make many of your own tools, jigs, fixtures and other gadgetry.
Access to a comprehensive Fretted Instrument Series of Training DVDs, Videos
Access to a library brimming with up to date books and technical manuals all fretted instruments which has been compiled over the last twenty-five years.
 
During the training time frames of one, two or three months you have unfettered and unlimited time beyond each 8 hour day 6 days a week (NO WORK ON SUNDAYS Please!!) to make your own specialty hand tools, instrument repair and construction jigs and fixtures or build instruments using them or simply use your all-access pass to practice and experiment with the techniques you will be learning how to make the most of. If you spent 16 hours a day here, it would be the equivalent of a six month program of intensive hands-on training! Think about that value and how affordable the tuition fees are compared to what you can purchase anywhere else.
You are very seriously encouraged to put in at least 8 hours daily working through the useful, valuable and highly marketable acoustic and electric fretted instrument skill set building training format. Beyond a minimum 8 hours per day, a forward thinking individual person would be very wise to seize the opportunity and work harder than ever before to prepare for the coming future by putting in some overtime each day.
IMPORTANT NOTE:
The Fret Works Training Program Instruction Tuition Fees do not include materials such as those used in the construction of any specialty fretted instrument repair hand tools, jigs or fixtures, fretted instrument re-fretting, repairing or instrument making supplies. You are required to pay for these items on a cost plus 10-15% basis as soon as you consume the materials provided, on a daily or weekly basis, depending on program length.
 
 
 
 
Want To Get the Ball Rolling?
Then How You Register is The First Step:
 
Application to register into any length of training program is open on a year round basis.
The START-FINISH dates that you may be able to set aside are offered to you on a first-come, first-served basis.
 
Program Registration cut off is on the10th dayof each month.
To reserve a seat for the Start Date you want most, you are required to request and complete all required documentation* and make arrangements to send a 50% tuition deposit to FRET WORKS on or before the 10th day of one full calendar month (30 more days) prior to the start date of the month you are attending during. Exceptions can be made from time to time, so please contact Fret Works for support in getting properly organized prior to attending. This usually equates to completing the registration process at least something in the order of fifty days in advance of attending.
 
When Fret Works has confirmed receipt of your approved form of 50% tuition deposit payment, then Miles Jones will notify you by telephone and/or by e-mail and/or also send written confirmation of your bench reservation including; the Start-Finish Dates, travel documentation for crossing into Canada through a port authority if required, as well as the accommodation address and the related accommodation key contact information.
 
Your paid deposit ensures your instructors commitment to be available for the training dates you have chosen. Fret Works will not guarantee the Start-Finish Dates of your training program until your deposit has been received by an approved payment method. Please be aware of and make note the balance of your tuition is due and payable on or before the Start Date of your particular training program.
 
The preferred method of tuition payment is by direct wire fund transfer from your bank to Fret Works bank using secure, modern, bank to bank electronic funds transfer. However, Tuition payments may also be paid directly by cash via with-drawl at a local ATM or by International Money Orders made payable to “Fret Works” or any form of financial instrument which is solvent just like cash, upon receipt.
 
PLEASE DO NOT SEND PERSONAL CHECKS- NO EXCEPTIONS. Any personal checks will be returned upon receipt and will delay the registration process for you.
 
 
Cancellations and Refund Policy
 
The refund policy is based on the limited number of seats available here (three full time students, max) and demand for this type of training. Arranging and organizing a training program for you requires the commitment of time and resources prior to hosting a training session. Upon receipt of written notification of a cancellation, the balance of a tuition deposit will be refunded based upon the following:
More than:
45 days in advance of start date: Full refund less 10%
30-45 days in advance of start date: Full refund less 20%
15-30 days in advance of start date: Full refund less 50%
0-15 days in advance of start date: No Refund
On-Site Training Resources:
Reading Titles
 
The Basics of Craftsmanship by The Publishers of Fine Woodworking
The Conservation And Restoration of Antique Furniture
Band Saw Workshop Bench Reference by Mark Duginske
H. Behlen Master Wood Finishing Products by H. Behlen Co.
The Complete Guide To Sharpening by Leonard Lee
Router Jigs and Techniques by Patrick Spielman
Getting the Most Out Of Your Band Saw by The Delta Tool Co
Power Saws and Planers by The Best of Fine Woodworking Magazine
Power Tool Know How-Various Tools Covered by Sears Craftsman
Gluing and Clamping by Nick Engler
Veneering, Marquetry and Inlay by The Best of Fine Woodworking Magazine
Pearl Inlay by James E. Patterson
The Art of Inlay by Larry Robinson
Lutherie Tools by The Guild of American Luthiers
The Wood Finishing Book by Michael Dresdner
Understanding Wood by R. Bruce Hoadley
Make Your Own Electric Fretted instrument by Melvin Hiscock
Complete Fretted instrument Repair by Hideo Kamimoto
Fretted instrument Repair Manual by The Staff of Fretted instrument Player Magazine
Proven Methods of Fretted instrument Repair by R. Feetham
Martin Fretted instrument Repair Manual by Lester Wagner
Fretted instrument Player Repair Guide by Dan Erelwine
Fret Work Step By Step by Dan Erlewine and Stewart MacDonald’s Fretted instrument Shop Supply
Trade Secrets Volume 1 by Stewart MacDonald’s Fretted instrument Shop Supply
Trade Secrets Volume 2 by Stewart MacDonald’s Fretted instrument Shop Supply
Fretted instrument Finishing Step By Step by Stewart MacDonald’s Fretted instrument Shop Supply
Fretted instrument Player Repair Guide Expanded and Updated Edition by Dan Erelwine
Fretted instrument Repair by Irving Sloane
Classic Fretted instrument Construction by Irving Sloane
The Luthier’s Handbook by Roger H. Siminoff
Making Musical Instruments by Irving Sloane
Making an Arch Top Fretted instrument by Robert Benedetto
Martin Fretted instruments A History by Mike Longworth
A Fretted instrument Manual by Peter Huyn, Gene Leis & Daniel Mari
Customizing Your Electric Fretted instrument by Adrian Legg
Fretted instrument Identification by A.R. Duchossoir
Fretted instrument Identification New Revised and Enlarged Edition by A.R. Duchossoir
Fretted instrument Identification Updated Edition by A.R. Duchossoir
Fretted instrument Identification A Reference Guide by A.R. Duchossoir
The Encyclopedia of Fine Fretted instruments by Alvarez Yairi
Guitar Making by Cumpiano and Natelson
A Fretted instrument Maker’s Manual by Jim Williams
Constructing a 5-String Banjo by Roger H. Siminoff
Constructing a Solid-Body Fretted instrument by Roger H. Siminoff
Constructing a Blue Grass Mandolin by Roger H. Siminoff
Catalogue for Musical Instrument Builders by Bill Lewis
Make Your Own Electric Fretted instrument and Bass by Dennis Waring & David Raymond
Complete Banjo Repair by Larry Sandberg
Fretted instrument Electronics by Donald Brosnac
Classic Fretted instruments USA by Willie G. Moseley
The History and Artistry of National Resonator Instruments by Bob Brozman
Interviews with Jazz Greats by Charles Chapman
A Complete History of Paul Reed Smith Fretted instruments by Dave Burluck
Blue Fretted instrument by Ken Vose
The Beauty of The ‘Burst by Yasuhiko Iwanade
The Gibson by Rittor Music Europe Ltd.
Burst: 1958-’60 Les Paul Standard by Jay Scott and Vic Da Pra
Gibson’s Fabulous Flat-Top Fretted instruments by Eldon Whitford, Dave Vinopal & Dan Erlewine
Fretted instrument History Volume 1 Fretted instruments Made by The Fender Company Edited by Donald Brosnac
Fretted instrument History Volume 2 Gibson SG by John Bulli
Gibson Fretted instruments 100 Years of an American Icon by Walter Carter
Gibson Electrics Volume 1 by A. R. Duchossoir
Gibson Electrics The Classic Years by A.R. Duchossoir
Fretted instrument Stories Volume 2 by Michael Wright
American Fretted instruments Revised and Updated Edition by Tom Wheeler
The Ultimate Fretted instrument Book by Tony Bacon
Acquired Of The Angels The Lives and Works of Master Fretted instrument Makers; John D’Angelico
and James L. D’Aquisto by Paul William Schmidt
Acoustic Fretted instruments & Other Fretted Instruments by George Gruhn and Walter Carter
The Steel String Fretted instrument by Donald Brosnac
Fretted instruments: Music, History, Construction and Players:
From the Renaissance to Rock by Tom & Mary Anne Evans
The Martin Book by Walter Carter
The Fender Book by Tony Bacon & Paul Day
Fender: The Inside Story by Forest White
The Fretted instrument Handbook by Ralph Denyer
Cowboy Fretted instruments by Steve Evans & Ron Middlebrook
Fender Amps: The First Fifty Years by John Teagle & John Sprung
          The Fender Bass An Illustrated History by J.W. Black and Albert Molinaro
Fretted instrument Legends: The Evolution of the Fretted instrument from Fender to G&L by George Fullerton
The Story of The Fender Stratocaster
The Fender Telecaster by A.R. Duchossoir
The Fender Bass by Klaus Blasquiz
Fender: The Inside Story by Forest White
The Fender Stratocaster by A.R. Duchossoir
50’s Cool Kay Fretted instruments by Jay Scott
Old Fretted instrument Mania: A Guide to Vintage Fretted instrument Collecting by Bill Blackburn, Ph.D.
The Acoustic Fretted instrument Volume 1 by Don Teeter
The Acoustic Fretted instrument Volume 2 by Don Teeter
Manual of Fretted instrument Technology by Franz Jahnel
Gruhn’s Guide to Vintage Fretted instruments by George Gruhn & Walter Carter
Gruhn’s Guide to Vintage Fretted instruments-2nd Edition Updated and Expanded by George Gruhn & Walter Carter
Gretsch Fretted instruments by Fred Gretsch
Fretted instrument Player Magazine Collection from 1973 to the Present
Frets Magazine Collection
Violin Making by Ed Herron-Allen
Violin Making Step By Step by Henry A. Strobel
Useful Measurements for Violin Makers by Henry A. Strobel
Art & Method of the Violin Maker Principles & Practices by Henry A. Strobel
The Violin Book by Balafon Books
On-Site Training Resources:
Video and DVD Titles
 
 
Over the past 23 years I’ve also collected 40 premiere quality acoustic and electric fretted instrument repair, inlay, fretted instrument finishing and other related videotape training aids as well, for your use, while training. This means you can get a primer to get you pumped on virtually everything you haven’t seen or done yet!   Enjoy the use of aSonyVideo or DVD Player  and 32” TRINITRON Television supplied on site to watch:
 
Fretted instrument Maintenance: Volume 1: Proper Set Up for both Acoustics and Electrics by Dan Erlewine
Fretted instrument Maintenance: Volume 2: by Dan Erlewine
Bread & Butter Jobs: Set-Ups, Parts Installation & Customer Service by Dan Erlewine
Yard Sale Specials: Setting Up The Fretted instrument The Customer Won’t Throw Out by Dan Erlewine
Fret Jobs: Volume 1 The One-Hour Fret Job by Dan Erlewine
Fret Jobs: Volume 2 Explanation of How to Use the Incredible Neck Jig by Dan Erlewine
Don’t Fret: Fretting Techniques by Dan Erlewine
Belly Aches: Correcting Problems With Acoustic Tops and Bridges by Dan Erlewine
Cracking Up: Cracks and Puncture Repairs Emphasis On Acoustics, With Some Electrics by Dan Erlewine
Broken Peg-Heads: A Two-Hour Master Series Tape byDan Erlewine
Fret- Basics by Dan Erlewine
Advanced Fretting: Volume One by Dan Erlewine
Advanced Fretting: Volume Two by Dan Erlewine
Fretted instrument Electronics and Hot Rod Techniques by Dan Erlewine
Solid-Body Fretted instrument Plan by Dan Erlewine
Super Glue Secrets by Dan Erlewine
Tremolo Installation by Dan Erlewine
Spray Finishing Basics Parts 1&2 by Don McRostie
Sunburst Finishing by Don McRostie
Repairing & Duplicating Vintage Finishes by Dan Erlewine
Finishing Techniques by Dan Erlewine
Luthiers On Parade by Stewart MacDonald’s Fretted instrument Shop Supply
Masters of Repair by Stewart MacDonald’s Fretted instrument Shop Supply
Shop Talk 3 by Stewart MacDonald’s Fretted instrument Shop Supply
Shop Talk 5 by Stewart MacDonald’s Fretted instrument Shop Supply
Shop Talk 6 by Stewart MacDonald’s Fretted instrument Shop Supply
Arch Top Fretted instrument Design & Construction Tape 1 by Robert Benedetto
Arch Top Fretted instrument Design & Construction Tape 2 by Robert Benedetto
Arch Top Fretted instrument Design & Construction Tape 3 by Robert Benedetto
Arch Top Fretted instrument Design & Construction Tape 4 by Robert Benedetto
Arch Top Fretted instrument Design & Construction Tape 5 by Robert Benedetto
Arch Top Fretted instrument Part 1 Focusing on Bridges &Tailpieces with Robert Benedetto
Sharpening Woodworking Tools with Leonard Lee
Vintage Gibson Flat-Top Fretted instruments by Dan Erlewine
Neck Jig Instructional Video by Dan Erlewine
Assembling A Herringbone Acoustic Fretted instrument Kit byDan Erlewine & Don McRostie
Createx Airbrush Color Techniques with Tim Cox
Stone & Marble Faux Finishes for Fine Furniture & Architectural Detailing by The Day Studio
Semi-Precious Stones, Tortoise & Inlays-Faux Finishes by The Day Studio
Pearl Inlay by Don McRostie
Basic Inlay Techniques by Larry Robinson
Intermediate Inlay Techniques by Larry Robinson
Advanced Inlay Techniques by Larry Robinson
Power Tools
GENERAL Heavy Duty Panel Table Saw
RIGID Oscillating Multi-Spindle & Belt-Sanding Table
DELTA 14” Band Saw with Extension Riser
DELTA 32’ Radial Drill Press
DELTA 2 HP Heavy Duty Router
DELTA 1 HP Shop Master Dust Collector
PORTER-CABLE 1.5 HP Routers (2)
SKIL 4” Belt & 6” Disk Sander
SEARS CRAFTSMAN 24” Belt & 9” Disk Sander
HOUSE OF TOOLS Small size Drill Press (modified)
HOUSE OF TOOLS Floor Standing Radial Drill Press
IMC Oscillating Spindle Sander-c/w multiple sizes of spindle sander drums
DREMEL Scroll Saw
VERITAS Router Table complete with all accessories
VERITAS Pin Router Attachment
PORTER-CABLE 330 Speed Block Sander
PORTER-CABLE 340 Block Sander
PERFORMAX 24” Thickness Sander
DEWALT 423 Palm Random Orbital Disk Sander
RYOBI S551 Random Orbital Sander
MIGATRONIC MIG WELDER
OXY-ACETELINE MICRO BRAZING KIT
MAKITA 9.6 Volt Power Hand Drills (2)
MAKITA Metal Disk Grinder
MAKITA 12” Planer and 6”Joiner
MAKITA 16” Band Saw/Re-saw
BURSGREEN 9” Joiner
ROCKWELL PALM SANDER(2)
BOSCH Jig Saw
KREMLIN –HVLP Kremlin Professional Lacquer Spray Gun
WALK IN SPRAY CABINET/BOOTH – Fire Department Approved
LORTONE HEAVY DUTY POLISHING ARBOR c/w motor and stand
ACKLANDS-GRAINGER BENCH GRINDER
PRECISION MILLING MACHINE-Compact design
On “Making Your Own” Specialty
Fretted Instrument Specialized Repair
Tools:
 
In my early days, way back in 1982, we often  found that we more or less had to invent or create actual tools or find ways of holding work or in many instances, find new, better, different ingenious ways of getting tricky aspects of instrument repair jobs done right, the first time.
 
Fretted Instrument construction and repair tools have evolved considerably since then and I personally keep my ear to the ground for and check out all the latest innovations.
 
By attending Fret Works, you have an ongoing opportunity to gain first hand experiences making use of all the finest industry standard specialty tools and equipment available anywhere in the world and you can also look into and explore duplicating many, but not all of them in the time available.
 
If you have read this far, you might be getting very serious about taking the plunge so you have to be naturally curious about the Tools of the Fretted instrument Repair Trade or The Luthier Trade. With regards to tools, and as food for thought, why not simply ask for a free Stewart Macdonald Guitar Shop Supply Catalog (To order phone:1-800-848-2273). They are on the web at www.stewmac.com
 
Having the know how means taking complete ownership of the many skill sets offered in this kind of valuable hands-on training and making an effort to begin amassing the right tools for the job at hand will bode well for your ability to tap into and generate cash flow if that is what you want to use this training for.
 
It goes without saying that having the best possible tools for this type of work makes any tedious or monotonous job less painful and will most certainly help produce the high quality intended results in control and with out damaging anything. Because I operate a school, beyond the training aspect of what I do, I am totally into helping newly budding luthiers get up and running as soon as possible.  
 
So if you elect to come here, and are willing to brace up and work steadily and follow through, the upshot is that you will be able to do some of your own tool making while in class.
 
Thank You For Expressing Your Interest In The Guitars
 
Notes or Questions
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Satisfied clients

 

 


"Miles -- 'to-die-for' tweak job on my tele last week--will sing your praises in the U.K. this summer. Thanks-Amos"

                                                                            -Amos Garrett, Living guitar legend.


Amos has recorded with Stevie Wonder, Bonnie Raitt, Maria Muldaur and more than 200 others. He's a long time client of Fret Works and one of my favorite human beings.

 



 

"Thanks Miles, for the great work on my guitars. Your dedication, attention to detail,and excellence, goes a long way. The old Gibson and the Strat are playing better than ever. Thanks again. The Force Is With You...." -Lester Quitzau




"Wow! Miles turned my Franken-Tele parts guitar into something as good or better than the 'real deal'. He's also turned what I thought to be a pretty rad Strat into something that almost plays itself! Thanks Miles!"
-Brian McClennon, Aktivate

 

 


"Hi Miles, Cool site. Thanks for all the years of extra work that you have done to keep my 67 Precision still singing like it never has before. I am a fan of your endless insight to the problems that I have had with my bass. The times you have come out to the gig to tweak little things I don't even pickup on. What a consummate professional you are. Thanks pal, Glen"
-Glen Yorga


"Hi Miles. I just wanted to thank you for the great work you did on my Fender Acoustic. My guitar and I have developed a new relationship! I'm practicing every day and really digging the sound and its playability. I wish I had came across Fretworks 10 years ago because I was unaware that a guitar could be set up so it wasn't such a workout to play on. But one only learns when they are ready and I'm ready to learn now! Thank you."
-Geoff Jones


"I have personally known Miles for over 34 years, and I do not believe that anyone could find a craftsman/mentor (alive today) in ANY field that is more COMMITTED to the TOTAL SATISFACTION of his customers and students than is Miles Jones, Proprietor, Fretworks. Anyone sincerely interested in making more beautiful music on their instruments, with their hands, and in their hearts would do well to seek out Miles' caring knowledge and expertise in all that is and will be 'GUITAR'."
-Brent Rintoul


"Dear Miles, The black Johnson you repaired for me used to kill my hand after ten minutes.

I didn't know the guitar didn't play well because it's my first and I thought it was normal until a friend here in Fernie told me you could doctor it up.

Now I can play for at least an hour and it sounds better too. Best of all you didn't juice me on your prices. Thank you so much."
-Jonathan MacDougall


"Wow, Miles, and Fretworks, are truly one of a kind. Miles took my brand new factory setup Ovation and tweaked it into the guitar it should have been in the first place. What a tremendous difference on the action and playability. From barely playable to smooth as silk. I still can't believe it.

"As if this wasn't enough, he did the work on New Years Day and delivered it to my residence personally so that I could take the axe with me on an extended stay in Germany. This is service that is totally beyond the call of duty.

"Miles, you have made me a believer and I know that all of my axes will benefit from that level of quality care. I have now asked Miles to completely customize my 1990 PRS. Based on what I have seen, our personal discussions, and the many testimonials from others, I have no doubt that the end result of this "little" project will be a screaming hot rod axe second to none anywhere."
-Richard


"Thank You Miles for making my guitar into a great instrument. It is amazing how much difference the setup has made in releasing my inner Jimmy. Thank you for treating me and my guitar like we mattered."
-Doug Unrau


"Thanks Miles! You are the first luthier ever who has done work for me as advertised. I could not find anyone in my own country (the U.S.)who seemed to understand what "make it play in tune" means. You did excellent work and did not try to sell me a load of extras to milk my wallet. I will be doing business with you again.. exclusively."
-Frank Melbar

"I will never trust anyone but Miles with my guitars. Great service, care and concern. It is nice to see someone who has a passion for what they do and truly cares about the customer and their instruments. Thanks again."
-Jeff Hiscock


"I've known Miles for over thirty years and have been playing for thirty seven years. Over the past fourteen years, I have been a frequent client of Fretworks for everything from the ground up restoration and custom finishing of a Gibson Flying V to my current custom guitar project which is a graphite neck Stratocaster style guitar.

"I prefer to do set ups, pickup wiring and minor work myself. I would not have learned to do these things as well were it not for the help and insight Miles has shared with me over the years.

"In my growth and progress as a human being and as a guitar player over the years, Miles Jones and Fretworks have been valuable beyond measure. Three words sum it up well from my point of view - Dedication, Diligence, and Integrity. Thanks Miles."
-Brad McHugh


"I’m not a celebrity, a professional guitar player, nor even a good guitar player, as anyone who has heard me play will attest, I’m just an ordinary guy who likes his guitar.

"I bought my 1976 K-Yairi YW-700 guitar new in late ’79, found it in a guitar store in Halifax where it had been hanging on the wall for 3 years. It has accompanied me to 4 Provinces, spent time with me at sea while serving on a Destroyer, saw me through 4 years in Germany, and 99 days in the ‘90\’91 Gulf War, and I’ve grown attached to it.

"So, although it’s not an expensive guitar, when I noticed the bridge was starting to separate from the body, I knew I wanted to repair it rather than buy a new one. I found Miles Jones quite by accident while surfing the Internet for guitar repair shops in Calgary, and what a serendipitous find it turned out to be.

"From the moment I met Miles, he treated me as if I were an Amos Garrett, or a Jan Arden. He looked over my guitar, asked me about my playing style, told me what he thought needed repairing and what did not, and gave me what turned out to be an accurate estimate.

"Miles re-affixed the bridge, made a new saddle, fixed a loose tuning key, filled in a minor wood compression on the back of the neck, at my insistence (he said I didn’t need them done yet) he replaced the frets, he repaired some minor cracking in the gloss finish on the back and polished the whole thing to a nice water gloss finish.

"Miles even fixed the loose covering on my old guitar case, and because the job took slightly longer than he had planned, when it was completed, he hand delivered it to my house. My old guitar plays better and easier than it ever did, and sounds fantastic, even with me playing it. Thanks for everything Miles."
– John Stewart


"It was time to re-fret my vintage 1964 SG Special, the one I've had for 25 years. I was really worried about finding the right pro for the job.

"Though I love tinkering with my other guitars, and have built a few, I wasn't about to hack my SG's bound fingerboard.

"I found Fretworks through the internet. Talking the job through with Miles, I knew I had found someone who really cared.

"The re-fret with jumbo tall frets has returned my SG to a condition better than I've ever known it.

"Miles did such a nice job that I won't hesitate to send my others to him when their turn comes. Miles' attention to detail and customer service is a model for any business."
-Steve Bassett


"Hi Miles, I used my 7 string archtop in the studio yesterday and it was great...super clean and super presence. Another thing is the balance you've achieved vis a vis the strings and the pickup. It's sounding and playing the best it's ever been. I thought you should know. Thanks a bundle."
-Barry Hawkins


"Miles, You've serviced five of my instruments now and I have yet to find any fault with your work. You are a valuable asset to any musician. Not only have you done great work on my guitars, but your freely imparted wisdom has helped me discover more about these cherished tools and how to get great sound out of them. You, my friend, are worth more than money. Always drive carefully :) "
-Michael Gothreau www.fatbottomband.com


"Miles setup my Strat to play like it never played before. He also reprofiled the neck of my Yamaha acoustic, planed the bridge and setup it up so that it plays and sounds great! I highly recommend Miles' professional and affordable work."
-Brent Rawlings


"Miles turned my ailing 35 year old acoustic into a guitar that plays like b-u-t-t-e-r! Thanks Miles!"
-Fred Palmer


"I received it yesterday. Magnificent! Incredible! I can't imagine how it could have been done better. Great action and wonderful sound. Both my son and I are delighted. You were right -- we are competing for playing time."
-Ron Russell


Other Musicians who's guitars I've had the privilege to work on include:

Jann Arden
A multiple Juno award winning local Diva, internationally known for her rendition of Anne Loree's hit song Insensitive

Gaye Delorme
Gaye Delorme is certainly one of my favorite guitarists of all time, and he was the first live guitarist I ever heard play up close. He had a profound impact on me that got me attracted to guitars in the first place....Gaye is a one of THE consumate entertainers of our time, always amazingly original and generous in his performance. He is able to weave complex rhythms and lead work in a spell binding effect. To me and the legions of his loyal fans, Gaye is truly one of Canada's most awe-inspiring guitar players and who remains very unpretentious, passionate, with a very funny sense of humor to boot.

Russ Broom
Another huge favorite guitar player of mine. Fortunately for us, Russ is still a local Calgary guy. He has a deft touch and is oh so very much in command of his guitar and has his own sound, like Eric Clapton or Stevie Ray Vaughn. He is also a multi-stylist, multi-dimensional guitarist and when Russ is not working on tour with Jann Arden, he can be found working on any one of a variety of professional sessions crafting jingles or applying his golden talent and keenly honed chops and illuminating the collective work on various recording projects. Watch out for Russ Broom, he will sweep you off-a you feet!

Spencer Davis
Legendary British R&B band leader of the Spencer Davis Group and probably most famous for the tune I'm a Man

Tom Knowles
Long time bassist and friend for aeons, Tom is now a happy family man and on top of the short list when mucicians need someone to hold down the bottom end. Find him accompanying acts which include: Long John Baldry, Auntie Kate and many others.

Other great clients include:
Tim Williams,
Ellen Mcilwaine,
Eddy Clearwater,
Cam Malloy,
Long John Baldry,
The Peter Tosh Organization, General Public,
Johnny V,
Pat Simmons,
Luther "Guitar Junior" Johnson,
Ray Montana,
Carl Weathersby,
Johnny Nitro,
Zuckerbaby,
Silent Partners,
Nigel Mack,
Robbie Laws,
Eddy Vann Shaw.



© 2007 Fretworks · fretwork@fretwork.com