The G-Sharp or G# guitar is an instrumt in the guitar family, invted in 1997 by the Norwegian luthier Øivin Fjeld. It differs from other guitars mainly because of the short scale lgth of only 20.87 (530 mm), and the first four frets are actually missing. The G-Sharp is tuned accordingly, and the standard tuning is idtical to putting a capo on the 4th fret on a regular guitar: G#-D#-B-F#-C#-G#
As G# and A♭ is the same musical note it would be correct to say that it is an A-flat instrumt, but naming his guitar and his company Fjeld chose to ignore this fact, and it is not mtioned anywhere. The headstock of his guitars is branded with g# and his signature.
All guitars are neck-through-body mahogany, with maple or rosewood fretboard, bone nut, two-way truss rod, and a push/push invisible volume control. The standard guitars comes in differt finishes; natural, three-tone sunburst, wine red, black and antique white. The classical guitar is natural light brown. The bridge of the guitars is loose, and an intonation template is included to always be able to find the correct placemt for perfect pitch. The reason for this is not found in available sources.
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The standard G-Sharp, also named OF-1 (Oivin Fjeld number 1), is an electric guitar with a specially designed single coil pickup. It is shaped to fit a slot in the body, seemingly shaped to simulate a sound hole.
But additionally has the optional Acoustic Bridge from Fishman, meant to give the player the option to mimic an acoustic guitar. This means the guitar has two pickups, and two outputs. They can be used simultaneously if desired. The acoustic bridge can easily be tak off or put back on, and can also be purchased as an accessory to the standard G-Sharp guitar.
The classical G# has the same body shape and size as the standard, but a wider neck, nylon strings, and also a slotted headstock like most classical guitars.
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Luthier Øivin Fjeld had be building and repairing guitars for years in his workshop in Fredrikstad, Norway, and for a period of time he was also head of the guitar faculty at the Music Instrumt Academy in Norway.
This is where he set out to build something unique, and trying out short-scale guitars he found the sound he was looking for with the G#-tuning. This prototype became a template from which his studts learnt to build guitars.
Fjeld never planned to commercialize the guitar, but having a lot of guitarist frids who heard rumors and wanted their own, he started a small production. At the time he didn't expect great demand for them, and he was wrong. Requests came from all over the world, and the OF-1 has be in series production since 2005.
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In 2006 Fjeld brought his guitar to the NAMM music products show in Anaheim, California, borrowing a corner of Ashdown Amplifiers' stand. The response was overwhelming, and he wt home with serious requests counting upwards to 20.000 guitars. Among them was Lee Dixon, Eric Clapton's guitar technician, who wanted to put the G-Sharp guitar in all of Clapton's studios. Mark Knopfler also tested the guitar for an tire eving, and later his colleague Guy Fletcher asked for more guitars on his behalf. During the show Fjeld also gave a G-Sharp guitar to Delbert McClinton and Scotty Moore.
In 2006, two major American distributors contacted Fjeld about his guitar, and also Fder Musical Instrumts Corporation contacted him, looking to take over both the distribution and the production. The G-Sharp had rectly gott a great review in the U.K. music magazine Guitar Buyer, and this year the guitar wt from being interesting to guitar players, to being an interesting investmt for larger companies. During the international fair for musical instrumts in Frankfurt, Fjeld was contacted by Fder product managers, and asked to sd his guitars to their bosses in Scottsdale. The company wanted to make a deal with Fjeld, but the fact that he had not yet patted the guitar, and the size of the project, made him hesitate and finally refuse the offer.
In 2014, Øivin Fjeld sold the G-sharp name, product and company, looking forward to a quieter life. He felt happy the guitar didn't d up pottially in a Fder desk drawer, and is confidt the company is in the right hands. The new owner is the U.S. based Norwegian Frank Peders, and as of 2014, the G-Sharp company is based in Pleasanton, Kansas USA.Intonating a flattop’s bridge saddle is tricky, and that’s especially true when it comes to vintage 12-string guitars. Back in the day, it was rare to find an acoustic 12-string with a compensated bridge saddle. In fact for many players, the slightly out-of-tune jangle was a big part of a 12-string’s aural mystique. But times have changed, and as music and recording technology have evolved, most musicians and producers expect a 12-string to play reasonably in tune all along the fretboard.
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Intonating a flattop 12-string with a straight bridge saddle involves filing unique break angle and intonation points for each string—an operation that requires skill and patience. Let’s investigate and see exactly what’s involved.
We’ll use a beautiful 1972 Martin D-12-20 as our project guitar. The guitar was in good shape when its owner brought it into the shop, but it didn’t play even remotely in tune and the action was uncomfortably high. Many old 12-strings require a neck reset (an expensive proposition), but I checked the neck angle and it was fine. Fortunately for the guitar’s current owner, the problem was rather simple. Somewhere along the line a previous owner or tech had installed a saddle that was both too high and incorrectly radiused (Photo 1).
My job was twofold: lower the action by reshaping the bridge saddle and then intonate each string. I knew that once I completed these tasks, the D-12-20 would play better than ever and sound more in tune at the higher frets.
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Requisite tools. To intonate a 12-string, you need a few specialized luthier tools. These include a string action gauge, radius gauges, and a radius block (the latter must match the fretboard radius). You’ll also need a mechanical pencil, a capo, self-adhesive 80-grit and standard 400-grit sandpaper, and flat, single-cut miniature needle files.
You can estimate where each string should rest on the saddle, but it’s nearly impossible to get it perfect on the first try.
Preliminary check. Before starting this kind of work on a guitar, it’s important to tune to concert pitch and take measurements. These specs provide a baseline to help gauge your progress. You’ll be taking several measurements, so write them down as you go.
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First, put a capo on the 1st fret and measure action at the 12th fret with a string action gauge. Take this measurement for both the 1st and 11th strings—the first of the doubled high Es and the low E string. (We’ll assume your 12-string has the standard octave-string configuration, i.e., the octaves in each pair are closer to you than their wound partners. Some electric 12s, notably Rickenbackers, reverse this order.) Measure the distance between the bottom of the string and the top of the 12th fret.
Next measure the relief: With the capo still on the 1st fret, hold the 11th and 12th strings down at the 14th fret and measure the greatest gap between the bottom of the 11th string and the top of the frets. Typically this occurs around the middle of the fretboard, somewhere between the 7th and 9th frets. You can identify this gap by tapping the 11th and 12th strings against the frets while still pressing them down at the 14th fret.
Finally, using a strobe tuner, check the intonation for each string. (Naturally, this is tricky on a 12-string because you have to pluck each individual string of the six pairs.) Starting with the 1st string, play the 12th-fret harmonic—make sure it’s in tune—and then fret the same note. If the fretted note is sharp or flat compared to the reference harmonic, write down how many cents it’s off and in which direction. Repeat the process until you’ve documented the intonation at the 12th fret for all 12 strings.
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Our 12-string’s preliminary specs. Here’s how the D-12-20 measured up: The action at the 12th fret was 6/64 for the 1st string and 7/64 for the 11th string. Too high to play! The relief was .012—perfect for my client’s playing style. At the 1st fret, the 1st string was 1/64 and the 11th string was just over 2/64 above the fret. Again, perfect action at the string nut. At this point, I knew my job would simply entail lowering the action at the bridge saddle.
When I checked the intonation with a strobe tuner, and compared the 12th fret harmonics to their corresponding fretted notes, I found most of the fretted notes were from two to six cents sharp, although the G and D pairs were flat by about three cents.
Sanding the bridge saddle. My next step was to check if the saddle’s radius matched the fretboard radius. My radius gauge
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