In addition to the increased stiffness, there may be decreased uniformity of the string. At least, that's what I was told by a string manufacturer. He said that the "carbon" strings that many companies offer are a flourocarbon rather than nylon, and are inherently more difficult to extrude evenly. That explained the erratic intonation I've observed in "carbon" strings--I can adjust the saddle for excellent intonation on one set of strings, but when I put on a new set of the same brand, the intonation is off. D'Addario is a little coy about what their "composite" G string is made of. I'm pretty sure there's not any metal involved--just some sort of plastic that's a little stiffer than Nylon. At any rate, the compensation it requires may vary more than Nylon does. That said, even a Nylon G string will usually benefit from some additional compensation. Hill Co. doesn't put any G string compensation in their bridge saddles. You could try a compensated saddle, and see if it helps.James Lister wrote:Hi Michael,
It's mostly the increased stiffness of the composite string that causes the intonation problem. The amount of compensation required for each string depends on both the amount the tension changes when it is fretted (which is largely dependant on the action), and on the stiffness of the string. It should be possible to adjust the compensation at the saddle to correct it, but it will never be perfect for both types of string.MichaelBo wrote: Item #10: I have tried a lot of strings and finally settled on D'Addaio Pro Arte (though I'm always experimenting). I use hard tension for my Kenny Hill and mediums for my Ramirez. My question is regarding the extra G string provided in these string sets. One G string is the regular plastic but the second is the composite (I think it might use some type of metal blended with the plastic). I found that when I use the composite G string (the one that is a tan color), my Hill guitar's intonation is adversely affected. That is, the G string when tuned at the open position is very sharp in the upper frets. When I replace that string with the clear, regular, G string the intonation is once again spot on (or as close to it as can be expected). I suspect it's because the composite string is harder and when fretted it raises the pitch because of its increased tension. I don't have this problem with the medium tension strings; actions are the same of both guitars. Do you have experience with these strings? If so, have you had the same problem? Do you think my diagnosis is correct?
This is a fascinating 12 part utube series by a guy who builds his wife a guitar for Christmas. It's the first one he's ever built and he purchases a kit to do it. He makes one huge mistake that he manages to correct and in the end he's made a terrific guitar. However, the guy has quite a workshop to begin with, so he's no amateur woodworker.Cary W wrote:Can a first-time builder order a kit and assemble something at least playable?
High frets are usually easier for left hand.strumalong wrote:Dear James
What is the importance of fret height? Are low frets or high frets easier to play? Is it at all related to the height of the strings?
Hi James,James Lister wrote:Hi Rob,
Sorry for the slow reply - only just picked this one up. Very difficult to tell exactly what's happened, and what will happen next, without actually seeing the guitar. Let it dry out a bit (but not too fast) and let us know what happens.
Hi Rob,rob1953 wrote: I am pleased to inform you that this part of the 'distortion' is now so much less prominent that it has become barely noticeable, which is a massive difference. The 'distortion' from the bridge down to the base is less 'corrugated' ( or wavy as I previously described it ) and is gradually smoothing out. Only time will tell if the top recovers completely. I keep all the windows open during the day and only the small window open during sleeping hours. The guitar remains on the stand throughout. Do you have any thoughts on this method?
If you do a search on the forum, you'll find some discussions about truss rods and other neck reinforcements for classical guitars. Here's one to get you started:jkircoff wrote:I've noticed that most classical guitars do not come with truss rods. Is this because using a truss rod is not considered traditional, or does the truss rod negatively impact the sound of the instrument?
French polish is not as robust a finish as modern lacquers, and it will not resist the usual nail marks as well. Another issue is that not all shellac finishes are the same - a lot depends on the type of shellac used, and how the polish is prepared and applied. Generally though, I'd say you just need to take reasonable care to avoid accidental damage. I'd also recommend always wearing long sleeves when playing, particularly on hot/humid days. There are stories of some players who's perspiration could eat through shellac pretty quickly!AKGuitarist wrote:I don't know if this has been covered or not, but cautious should I be about French Polish? My next guitar is going to have a French Polish top and I am curious about what precautions that I should take.
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