Separate names with a comma.
Discussion in 'Tonefreaks' started by onehippie, Aug 23, 2010.
as there have been a few questions of late on the forum relating to above topics
i hereby Bump....
This is a great thread,
I will add my secret tips for the best action,
When you take off all the strings on your guitar you will want to clean the metal frets, clean the fret-wood(rosewood etc.), and then treat the wood and the wire frets.
The best materials I use are:
3M Blue Masking Tape
Bounty Paper Towels
New cotton wash towels/Microfiber
[ame="http://www.amazon.com/Restoration-Center-Simichrome-Polish-1-76/dp/B000FGICHM/ref=sr_1_1?ie=UTF8&qid=1342944847&sr=8-1&keywords=simichrome+polish"]Simichrome German Made Metal Polish[/ame]
Griotsgarage.com Carnauba Wax Stick
[ame="http://www.amazon.com/gp/product/B000EEJF4O/ref=oh_details_o01_s00_i00"]Gerlitz GEGHO Guitar Honey Fingerboard Oil[/ame]
[ame="http://www.amazon.com/gp/product/B000T4HWBM/ref=oh_details_o00_s00_i00"]Big Bends Nut Sauce [/ame]
First I use the 3M Blue Masking tape and I tape the wooden part of the fret-wood so just the fret-wire is exposed. You don't want metal polish on the wood and the tape is fast and works well.
I then use a Q-Tip and squeeze a small dab of the metal polish on the tip of the Q-Tip, I then apply the pink toothpaste type cleaner on the fret-wire (All 3 Sides) and I let it dry or stay-on for at least 5 minutes before I start to polish. Then I polish the frets, as I tape most of the frets all at one time. I constantly use a new piece of towel so the black keeps coming off the wire. I then use a Q-Tip to clean the sides of each fret before I peel the Blue Tape off. When you are done the frets will look like sterling silver, very clean. When the masking tape is all off, use the Q-Tip to clean the sides of the fret-wire. Make sure no more dirt comes off. It takes me 2-3 hours to do a guitar for the first time.
After all the metal frets are cleaned I wash the rosewood with a soft sponge, no abrasives. I then wipe it with a towel dry. If your fret-wood is very old and has grungy finger marks into the finish, you will need some super fine 3M pads to clean them off. Use a magnifying glass as you work so you can see if you are scratching to wood if you are restoring an old guitar. But mosr new guitars just need a good wash, cleaning with a new towel. I then apply the Gerlitz Honey Oil on the fret-wood and allow it to soak-in for as long as you have the patients. 1/2 hour is the minimum to me, a couple hours of grat. I then wipe off all the excess oil on the wood. This brand of oil is the absolute best have ever used, it leaves no oil residue and makes a hard finish on the fret-wood. Again, wipe everything dry with the new towels.
I then apply some Griots Caranuba Wax on a damp, folded paper towel and apply on 2 frets at a time so not to touch the wood. I run the papertowel w/wax only on the tops of the wret-wire. I allow them to dry, maybe 10 minutes. I then clean the wax off the fret-wire. Now the frets are waxed with the best weax you will ever get your hands on. (Mothers will work also if you don't want the best Griots makes).
I also apply the Griots Wax to the back of the guitar neck and I do the top of my guitar on a few of them.
This wax is so great, the action you will get from your hand sliding up and down will surprise you. It will improve your playing so much.
I use the Big Bends lube on the nut.
When you feel the strings on a neck treated this way it will really surprise you.
These materials I use are the Rolls Royce Set-Up,
and I know you will improve your playing with a waxed neck and dressed fret-board. This wax will last the full gig if you are a pro player, and I clean and treat my guitars depending on condition.
This wax makes your hands slide up and down the neck with ease even with sweat.
Thanks all. Excellent thread. Lotta work went into this one.
stumbled across this today
http://www.acousticmusic.org/userfiles/file/pdfs/historical-data/_Misc data/Know Your Instrument.pdf *
a little input from Gibson side
""Gibson Tone Tips: Set It UpDave Hunter|06.25.2011
Have you ever tried going for a particular sound, but weren’t able to get your tone quite right? Allow us to lend a hand. Straight from the Gibson archives, “Gibson’s Classic Tone Tip” can help you achieve the guitar sound of your dreams. In this installment, we discuss how your axe’s set-up can make all the difference in the world.
That’s right, set it up. Or, if need be, get someone else to set it up for you. Whether you set up your guitar yourself, or have it done by a professional tech, a good set-up is crucial to achieving not only optimum playability but maximum tone too. By “set-up,” we usually mean a combination of things that all work toward keeping your guitar in good condition, somewhat like the full tune-up you occasionally give your car. On a guitar, a full set-up generally includes adjusting neck pitch, string height, and intonation, and pickup height relative to strings. It might also include conditioning the volume and tone controls (potentiometers), selector switch, and jack with a squirt of contact cleaner/lubricant, and lightly sanding?or “stoning”?the frets to remove slight divots and uneven spots that have emerged with heavy playing.
Let’s elaborate a little on the benefits of keeping your guitar ship-shape. I say keeping a guitar in good condition is important not only for achieving “optimum playability but maximum tone too” because a guitar that is poorly set up just won’t ring true. Without proper intonation, you might think you are in tune according to your electric tuner, but your guitar will never be optimally in tune with the bigger picture—which is to say, the harmonics that interact to create the lush, vibrant tonal spectrum of any great guitar sound will not be complementary to each other, will not interact in a musically beneficial fashion. Slight dissonances and dead spots will clank against each other?amid full chords in particular, and especially further up the neck?and the overall effect will be an oddly harsh sounding performance, even on a guitar that seems to tune up fine on the open strings. Former Gibson president Ted McCarty developed the famed Tune-o-matic (or ABR1) bridge precisely for this reason, and it remains one of the most influential bridge designs to this day. The unit, as seen on a Les Paul Standard or SG Standard, for example, among many others, allows broad adjustment for each individual string saddle to achieve accurate intonation of each string, and easy height adjustment for a good, balanced overall string height for your playing style (the bridge is curved to match the radius of the guitar’s fingerboard, so individual saddle height adjustment isn’t necessary). Other, more primitive bridge designs, such as the “wraparound” bridge on the Les Paul Junior or 1954 Les Paul Goldtop VOS don’t have individually adjustable saddles, although a “good enough for rock and roll” compromise of overall intonation can be set by adjusting the whole bar. This might seem imperfect, sure, but these guitars are loved by many players for their raw vibe and appealing simplicity nevertheless.
In combination with good intonation, proper adjustment of neck pitch and string height, both to suit your playing style and to allow the strings to ring freely, will also work toward maximum tone. Some players who like a very low action for fast playing styles will constantly fight buzzing strings and compromised tone in the name of pure speed. Working with a slightly higher yet still smooth and fast action lets the strings ring louder and clearer, and therefore also enables the guitar’s body and neck woods to resonate the way they were designed to, all of which increases your tone dramatically (I’m not talking way high here, but an action low enough for good speed, and high enough to eliminate buzzing). Get all of these elements of a good set-up just right?good intonation, and optimum neck pitch and string height (which, combined, constitute what we refer to as “action”?and your harmonics will ring true, you’ll have a bigger, more melodious sound from the instrument as a whole, and your guitar’s entire voice will feel more at one with itself. On top of it all, you’ll notice a considerable improvement in your guitar’s sustain too.
Beyond the mechanical aspects of a good set-up, it’s also worth remembering to keep your guitar clean. This might seem a purely cosmetic issue, but grimy frets and fingerboard, rusted bridge saddles, and gunky nut slots will seriously hamper both tone and playability. The build up of crud in pickups, controls, and switches will also lead to their eventual failure—possibly mid-solo during that big gig—and will very often hamper their performance along the way, by impeding their ability to pass along a full, clean guitar signal. This is something you can definitely do yourself, with the aid of a soft, lint-free cloth and a few quality cleaning products such as Gibson’s Luthier’s Choice Polish, Fretboard Conditioner and String Cleaner/Lubricant or comprehensive Vintage Reissue Restoration Kit. As for the set-up itself, most players can also learn to achieve good results themselves. Every new Gibson comes with a comprehensive Owner’s Manual or instructive flyers that guide you through bridge saddle adjustments, truss rod adjustment, and more. When in doubt, take your instrument to an Authorized Gibson Repair Center, and let a professional put your guitar into perfect playing condition.""
i just now in trouble may be
and justly so
ADJUSTMENT AND CARE
The following setup procedures and specifications are for your Telecaster as equipped with the strings that come on the instrument as standard equipment from the factory. If you plan to change string gauges, you may need to adjust the specs somewhat to compensate for the changes in string sizes. Modifications of the specs may also be made (within limited parameters) to adjust for your individual playing style or application (i.e., how hard you pick, strum or fret the guitar).
Note: These are minimum specifications that are meant as a guide; they should not be construed as hard and fast rules, as we realize that every player's subjective requirements often differ.
Set of automotive feeler gauges (.002-.025) (0.05–1 mm)
6" (150 mm) ruler (with 1/32" and 1/64" increments) (0.5 mm increments)
Light machine oil (3-in-1, toy locomotive or gun oil)
Polish and cloth
How you wind the strings onto the pegs is very important, whether you're using locking, standard or vintage tuning keys. Start by loading all the strings through the bridge and then loading them onto the keys as follows:
Locking tuning keys. Picture the headcap of the neck as the face of a clock, with the top being 12:00 and the nut being 6:00. Line the six tuning machines so that the first string keyhole is set at 1:00, the second at 2:00, the third and fourth at 3:00, the fifth at 4:00, and the sixth at 5:00. Pull the strings through tautly and tighten the thumb wheel, locking the string in. Now tune to pitch.
Standard keys. To reduce string slippage at the tuning key, we recommend using a tie technique. This is done by pulling the string through the keyhole and then pulling it clockwise underneath and back over itself; creating a knot. You'll need to leave a bit of slack for the first string so you have at least two or three winds around the post. As you progress to the sixth string, you'll reduce the amount of slack and the number of winds around the keys.
Vintage keys. For these, you'll want to pre-cut the strings to achieve the proper length and desired amount of winds. Pull the sixth string (tautly, remember) to the fourth key and cut it. Pull the fifth string to the third key and cut it. Pull the fourth string between the second and first keys and cut it. Pull the third string nearly to the top of the headcap and cut it. Pull the second string about a 1/2" (13 mm) past the headcap and cut it. Finally, pull the first string 1 1/2" (38 mm) past the top of the headcap and cut it. Insert into the center hole in the tuning key, bend and crimp to a 90-degree angle, and wind neatly in a downward pattern, being carefull to prevent overlapping of the strings.
If your tuning keys have a screw on the end of the button, check the tightness of the screw. This controls the tension of the gears inside the tuning keys. Do not over-tighten these screws. They should be "finger-tight." This is very important, especially on locking tuners.
Telecasters can have two distinctive types of bridges. The most well-known type is the vintage-style three-section bridge. The other is the modern-day six-section bridge, such as the American Standard Telecaster bridge. Check your tuning before proceeding with intonation.
INTONATION (ROUGHING IT OUT)
You can preset the basic intonation of your guitar by taking a tape measure and measuring from the inside of the nut to the center of the 12th fret (the fret wire itself; not the fingerboard). Double that measurement to find the scale length of your guitar.
For a vintage three-section bridge, a series of adjustments must be made to compensate for the lack of individual string intonation. Adjust the first bridge saddle to the scale length, measuring from the inside of the nut to the center of the bridge saddle.
Now adjust the distance of the second saddle back from the first saddle, using the combination of the gauges of the second and third strings as a measurement. For example, if the second string is .011" (0.3 mm) and the third is .013" (0.35 mm), you would move the second saddle back .024" (0.65 mm) from the first saddle. Move the third saddle back from the second saddle, using the gauge of the fifth and sixth strings as a measurement.
For the six-section bridge, you will make adjustments for each individual string. Adjust the first-string bridge saddle to the scale length, measuring from the inside of the nut to the center of the bridge saddle. Now adjust the distance of the second-string saddle back from the first saddle, using the gauge of the second string as a measurement. For example, If the second string is .011" (0.3 mm), you would move the second-string saddle back .011" (0.3 mm) from the first saddle. Move the third saddle back from the second saddle using the gauge of the third string as a measurement. The fourth-string saddle should be set parallel with the second-string saddle. Proceed with the fifth and sixth saddles with the same method used for strings two and three.
LUBRICATION AND STRING BREAKAGE
Lubricating all of the contact points of a string's travel may be one of the most important elements in ensuring tuning stability and in reducing string breakage.
The main cause of string breakage is moisture collection at the point of contact on the bridge saddle. This can be attributed to the moisture and acidity that transfers from your hands, or it can be a direct effect of humidity in the air. Another factor is metal-to-metal friction and fatigue. Metal components react to each other over time because of their differences and help break down string integrity. A stronger metal will always attack a softer metal (this is why a stainless-steel string will wear a groove or burr in a vintage-style saddle). You'll also find that different string brands break at different points of tension because of the metal makeup and string manufacturing techniques.
Since Fender manufactures its own strings, they are designed to perform well for all playing techniques.
One of the best ways to reduce string breakage is to lubricate the string/saddle contact point with a light machine oil (we prefer 3-in-1 oil because it contains anti-rust and anti-corrosive properties) every time you change strings. The oil insulates against moisture and reduces friction and metal fatigue. String trees are another point of contact and should also be lubricated; a small amount of lip balm applied with a toothpick works well.
There are two different styles of truss rod found on Fender instruments—"standard" and "bi-flex" truss rods.
Most Fender guitars and basses are equipped with a standard truss rod (of which there are in turn two types: one that adjusts at the neck heel and one that adjusts at the headstock; both operate on the same principle). The standard truss rod can counteract concave curvature in a neck that has too much relief, for example, by generating a force in the neck opposite to that caused by excessive string tension.
Fender also uses a unique bi-flex truss rod system on some instruments. Unlike standard truss rods, which can only correct a neck that is too concave (under-bowed), the bi-flex truss rod can compensate concave or convex (over-bowed) curvature by generating a correcting force in either direction as needed.
First, check your tuning. Affix a capo at the first fret and depress the sixth string at the last fret. With a feeler gauge, check the gap between the bottom of the string and the top of the 8th fret—see the spec chart below for the proper gap..
Adjustment at headstock (allen wrench): Sight down the edge of the fingerboard from behind the headstock, looking toward the body of the instrument. If the neck is too concave (action too high), turn the truss rod nut clockwise to remove excess relief. If the neck is too convex (strings too close to the fingerboard), turn the truss rod nut counter-clockwise to allow the string tension to pull more relief into the neck. Check your tuning, then re-check the gap with the feeler gauge and re-adjust as needed.
Adjustment at neck joint (phillips screwdriver): Sight down the edge of the fingerboard from behind the body, looking up toward the headstock of the instrument. If the neck is too concave (action too high), turn the truss rod nut clockwise to remove excess relief. If the neck is too convex (strings too close to the fingerboard), turn the truss rod nut counter-clockwise to allow the string tension to pull more relief into the neck. Check your tuning, then re-check the gap with the feeler gauge and re-adjust as needed.
Note: In either case, if you meet excessive resistance when adjusting the truss rod, if your instrument needs constant adjustment, if adjusting the truss rod has no effect on the neck
Neck Radius Relief
7.25" .012" (0.3 mm)
9.5" to 12" .010" (0.25 mm)
15" to 17" .008" (0.2 mm)
Players with a light touch can get away with lower action; others need higher action to avoid rattles. First, check tuning. Using a 6" (150 mm) ruler, measure the distance between bottom of strings and top of the 17th fret. Adjust bridge saddles to the height according to the chart, then re-tune. Experiment with the height until the desired sound and feel is achieved.
Neck Radius Bass Side Treble Side
7.25" 5/64" (2 mm) 4/64" (1.6 mm)
9.5" to 12" 4/64" (1.6 mm) 4/64" (1.6 mm)
15" to 17" 4/64" (1.6 mm) 3/64" (1.2 mm)
Shimming is a procedure used to adjust the pitch of the neck in relation to the body. A shim is placed in the neck pocket, underneath the butt end of the neck. On many American series guitars, a Micro-Tilt adjustment is offered. It replaces the need for a shim by using a hex screw against a plate installed in the butt end of the neck. The need to adjust the pitch (raising the butt end of the neck in the pocket, thereby pitching the neck back) of the neck occurs in situations where the string height is high and the action adjustment is as low as the adjustment will allow.
To properly shim a neck, the neck must be removed from the neck pocket of the body. A shim approximately 1/4" (6.4 mm) wide by 1 3/4" (44.5 mm) long by .010" (0.25 mm) thick will allow you to raise the action approximately 1/32" (0.8 mm). For guitars with the Micro-Tilt adjustment, loosen the two neck screws on both sides of the adjustment access hole on the neckplate by at least four full turns. Tightening the hex adjustment screw with an 1/8" hex wrench approximately 1/4 turn will allow you to raise the action approximately 1/32". Retighten the neck screws when the adjustment is complete. The pitch of the neck on your guitar has been preset at the factory and in most cases will not need to be adjusted.
Set too high, pickups can cause myriad inexplicable phenomena. Depress all the strings at the last fret. Using a 6" (150 mm) ruler, measure the distance from the bottom of the first and sixth strings to the top of the pole piece. A good rule of thumb is that the distance should be greatest at the sixth-string neck pickup position, and closest at the first-string bridge pickup position. Follow the measurement guidelines in the chart below as starting points. The distance will vary according to the amount of magnetic pull from the pickup.
Bass Side Treble Side
Texas Specials 8/64" (3.6 mm) 6/64" (2.4 mm)
Vintage style 6/64" (2.4 mm) 5/64" (2 mm)
Noiseless™ Series 8/64" (3.6 mm) 6/64" (2.4 mm)
Standard Single-Coil 5/64" (2 mm) 4/64" (1.6 mm)
Humbuckers 4/64" (1.6 mm) 4/64" (1.6 mm)
Lace Sensors As close as desired (allowing for string vibration)
INTONATION (FINE TUNING)
Adjustments should be made after all of the above have been accomplished. Set the pickup selector switch in the middle position, and turn the volume and tone controls to their maximum settings. Check tuning. Check each string at the 12th fret, harmonic to fretted note (make sure you are depressing the string evenly to the fret, not the fingerboard). If sharp, lengthen the string by adjusting the saddle back. If flat, shorten the string by moving the saddle forward. Remember, guitars are tempered instruments! Re-tune, play and make further adjustments as needed.
Note: If you have a three-section-style bridge, compensate between the strings to minimize the percentage that any one string that may be sharp or flat. Listen for an aurally pleasing intonation.
There are a few other things that you can do to optimize your tuning stability that have more to do with playing and tuning habits.
Each time you play your guitar, before you do your final tuning, play for a few minutes to allow the strings to warm up. Metal expands when warm and contracts when cool. After you've played a few, you can then do your final tuning.
feel free to discuss a such Teles baws
brought to you by Fender
and the letter T
Interview of Jason Lollar by 300guitars.com
Thanks OneHippie! Great stuff.
passing it along
sorry wrong thread
Intonation on fretted strings is subject to touch. Play with a heavy hand and you'll sharp everything, especially if your action and frets are on the high side. Ditto for lateral bending. It's easy to make a well-intonated guitar sound crappy simply because of sloppy touch, even if everything is dialed in pretty well.
Cool beans, one... Lots of good info here, onehippie....
Just dropped in but I'll donate the following ponderings....
Ponderings on oiling the board:
You can buy pure food grade mineral oil in the constipation section of WalMart cheap...
I bought a bottle for under two bucks that had more mineral oil than I will every use in a lifetime...
You buy lemon drop candy in many stores.
You will need both.
Pull skrangs off.
Take cap off of mineral oil and with a toothpick, stob a little hole in the foil seal.
[ You can pick up soft plastic sharp point squeeze bottles with caps for next to nothing at Harbor Freight ]
Cut a small rag square and put a drop or two of mineral oil on it.
Open your mouf, put a lemon drop in it, and shut it.
Wipe your fretboard down. If you can't see a slight wet, put another drop or two on the rag.
Suck on dat lemon drop.
Once the fretboard has a bit of wet sheen, let it sit for a little bit.
Wipe ALL excess off with another rag.
Congrats! You've just lemon oiled your board. What I used with the lemon drop is about the same as what you paid four times as much for one fourth the amount in a fancy bottle and label....
Lemon drop candy has no lemon in it. Neither does your lemon oil...
Ponderings on changing skrangs on a Lester:
Buy a roll of blue tape at WalMart, Harbor Freight, Lowes, orange box, etc. from the paint section. Painters tape, low tack, no residue....
Before getting diags happy, run a strip twice as long as stop centered on stop and tape ends down on body at each end of stop. It is now secure from falling off and you dicking up the guitar.
Pull off two strips of about two inches or so. Put a strip on bridge end top, down over wheel, onto body. Repeat on other end. Now you bridge is secured so you won't knock off the bridge, turn the wheels, in general so you won't dick up the guitar.
Loosen all skrangs, NOW go diags happy and cut em off, pull the ball ends out and put them away in trash or hoodoo box for revenge stobbing hoodoo dolls and such....
Clean, oil, whatever, then run all the skrangs through the stop and lay to far side of neck out of the way. Then once you crank up at the head, you stay at the head until you're done, and then go diags happy again and trim excess....
Pull the blue tape off and toss.... the tape, of course...
Ponderings on cleaning board:
You can wet as above with mineral oil and lemon drop suckage, then use a cleaned dedicated toofbrush to clean board especially up against frets on both sides where the funk builds up first. Scrub the funk off and wipe it down with a paper towel... or two...or three...till the funk is off. Get your board oiling rag with a drop or two and wipe board down. Wipe all excess off with clean paper towel again...
Just some suggestions. I do what I do because it's how I like to do it.
Find your way to do it...
You are free to do it my way too, of course. I have no issue with that...
Just PayPal Gift me $5.37 for each event and we'll be slick....
Thank You kind Sir Good words
Well received speak with MindFrigg he owes kevin money
noodling out from
the immaculately Abe k night
of the forests of
"" I'll toss this out there in case someone might find my insanity interesting....
Just how I do it and have done it for years and years with no issues.
Lesters (strings first touch post INSIDE the head toward Les Paul stamp, extrapolate from below for other type heads)
I turn the eye -45° outward. (-45° BELOW imaginary horiz line ACROSS head).
I wrap around one full and then around to outside eye @ -45° and go UP through eye toward LP stamp and UNDER the last partial turn and pull moderate hand tight, then pull straight UP to put a bend in the wire to lock it.
I then tune up 'around' pitch, pull on string over board, watching for slip.
All good, I diag cutter the excess off.
When I string any of my Lesters or Lester type, I keep my blue tape handy. (low tack painter tape, we build acoustics so we keep rolls of blue, green, and brown tape handy for assorted things)
Before loosening, pull off a strip of blue twice as long as stop piece. Center across stop with a quarter on Lester-top at knob and a quarter on Lester-top on other end of stop. Secured.
Pull off two strips of blue a couple inches, one strip on one bridge post top down to Lester top. Do it on other end.
Now your stop is secured from fall off, your bridge is secured from falling off and/or the height kbobs dicked up while reskrangin...
Loosen all strings, get the diags and cut em off... Hit the board with the old toofy brush to clean finger stank against frets, hit board with a clean rag with just a drap or two of mineral oil on it. If you must have lemon oil, stick a damn lemon drop in yo mouf while you wipe board with minimal mineral oil to clean. There Ain't No Damn Lemon Oil in the Lemon Oil Fretboard Cleaner. You probably can't even FIND any actual Lemon Oil. It's cheap ass mineral oil with scent, put in a small bottle, and priced fifty times what it's worth. Under two bucks from WallyMart in the constipation section and it's food grade meaning PURE. More mineral oil for under two bucks than YOU WILL EVER USE over a lifetime.
String ALL the strings through stop and lay over to the side away from you. That way you stay at the head of guitar for the rest of the process.
Do the skrang thang above, pull the blue tape, and you are done....
Everybody has their own way and that is cool. The above is MY way and has served me well...
Yeah, I sell the fancy board cleaners in the shop because some folks just GOTTA have em and I own a biz selling stuff.
However, on the shelf at my guitar bench at the shop is a soft plastic squeeze bottle with a slender drip nose and cap, filled with pure mineral oil. You can get a pack of three of those plastic squeeze bottles at Harbor Freight for almost nuttin, mineral oil at WallyMart for under two bucks and you'll probably have the equiv of waaaaay over fitty smackers of fancy bottle lemon oil that ain't never even seen a picture of a lemon, much less have anything "lemon" even close to it.
Carry on..... ""
Here's another pondering I posted in another thread in reference to gunk getting on the neck during a gig.... sticky neck..... Works for me....
If you have old blue jeans you don't wear anymore cut the legs off, and separate each into two long wide strips, cutting the seams out.... Cut one leg into in smaller pieces. (apply wax, cleaner, defunk gears, stop, bridge, frets, etc.)
Best buffing rags there are....
Get some carnauba wax at a guitar shop or order from stewmac or such.
Wipe down neck with a rag and make sure neck is clean.
Before you do the below, buff the neck finish with a jean strip...
Get a small piece of jean rag and load a bit of wax and run it into neck back in circles in a small area and really rub, gradually moving. reload as necessary.
When it is covered, let carnauba dry. When dry, get a jean strip and buff hell out of neck.
Do it again.
Do it again.
Do it again.
I then buff like crazy to make sure it is smooth as glass.... Most gunk won't stick. What will will wipe off easily.... Keep a jean rag in case two wipe neck with between sets...
I have carnauba'd my guitars for decades. My old Custom has had it for pushing four decades... If there was any issue, I would think I would see and know by now from my guitars that have had it for years and years...
Necks are all slick on mine.... I do the bodies too, just not to the level of the neck... I do it until I really get the glass....
Just what I do.... Your call on what you do....
Philbertius believes that once about 2mm of dust solidifies on a guitar, it's protected forever...
To each his own....
just not phils ways
well phils a goof remarks
dont let him know
of this corner of idyll
He just input polluting infos