#1
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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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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 |
#2
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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
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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 |
#4
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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. |
#5
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I slot my saddles on the assembled guitar, after intonating each string
Steve
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Cole Clark Fat Lady Gretsch Electromatic Martin CEO7 Maton Messiah Taylor 814CE |
#6
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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.
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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 |
#7
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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. |
#8
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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...
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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 |
#9
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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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Rodger Knox, PE 1917 Martin 0-28 1956 Gibson J-50 et al |