Case Studies
Case Study - Webber Roundbody Guitar
This a guitar setup on a high-quality
handmade guitar built by David Webber, of North Vancouver BC. I was not in as much of a rush to work on
this guitar, because its intonation was much better than the most guitars. The guitar has a beautiful, full and
balanced sound.
The guitar was originally
set up for medium strings; the new setup is with Martin light/medium strings:
.0125–.055, exactly between lights and mediums.
I made all of the pitch
measurements using the Seventh String Tuner.
The bridge saddle is .122
thick (just under 1/8”). The strings
rested on a ridge along the edge of the saddle, in a straight line, with no individual string compensation.
As I have mentioned, on
acoustic guitars we tend to play a lot at the lower end of the fretboard, so nut compensation is far more important than saddle compensation. But, we often
tend to cut too much slack for bridge saddle intonation. Accomplished players deserve better; good players are doing
high leads; swing players are doing full closed chords typically up to the 10th
fret or higher, etc.
At this time, I decided to
do the full meal deal on the saddle. As
I do not have the means to cut a wider groove in the bridge (without destroying
the guitar) I decided to make a new bridge saddle of the same thickness as the original,
and add material to accommodate the intonation needs, similar to adding shelf
material to the nut. It's a shelf-saddle!
A problem with the original bridge saddle
was that the 1st and 3rd strings were overcompensated
(they played flat by 4 cents and 8 cents, respectively, at the 14th
fret) so material needed to be added to the new saddle, toward the nut. Another problem was that the
4th, 5th and 6th strings were
under-compensated (played sharp by 3, 5.5, and 13.5 cents,
respectively). There was plenty of
material to compensate the 4th and 5th strings, but the 6th
string needed to be faceted close to the back edge of the saddle. I added a piece of bone to the saddle to provide a smooth
curve for the 6th string to follow, from the bridge pin up over the
saddle, rather than a ski-jump with an abrupt edge.
It's important to notice that, in this case, the need for more bridge saddle thickness was not caused by compensation comparing fret 14 to fret 2, instead of open, or by compensating the nut. The nut compensation actually reduced the amount of adjustment needed at the saddle for the 1st, 3rd, and 6th strings!
The nut was originally
positioned forward of the standard calculated position, sufficiently to
compensate the 2nd and 5th strings pretty well. That left the 6th string somewhat under-compensated, and the 1st, 3rd, and 4th
strings slightly over-compensated.
Compensation was
accomplished, using the original nut, by adding a partial shelf for the 6th
string, and faceting back at the 1st, 3rd, and 4th
strings.
Doing this guitar setup was
tedious, but the result was well worth it! The guitar really sings!
Most readers looking at these
photos, and comparing them to their own acoustic guitars, will probably be amazed at how
much compensation is needed to really achieve equal
temperament! While almost all guitars show some amount of compensation measures, I think, especially for acoustic guitars, the usual standards are insufficient for serious players, and should be raised.
Case Study - Roberto Acha Geronimo Classical Guitar
This guitar was built by Roberto for a contest in Paracho; it won third place. Lightly braced and slightly arched, it has a gorgeous, pleasing sound - and it's quite loud! It has Paloescrito sides and back, with Canadian cedar top.
It sounds really great with the compensated nut. It was built with the nut slightly forward of design position, so the nut needed to be faceted back about .020" (.5mm) at the 4th, and just a bit at the 5th. I was also able to improve the intonation at the bridge saddle; I was able to facet the original saddle, and still have enough height. Action at the nut is .013" - .018; at the 12 th fret is .120 - .114"

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