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I know from some Gretsches that you’ll achieve an at least satisfying intonation from simple uncompensated bar bridges.
Is it necessary to use a plain-G compensated bridge if you’re playing plain G strings? Will a bridge compensated for a wound G work satisfying if used with a plain G?
Here you can see a Guild M-75 with a plain G using a rosewood bridge compensated for a wound G.
So, what the heck?
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01-04-2021 06:35 PM
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No, that's compensated for a plain G. With a wound G, a straight saddle works.
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Originally Posted by sgosnell
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Originally Posted by sgosnell
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no a plain g needs the saddle back closer to the tailpiece...
the guild aristocrat ships with d'addario 11-49's with unwound g...but the bridge pictured in op is for a wound g!....a faux pas
if you want that bridge to work, use a wound g..it does matter for spot on intonation!
that's why i mentioned in your ngd aristocrat thread that bigsby makes both..wound g and unwound g bridges!
cheers
ps- why tune-a-matics are so popular!!! hahaLast edited by neatomic; 01-07-2021 at 09:02 PM. Reason: corr-
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It all depends on the tension of the respective string. If you'd use an unwound g string with approximately the same tension as a wound one you may get away with it.
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Originally Posted by TOMMO
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Originally Posted by KirkP
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Originally Posted by TOMMO
G. Varieschi and C. Gower, “Intonation and compensation of fretted string instruments,” Am. J. Phys. 78 (1), 47-55, January 2010.
https://digitalcommons.lmu.edu/cgi/v...ntext=phys_fac
I only skimmed it, but the level of detail in their analysis suggests that compensation is driven by much more than string tension. It seems reasonable to assume that a wound string will respond much differently to stretching than an unwound string, even if set to the same tension. That’s one reason guitarists who want to do wide bends prefer solid core G strings. That’s as far as I’ll go down this rabbit hole today.
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Okay, all in all it‘s best bet to use the matching bridge!
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Originally Posted by KirkP
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I generally used a standard compensation bridge that gradually lengthens the string length from 1st to 6th. I don't generally like it when the G is set shorter and I guess I don't run into that one being an issue give I use a wound third. In all the repairs and such I have done it just never seems to make a huge difference. The problem is that just varying the pressure of your finger as you play will change the intonation. The only thing I do notice is that occasionally the 4th string will be a bit flat by 2 cents depending on the strings at the 12t. Does not cause me issues playing but never have figured out why the 4th string at least for my own achtops seems to be the bugger.
I went from a tunomatic on my Super400ces to an Ebony saddle I carved to my usual stated diagonal line, and it did not change the intonation a bit. Was basically the same as the tunomatic, that was slightly adjusted different. Could be we are trying to spit atoms without a real atom smasher?
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Originally Posted by TOMMO
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Aristocrats ship with TOMs. That's an aftermarket bridge.
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BTW, I compensate my G string to the right.
My inner fourth grader demanded that it be said. I'm not sure that men ever really get out of the fourth grade. I know you were all thinking something along those lines.
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Aristocrats ship with TOMs. That's an aftermarket bridge.
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Originally Posted by nopedals
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Originally Posted by Cunamara
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