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  #1  
Old 07-28-2018, 02:23 PM
viento viento is offline
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Default How make an optimal bridge

I´m working on my new 12-string (acoustic).

The scale is 25.5" / 648mm .(=mesured from the nut up to the middle of the saddle)

1) How do I find the right saddle angle ?

2) Any advantage of making a split saddle for compensation?

I know "there´s no money above the fifth fret" - whoever stated that -
and I dont play farther above that fret - normally
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Martin D28 (1973)
12-string cutaway ...finished ;-)
Hoyer 12-string (1965)
Yamaha FG-340 (1970)
Yamaha FG-512 (ca. 1980)
D.Maurer 8-string baritone (2013-2014)
and 4 electric axes
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  #2  
Old 07-28-2018, 04:33 PM
Halcyon/Tinker Halcyon/Tinker is offline
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Stew Mac's fret calculator has a compensation feature as well that gives actual sting length. Subtract the shortest string from the longest string and you'll have your saddle angle...
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  #3  
Old 07-28-2018, 05:09 PM
viento viento is offline
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Thanks, I´ll try to calculate that!
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Thanks!




Martin D28 (1973)
12-string cutaway ...finished ;-)
Hoyer 12-string (1965)
Yamaha FG-340 (1970)
Yamaha FG-512 (ca. 1980)
D.Maurer 8-string baritone (2013-2014)
and 4 electric axes
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  #4  
Old 07-28-2018, 07:30 PM
Alan Carruth Alan Carruth is offline
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I've always used a wide saddle on 12s, with two ridges to seperately compensate the regular strings and the octaves, which need much less. I'd make the top of the saddle flat and use a crosswise piece of the B string to find the correct point to get the intonation right at the 12th fret. The ridges go all the way across, with a V-shaped trough in between, and I nootch out whichever one is not needed for a string. A few years ago I made an improvement on that.

I got Trevor Gore's books and paid pretty close attention to the chapter on compensation. He made a strong case for nut compensation, and also talked about a rig for determining the proper offsets experimentally. I set one up and used it to get the numbers for my next 12. Some of them were pretty extreme, but then, it was set up for open G tuning at standard pitch. When I got it all together we checked it with a tuner, and no note on any string or fret was off by more than three cents. The sound was almost too smooth, with none of the usual 12-string 'crunch'. I was worried that the customer might not like it, but he was happy that he would not need to retune between the A and B parts when he went up the neck.
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  #5  
Old 07-28-2018, 10:37 PM
mirwa mirwa is offline
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I slot my saddles on the assembled guitar, after intonating each string



Steve
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Gretsch Electromatic
Martin CEO7
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  #6  
Old 07-29-2018, 05:10 AM
viento viento is offline
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Thanks for sharing your experience and results, Alan and Steve!

Steve, your method is way simpler than Stew Mac's fret calculator but
does what it´s for...
I´ll try that.
__________________
Thanks!




Martin D28 (1973)
12-string cutaway ...finished ;-)
Hoyer 12-string (1965)
Yamaha FG-340 (1970)
Yamaha FG-512 (ca. 1980)
D.Maurer 8-string baritone (2013-2014)
and 4 electric axes
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  #7  
Old 07-29-2018, 05:14 AM
mirwa mirwa is offline
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After intonating each string position, I spot drill a 3mm hole on the outside of my E strings. Then using a router connect the holes



Steve
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Cole Clark Fat Lady
Gretsch Electromatic
Martin CEO7
Maton Messiah
Taylor 814CE

Last edited by mirwa; 07-29-2018 at 07:37 AM.
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  #8  
Old 07-29-2018, 07:01 AM
viento viento is offline
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That´s it!
I´ll do the same.
I am still waiting for the Precision Router Base from StewMac I ordered 3 weeks ago.
Shipping over the pond takes a while...
__________________
Thanks!




Martin D28 (1973)
12-string cutaway ...finished ;-)
Hoyer 12-string (1965)
Yamaha FG-340 (1970)
Yamaha FG-512 (ca. 1980)
D.Maurer 8-string baritone (2013-2014)
and 4 electric axes
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  #9  
Old 07-29-2018, 12:39 PM
Rodger Knox Rodger Knox is offline
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The fret calculator gets in in the ballbark, using a temp saddle gets you in the strike zone. In the ballpark is usually good enough.
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1917 Martin 0-28
1956 Gibson J-50
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