With this conversation going, I checked the intonation on my guitar. The low E side ended being lined up with the mustache piece and high E was about 1/16" back towards the tailpiece. Not much you can do without a movable saddles for each string anyway.
Every note wants to go somewhere-Kurt Rosenwinkel
ChiefbigeasyNew Orleans, LA✭✭✭Dupont MDC 50; The Loar LH6, JWC Catania Swing; Ibanez AFC151-SRR Contemporary Archtop
Posts: 355
I found credit card-like plastic to be the best shims. Old thin pics work well too.
guitarmikeMontreal, Quebec✭✭Old French Gypsy Guitar
Posts: 112
If you use credit card for shimming, make sure you use one that’s not expired. More satisfying!
GregOTarpon Springs, FLNewEimers Nympheas, Dell'Arte Jimmy Rosenberg, Manouche Latcho Drom by Dell'Arte
Posts: 25
Re the first post: for intonation you compare the 12th fret to the open 12th harmonic. The fretted note is either sharp (move the bridge back) or flat (move the bridge forward). Hop this helps.
Several years ago, walking there, a young guy was doing a sound check on what I assume was an amplified bouzouki, outside a restaurant. I was very impressed with his chops and choice of music. He sounded more like Frank Vignola playing something with a pace like Flight of the Bumblebee, than the older man playing dinner music (which was fine) during our return walk.
I was only disappointed I didn't get hear the first guy a second time.
I mentioned Tarpon Springs because that's where GregO's location indicated.
I had my bridge work done along with some fret end filing done by a local luthier, referencing Bob Holo's recommended setup.
He glued some ebony to the feet and sanded to the curve of the top, as expected. He thought what I misinterpreted as a gap or twist under the bridge was not so. He said it looked like an intentional function.
I would attempt, then, to re-describe what I misinterpreted. I had noticed the area (width x length) of each bridge foot were visibly different and what I thought was not touching the instrument too may have been some undercutting of one axis of the bridge foot.
I also assume that was either part of the instrument voicing/balance, or something observed on an older instrument and utilized in the luthier's modern builds.
Anyway, I had a friend who advised the shimming, replay the guitar and got three thumbs up (very loud with nice tone acoustically without buzzing, and sounding great with a Krivo Micro Manouche.
I find the Blu-Tak to be really aggressive and I'm not ready to move the pickup soon. I was unable to use it butted up against the end of the fingerboard as the action was still low enough there that fretting at the highest two frets allowed strings to touch the pickup.
I may have too much Blu-Tak but I don't want to be any more aggressive in flattening the putty or releasing it. The mounting surface of the Krivo is made of darkened wood and I lost a sliver of it in the first rock/twist motion to reposition it. It's a very different color than the instrument top (which was reassuring!).
I moved the pickup to create about 1"/2.5 cm gap between the fretboard end and the top of the pickup.
Meanwhile, the Reverb seller who is 'brokering' the Quinteros builds, has dropped the price to USD890 and no longer offers free DHL shipping (has increased to USD380 !) Still a bargain, but with my playing skill level (or lack thereof) I'll never convince anyone ;O).
The seller has been improving the details in the listing, but like many other Reverb sellers, misses details when recycling listing text. It's listed as 2023 (old listing in one place, and 2024 elsewhere. The s/n label visible (in person) thru the f-holes has the s/n date, that the seller (Jose) should be able to tell you.
By 'mate', he means 'matte' nitrocellulose.
My only connection to either of them is that I own one, as does prairiefalcon here on this forum.
Comments
Perhaps I misunderstood Murray's question when I said "neither". My brain parsed that as
do I compare open string tuning to 12th fret open harmonic, or [open string tuning to] 12th fret fretted?
but I realize now it could also be understood as
do I compare open string tuning to 12th fret open harmonic, or 12th fret fretted [to 12th fret open harmonic]?
regardless, I think using the natural harmonic is easier to hear because the pitch is the same, rather than an octave away.
With this conversation going, I checked the intonation on my guitar. The low E side ended being lined up with the mustache piece and high E was about 1/16" back towards the tailpiece. Not much you can do without a movable saddles for each string anyway.
I found credit card-like plastic to be the best shims. Old thin pics work well too.
If you use credit card for shimming, make sure you use one that’s not expired. More satisfying!
Thank you, all
Re the first post: for intonation you compare the 12th fret to the open 12th harmonic. The fretted note is either sharp (move the bridge back) or flat (move the bridge forward). Hop this helps.
GregO:
I just visited Tarpon Springs a few weeks ago...
Several years ago, walking there, a young guy was doing a sound check on what I assume was an amplified bouzouki, outside a restaurant. I was very impressed with his chops and choice of music. He sounded more like Frank Vignola playing something with a pace like Flight of the Bumblebee, than the older man playing dinner music (which was fine) during our return walk.
I was only disappointed I didn't get hear the first guy a second time.
Murray
I mentioned Tarpon Springs because that's where GregO's location indicated.
I had my bridge work done along with some fret end filing done by a local luthier, referencing Bob Holo's recommended setup.
He glued some ebony to the feet and sanded to the curve of the top, as expected. He thought what I misinterpreted as a gap or twist under the bridge was not so. He said it looked like an intentional function.
I would attempt, then, to re-describe what I misinterpreted. I had noticed the area (width x length) of each bridge foot were visibly different and what I thought was not touching the instrument too may have been some undercutting of one axis of the bridge foot.
I also assume that was either part of the instrument voicing/balance, or something observed on an older instrument and utilized in the luthier's modern builds.
Anyway, I had a friend who advised the shimming, replay the guitar and got three thumbs up (very loud with nice tone acoustically without buzzing, and sounding great with a Krivo Micro Manouche.
I find the Blu-Tak to be really aggressive and I'm not ready to move the pickup soon. I was unable to use it butted up against the end of the fingerboard as the action was still low enough there that fretting at the highest two frets allowed strings to touch the pickup.
I may have too much Blu-Tak but I don't want to be any more aggressive in flattening the putty or releasing it. The mounting surface of the Krivo is made of darkened wood and I lost a sliver of it in the first rock/twist motion to reposition it. It's a very different color than the instrument top (which was reassuring!).
I moved the pickup to create about 1"/2.5 cm gap between the fretboard end and the top of the pickup.
...and due to the increased action height, intonation required slight repositioning of the bridge relative to the moustache points.
Meanwhile, the Reverb seller who is 'brokering' the Quinteros builds, has dropped the price to USD890 and no longer offers free DHL shipping (has increased to USD380 !) Still a bargain, but with my playing skill level (or lack thereof) I'll never convince anyone ;O).
The seller has been improving the details in the listing, but like many other Reverb sellers, misses details when recycling listing text. It's listed as 2023 (old listing in one place, and 2024 elsewhere. The s/n label visible (in person) thru the f-holes has the s/n date, that the seller (Jose) should be able to tell you.
By 'mate', he means 'matte' nitrocellulose.
My only connection to either of them is that I own one, as does prairiefalcon here on this forum.
Murray