Ricardo -> RE: quick scale length question (Aug. 6 2022 18:40:24)
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quote:
The higher the action, the more compensation needed. There was an implication that I “compensate” uncompensated guitars, by pushing forward toward the bridge. This is not exclusive. You still have to pull back or play “normal” in order to intonate properly with the music or open strings and key you are in. Highly compensated guitars are very noticeable to me because I always have to “counter compensate” on them (pulling the notes sharper in response). The HIGHER the action, the easier it is to intonate physically, though it slows your scale and jumping position speeds. But you feel way more control over the intonation, especially up in the higher positions above 7th. You also get much increased dynamic range with high action guitars. In a fiesta with more than one guitar playing, like lead vs rhythm, I always choose the higher action guitar available for projection. By the way, one thing I learned with singing that I at first found strange, is we often have to over shoot the target note by a 1/2 step and do vibrato in rhythm and the voice sounds more in tune than if you hit the target pitch out right. It is a bizarre phenomenon to me as an instrumentalist but something about the voice and the upper harmonics that clash if you try to hit precise notes. That Autotune thing is mainly sharpening notes of singers, and they don’t do vibrato with that filter. So for example an E chord…we actually need to sing an F natural first and let it pulse down to E. For G# you hit A and down. For B you hit C natural and down. I have slowed down pro singers and observe this thing happening. Singers that hit target pitches first and hold are rare, but when they do that plus vibrato they sound flat. It is weird. I know guitar intonation is different but I approach it similarly, many times I come into target notes a bit sharp and it sounds better. For me the extra compensation gets in the way.
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