According to this picture (two prints from Stewmac, and my own measuring, measured with a caliper), can you please let me know which is the correct scale?
Looks like you may have a 648mm with the first at 38.4 while the calculated length is 36.4, the second and third fret measurements are close to the 648 length.
If you are measuring 325 then it looks like you got a 650 board there. I would recommend you measure more then jsut the 1st fret too. Double check at least 3 or 4 more. The reason I say this is because many a pre-cut fretboard I've bought, even from reputable dealers, is off just a little bit. I can cut them more accurate by hand and that's why I only do it that way now. But 5mm is a LOT to be off and that suggests to me that you have a 650 there.
Artist Cl44spkam Full Size Classical Guitar Ultimate Pack
It might be, within the accuracy of your measurements, a 25.5 scale (647.7 mm). That would put the 12th fret at 12.75 (323.85 mm).
Although Stewmac gives the distance between frets, I find it easier to use a ruler and measure all fret locations from a single reference, the end of the fingerboard/nut location.
Last, it is relatively common to shorten the distance from the end of the fingerboard/nut to the first fret. If measuring such a fingerboard from the end of the fingerboard to the 12th fret without accounting for that foreshortening, you will get an incorrect scale length. In such cases, it is necessary to work with the between fret distances to help determine the scale length.
Ultimate Guide To Guitar Scale Length
The reason I suggested 25.5 is that it is relatively common, while 478 mm is not, though is used on Selmer guitars.
I looked at the fret distances and when the first fret did not match the scale length I took a guess that maybe the board was cut with a mm or two extra on the first fret. So I discounted the first and looked at the second, third and fourth. I then punched in different scale lengths in FretFind2D till I got a reasonable match on the numbers he measured to the calculated ones. I ignored what is common and what he was to get, I just used the numbers to get the best match, ignoring the first fret though. If anyone has a better way of figuring out what he has I am open to it. Taking a measurement from the second fret to the 12th and comparing the distance to a scale would be my next avenue to pursue.
Thank you for your answer. The measurements look good. The thing though, if I should go with this scale, I would need to cut the board 1mm, leaving the first fret still about 1mm to long.
Ask The Luthier
If OP is going to measure between frets starting at the first fret in order to figure out the scale length, I think it would be a good idea to measure a whole range of frets, like first through twentieth. At least then the numbers will show the largest possible differences. I think measuring between the first and second frets, for example, the identity of the scale length can be lost with very small variations in fret-to-fret distances.
If you can measure with reasonable accuracy distances between frets you should be able to figure out what the scale length is to some accuracy.
What's little-known, is that the ratio of the first to second fret is theoretically the same as the second to third, third to fourth, etc. So if you divided the measurement between the first and second frets, by the measurement between the second and third frets, you'll get a ratio, that will be the same no matter which adjacent measurements you take. Then you just reverse the process to solve for the theoretical first fret distance. Basic algebra.
Guitar Hardware Basics
Where L is the distance from the nut to fret n, n is the fret number who's position you want and x is the scale length. The 2**1/12 gives equal temperament.
It can be manipulated in a variety ways, including telling you the scale length based on fret distance as well as the difference between two fret distances.
Where should the bridge be placed? Should I measure between the nut and the front to back center of the saddle slot along the central line of the guitar? I think I have heard of a compensation, +3, 80mm if I'm not mistaking.
All About A Fretted Instrument's Scale Length
That's the way I do it Falk. From the nut face to the center saddle slot right, down the center of the fretboard, plus .1 inch. That would be closer to 2.5mm. I think 3.8 is a bit much.
The required saddle compensation is less for the high E and greater for the Low e. I use 1.5mm compensation on high E and 3.5 on Low e for location of the FRONT of the saddle. Then the saddle gets 2 angles for the peak - high e to b, and G to low E.Compensating to correct the intonation: Part I This page is dedicated to working with intonation on acoustic guitars, but the information here is applicable to other fretted string instruments. Much of my own understanding of intonation has evolved from long experience using this device, known as the Tune-O-Matic bridge: Whatever an instrument's scale length, action height, string gauge, or string pitch—assuming the frets and nut are in the right places—you can dial in each string's intonation perfectly, using only a little screwdriver and the thumbwheels. Tinkering with these things completely demystifies the concept of intonation. Most acoustic guitarists have no experience with them. And unfortunately these things ruin the sound of acoustic guitars. It's been tried and found tragic.
The word compensation simply refers to adjusting the length of a string so it plays in tune up the board. You are compensating for the change in tension and pitch that occurs when you press a string down, deflecting it from its original state as a straight line. For example, when you press a string down, you raise the tension and the pitch of the string a bit. Shorter scales, such as Gibson's 24-1/2 scale from the days of yore need more radical compensation than longer scales such as the now-standard 25.5 / 648mm scale. Lighter strings need more. No matter the scale, higher action also needs more radical compensation, since you stretch the string sharp as you press it down to the fret. And so on. But with care, you can apply the principles you learn from the Tune-O-Matic to acoustics with bone saddles in wooden bridges, or acoustic archtops and the like, and not worry about the adjustability, since it's usually a set-and-forget proposition.
Stewmac Saddlematic Saddle Placement Locator For Acoustic Guitar
Years of listening to clients and other players bemoaning how Martins (in particular, but not exclusively, since so many other makers copy Martin) intonate sharp as the low E is capoed or fretted up the neck made clear that that end of the saddle was simply in the wrong place.
The bass end of the saddle needed to be moved back a) so the vibrating string was longer and b) so the fretted notes came closer to what they should be. That's basic compensation.
The bridge has a footprint on the top, and so it can't be moved, and most of the time, fortunately, the high E is fairly correct, so here, then, is the simplest cure: put the saddle where it belongs, and don't mess with the bridge placement at all.
Applause Jump Acoustic Lagoon
To do this you fill the slot with ebony (or rosewood, as appropriate) and cut a new one. The point of contact for the high E is usually left precisely where it was, assuming it was spot on, but the point of contact for the low E ends up farther back.
There's a problem with this however: sometimes the bridgepins are in the way of where the saddle needs to go - there is not enough room for the desired change. This image, above, looks fine, but in reality it's trouble because there's really not enough room for the low E string to go up and bend over the saddle from the string ramp in the bridgepin hole. If the saddle is low, it can sometimes work. But more often than not, it demands a compromise.
And sometimes the entire saddle needs to be not only angled back farther, but the point of contact for the high E has to go back a bit as well—see the blue saddle above. Now the bridgepins are really in the way.
Acoustic Guitar Scale Length
Here's another look at the basic factory bridge. The yellow line is for a reference on the location of the bridge pin holes. (It also shows how the belly bridge evolved from the earlier pyramid and 1x6 configuration).
Now have a look at the image below. The footprint of the bridge remains the same, but it shows a new bridge with the bridgepins and the saddle both moved - reference the yellow line in the two sketches, above and below. Now there's room for the
0 Response to "Acoustic Guitar Scale Length Compensation"
Posting Komentar