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First Time Intonation Questions
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Author:  dmills [ Sat Apr 07, 2007 3:48 am ]
Post subject: 

I just finished my first guitar a few weeks ago.  I set the string clearances to about 75% of where they need to be and set it aside for a few weeks for the guitar to settle in under tension.  I am now ready to finish the setup and want to make sure I am going about it correctly.


 



  1. Should adjusting the intonation at the saddle be left to the last step as adjusting the relief and string heights may affect the string tension/length during the adjustments?

  2. Can I use my little inexpensive Korg GA-30 electronic tuner to do the rough justice intonating?  I know the more expensive strobes are usually referenced but I don’t own one.

  3. Currently my 3/32” wide saddle top has not been shaped much other than to smooth the right angle edges at the top.  When tuned to pitch, the Korg registers proper pitch for the open string and the 12th fret harmonic.  The fretted note at the 12th fret registers a bit sharp for all the strings however which I guess makes sense as the strings would be breaking from the front side of the unshaped saddle top.  Is my assumption correct that a 12 fret sharped note indicates the break point for the string should be moved back (away the nut) – increasing the effective string length and lowering the pitch?

  4. I’ll try using a piece of treble E string to make the intonation adjustments as mentioned in a few previous threads.  However, 3/32” doesn’t seem like much real estate in which to adjust string break points (I used a pre-shaped LMI bridge).  Do very small adjustments have a significant impact on the intonation?

  5. Do those of you who shape their own saddles normally use a 1/8” thick saddle to allow for a greater range of intonation adjustment?

  6. When making the adjustments I assume I will file an angled ramp at the front side of the saddle to achieve the proper break point.  Do you then relieve the back edge of the saddle ramp to ensure the string break is a peak rather than a flat spot?

 


Thanks for the help.
Author:  dmills [ Sat Apr 07, 2007 6:05 am ]
Post subject: 

Thanks for the clarifications Hesh.  One other question regarding the E string intonation method before the bone dust flies.  I assume –


 



  1. tune open string to pitch.

  2. Insert the e string segment under the string at the saddle.  The open string may now be out of pitch which is ok – yes?

  3. Move the string segment until the fretted 12th is at correct pitch

  4. Mark the string segment location.

  5. File the saddle to the marked location.

  6. Open string pitch and fretted 12th pitch should now be the same.
Author:  Joe Beaver [ Sat Apr 07, 2007 6:26 am ]
Post subject: 
Doug,

I believe you have it. Great advice from Hess!!

One note... Many recommend setting the break point in this fashion..

1. check the fingerboard to make sure the frets are level

2. adjust the truss rod

3. set the nut and saddle to the height you like

4. tune the guitar with the strings you prefer

5. play it now and again for a day or so

6. tune it again

7. loosen one string at a time and put a small piece of .12 or so wire on top of the saddle.

8. now retune, getting it as dead on as you can

9. fret the 12th fret and pluck, Look at the tuner. Now play the 12th fret harmonic. Move the wire until the harmonic and 12th fret plucked note match. (You will notice this is the tricky part. This method has you setting the intonation against the 12 fretted and the 12th harmonic, not the open string.)

10. mark the center of your final location of the piece of wire and file to this mark
Author:  crazymanmichael [ Sat Apr 07, 2007 7:43 am ]
Post subject: 
i am puzzled by hesh's reference to the flat harmonic. i consider that it is the fretted note, not the harmonic, that should be used to adjust intonation since compensation is introduced to counter the increased string tension, etc., created when the string is fretted.

i agree that a wider saddle gives more lattitude in correcting intonation. with a 3/32 saddle you may well end up with the string break point being on the back edge of the saddle, depending upon bridge location accuracy, saddle slot compensation, etc.

you are correct that action height and neck relief should ideally be set before doing the compensation exercise.

Author:  SniderMike [ Sat Apr 07, 2007 7:55 am ]
Post subject: 
[QUOTE=crazymanmichael] i am puzzled by hesh's reference to the flat
harmonic. i consider that it is the fretted note, not the harmonic, that
should be used to adjust intonation since compensation is introduced to
counter the increased string tension, etc., created when the string is
fretted.
[/QUOTE]

I agree with you, Michael. Hesh, I don't think that will give you accurate
intonation, as you're not lengthening the string using the harmonic as
you would by fretting at the 12th fret. In fact, I believe the "12th fret"
harmonic (which doesn't really "care" where your fret is) is always exactly
an octave above the open string, no? What I'm saying is, I don't think it's
possible for the harmonic to be sharp or flat from the open string.
Someone correct me if I'm wrong.

Author:  SniderMike [ Sat Apr 07, 2007 8:08 am ]
Post subject: 
Hesh, my apologies if I'm just misunderstanding your technique, by the
way.
Author:  SniderMike [ Sat Apr 07, 2007 9:38 am ]
Post subject: 
Gotcha Hesh. I did indeed misunderstand your technique. I should have
known that you're smarter than that
Author:  crazymanmichael [ Sat Apr 07, 2007 3:52 pm ]
Post subject: 
i am still puzzled at this description of procedure and am suprised that no one has noticed the flaw.

or am i delusional?

if the open string is in tune and that string fretted at the 12th is in tune, compensation is fine, and nothing further needs to be done to it.
Author:  crazymanmichael [ Sat Apr 07, 2007 11:58 pm ]
Post subject: 
agreed. perhaps i just read the second and third paragraph of that post to be contradictory when that was not your intent. sorry if i misunderstood what you intended to say.
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