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Vic D
11-29-2009, 07:01 PM
Ok, I've searched and read what I could glean on bridge/saddle compensation and I'm comfused. I'm building sopranos 13 1/2 scale using GHS strings tuning G-C-E-A.

Please everyone jump in and tell me how you go about compensation, from placing the bridge to dressing the saddle, and why you do it the way you do it.

Sven
11-30-2009, 01:35 AM
Oh I'm in a hurry, but I give you this:
http://www.ukuleles.com/Technology/compensate.html

ATB, good luck

Sven

Vic D
11-30-2009, 06:44 AM
Oh I'm in a hurry, but I give you this:
http://www.ukuleles.com/Technology/compensate.html

ATB, good luck

Sven

Thanks Sven. I've read that page before and it does lay everything out pretty concisely. I'll probably pick that book up in the near future. It's just that I've read different opinions from "ah it's just a soprano no need for compensation" and everything in between.

Anyway I've got everything I need now to make an informed decision, Matt started a compensation thread a while back and I somehow overlooked it when I searched.

deach
11-30-2009, 07:01 AM
I thought this thread was going to be about getting paid.

ukantor
11-30-2009, 07:08 AM
Freudian slip, Deach - I read that as "getting laid".

Ukantor.

Matt Clara
11-30-2009, 11:45 AM
Freudian slip, Deach - I read that as "getting laid".

Ukantor.

In your defense, in the context of many of Deach's posts here, we were all expecting something along those lines.

(Which is fine, I enjoy your posts, Deach, although the one about smelly bone was a little too much, even for me!) :D

Moore Bettah Ukuleles
11-30-2009, 12:08 PM
it's just a soprano no need for compensation"

If anything, a soprano requires more compensation as a percentage of it's scale length.

erich@muttcrew.net
12-01-2009, 10:29 AM
A lot has already been said concerning compensation - in this thread and in Matt's thread a few weeks ago - some of which is a bit controversial. From my experience I think there are several factors to consider.

A few years ago I picked up a Mahalo Les Paul, just on a whim, brought it home, started playing away and suddenly realized that the intonation was way off - really bad up and down the fretboard. Anyway, it had a compensated saddle (where the C and E strings are slanted back slightly). By comparison, our Bruekos have straight saddles but the intonation is really spot on all the way. So much for compensated saddles. I know that some makers use them, but they don’t necessarily guarantee good intonation. With the Mahalo, it may be that the rest of the instrument is not set up or “dressed” properly. We’ve never gotten around to pulling it apart and fixing whatever is out of line – there are just too many other, better instruments around our home that we would rather pick up and play.

The Bruekos do have minimal compensation of the saddle position, as do all the ukes we’ve made ourselves. By this I mean that the distance from the twelfth fret to the saddle crest is slightly more than the distance from the nut to the twelfth. So, for example, on a soprano uke with a scale length of 340 mm your saddle might be about 342 mm from the nut (but the twelfth is still at 170 mm).

What else makes a difference? The type of strings, string gauges, tuning, tension, action, neck angle, fretboard height, saddle height, and so on.

If individual compensation per string makes sense at all, then only when you determine that the intonation on the fretted C and E strings is sharp even though the G and A strings are exactly right. But that's really fine tuning ;)

HTH,
Erich