Ricardo -> RE: What to use for lifting strings from saddle? (Nov. 11 2012 17:50:05)
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quote:
ORIGINAL: Ruphus quote:
ORIGINAL: Anders Eliasson quote:
You guys are crazy if you use "A string" of any brand to intonate a guitar. Is that REALLY how it's done? I am in shock as SO MANY times an intonation "problem" is the stupid imperfections of the string itself!!!!!!! What are you talking about... Has this something to with this thread or something else? I think he means that string diameters inconsistency ( which can be quite with some brands ) would make it senseless to strive for fine adjustment with the guitar. Ruphus Well, to be more clear....factors affecting intonation: Assuming the guitar was constructed on the drawing board mathematically correct: 1. Strings.... I have never played the perfect set. Whenever a problem appears, no matter how minor WOOOOSH off they go. I don't waste time dealing with it. It's usually just one string but I have encountered bad batches of EVERY BRAND I have ever tried...so I am not afraid to go through a bunch till the guitar magically is perfectly in tune. THen you have to go the extra step if you are talking a full out set change...to give several days for them to settle before the harmonics start complementing each other...and of course there is danger that after those days you start killing them if you play a lot and even playing causes strings to go bad intonation wise to boot!!!!! 2. So lets say the strings are good by some miracle. Humidity. Just going from one room to another, a rainy day, whatever, affects the darn wood in a BIG WAY....it can make strings sound dull one day vs the next, change the action feel and with it ...the intonation. Not anything anyone can do about it unless you only use your guitar in vacuum sealed humidity controlled environment. 3. Finger pressure. That's right, just touching the strings affects the tuning, relative to the strings NOT touched (ie open strings). So any kind of intonation you think bone fussing is significantly affecting, is only involving the open strings (unless the guitar is set up with super low action like buzzing on frets by just breathing on the strings, and the frets are super low too). Higher action, scalloped neck, high frets, etc all for the players quite aware of the physical control they have over intonation. Doing a vibrato is delberate alteration of tuning of a single note. Doing barre chords on high action guitars it becomes obvious how careful one needs to be with finger placement and pressure. 4. Bone. Action is huge. THe lower the better intonation will be, and this is directly tied to number 3 above. Ok, say everything above is minimal, you have your guitar with perfect lazer selected strings, in your humidity controlled vacuu room, with your action set up super low over low frets and you only need apply the smallest pressure....so you have your compensated bone for the sake of your fatter or skinner strings. Well, over time of playing the bone is wearing out just like strings, only slower, but much faster than say your golpeador or the frets!!! So I admit it has some purpose of intonation regarding open strings relative to each other (good grief every body and their mom hates the G string, compensation, composite material, different color, wound, not wound, gut, carbon etc )....but when looking at percentages I can't believe it's doing all that much. I have changed tons of bones on classical and flamenco guitars....and intonation issues are almost never (though it's common to blame) the physical aspects of the guitar build. CHange strings, action, playing technique, humidity issues...and the problem normally disappears. A compensated bone has no defense against all too common bad strings, bad playing, high action etc.
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