MarkInLA wrote: ↑
Wed Mar 07, 2018 5:22 am
I may have stumbled onto something I haven't seen tossed around; not to my knowledge anyway.. Most are familiar with and may even have your saddle notched inward under the G string. This is a wide spread correction method which I believe came about when players began noticing how horribly out of tune the octave interval formed between the G on the 5th string, 10th fret, and the G string, 12th fret is, causing them to beat wildly.
Well, the reason is more scientifically based than what you describe, which places a higher standard for both disproving the current theory and for justifying yours.
The g-string is the thickest nylon string, which makes it the one with most noticeable inharmonicity among the trebles (its partials skew sharp because the string is stiffer than the other trebles due to it thickness). An ideal string has only the restoring force to push it back toward equilibrium when it is displaced; a real string has a bit of an "add-on" due to it stiffness, which is proportional to the 4th power of its diameter. So that add-on force starts quickly becoming more significant as you increase the diameter a little, as in the case of the g-string compared to the e (or b) trebles.
This is the basic reason for making the g-string slightly longer (inharmonicity is inversely proportional to length and tension but we can't increase the tension for a given material or the pitch will increase).
So you theory, if correct, has to explain away the above as well as explain the mechanism by which all other five strings are flat given their characteristics and the physics of vibrating strings.
Because of all this, I am skeptical for now