Here's my question: What techniques do folks here use for fret leveling a guitar that's already been leveled at least once, and you want to protect and/or avoid areas that don't need material removed, or when you will be making more than one pass to handle different regions separately? Reason I ask is, I'm about to do a second level and crown on an Epiphone Dot, based on a lot more experience than the first time I did it a year or two ago. Since I'm an amateur, I take care and go slow & use proper tools. Members whose comments on leveling I've read and found helpful include Walter W., David Collins, and John Coloccia, among others. This isn't going to be a spot leveling of a few high frets here and there, but rather, a general refinement. I plan on removing almost no material from most of the frets in first position; a small amount (under 0.003") from the 1st fret and also from a small "hill" of frets in the middle of the board; and very little from the tongue, with nothing at all from the last 3 or 4 frets. Why these imperfections exist is that first time around, I did the job without a neck jig - only to discover that the neck buckles slightly under string tension. Not a big deal; but now I have a neck jig, and although jigs are necessarily imperfect, it will give me a leg up in smoothing out the buckle. (As an aside, I totally agree with what David Collins has said elsewhere about the surprising non-rigidity of jigs - they can't be trusted blindly, you must watch for neck & beam deflection & compensate as best you can.) So you can see that I have some regions that will be getting more attention than others. Hence my question; in performing this second and more refined leveling, I hope to remove as little material as necessary and not just heedlessly grind. Here's the only example of such a technique that I've come across so far - at least I think it's an example; it's from a comment by @John Coloccia, in a 2013 thread titled "Adding "falloff" to upper frets? How?". John says the following: I can't tell from the above whether the masking tape is on top of the 8th fret, or on each side; I would assume the latter, except that "Acoustics need a bit more, so it gets more and I use a little more tape" seems almost to suggest it's on top - probably I'm misreading. I'd like to hear more; does anyone else here do something like this? Aside from that, I've read many descriptions by @David Collins here and on other forums of how he levels via a succession of passes, refining what has gone before. So again, I'm curious as to how he manages to protect areas that don't need leveling during a given pass; is it all to do with well-drilled motor skills & a detailed mental picture, plus appropriate beam/file lengths, plus left-hand support? Or do tape or other devices sometimes play a part? I wonder if a very thin-gauge brass strip, well-taped down so as not to catch its edges, might be useful over a fret that serves as a "pivot"? (Either that or just several layers of very smoothly-applied tape.) This would be useful only with leveling beams & sandpaper, not fret files: the idea would be that the region on one side of the pivot fret gets worked on, while the region on the other side isn't touched because of the way the pivot fret causes the beam to ride up at a slant. (Similar to what I asked about above w/ John C's quote.) The leveling beam, unlike a fret file, could also have an end free of sandpaper; this would be the end that travels over the pivot fret. Care would need to be taken with the depth of the sandpaper & the depth of the brass strip or tape, as well as frequent stopping to re-check or re-measure, re-marker frets, etc. Of course there is always using short strokes plus short leveling beam, e.g. I can use an 8" beam for one region in particular; this seems to be the technique that people mention most often for fallaway, for example; but I don't know if it's as useful for other regions of the neck? Anyone who's got experience with selective leveling, and favors a particular technique, please share!