behind the noted string
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- Опубликовано: 13 сен 2024
- many times people will tell you anything behind the note on the fret board you are noting doesn't matter, ACTUALLY IT DOES!
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Done gitted ! Thank you Randy. 😊
Good point,and good demo Randy.
Intonation at the nut is a real thing. For most players and builders it's close enough straight across. Some notes/strings need more material in front of the nut. This I why I have seriously considered using Earvana nuts enemy custom builds. I think you just sold me on doing just that. When people say there's nothing happening behind the fretted note they are probably speaking from a diagnostic point of view. Like open string buzz that goes away after you fret a note. Guarantee it's a nut issue. Good vid Randy!
thank you brother! it does make a difference, especially when you need that tad bit more and just can't get it at the bridge, Stelling banjos have been built for years doing exactly this mainly on the B string. thanks again for having a look and commenting!
well yeah, nut slot carving affects intonation. if the string doesn't exit the nut in the right spot then intonation will be wacky on every fret.
I think what people mean when they say "nothing behind the fretted note matters" they are ASSUMING the nut is cut correctly, and they are talking about stuff like neck relief and fret leveling. because that's true, those makes no difference behind the fretted note. you can test this by putting on a capo and then strumming open while fretting notes behind the capo, you'll get no change.
And absolutely no guitar maker will tell you that nut slots don't matter, they 100% do. if the slots are carved wrong then it will never intonate properly. no matter what fret you're playing on.
So yeah I think when people say that they are specifically talking about the fret heights/levelness, not the nut. even though it's a "thing" and it's "behind the fretted note" ...
....So in conclusion I think the saying should be "Nothing EXCEPT THE NUT matters behind the fretted note" because ... welll obviously the nut matters.
I’ve got a stompbox tuner for my Taylor acoustic. I tune to 440, but even using open chording even when I test 1st -3rd frets I’m going sharp with my higher strings.
Thanks Randy, for the lesson. 2 questions. Why didn't you demonstrate with a capo and why not turn the tuner around so we could see better. Just wondering.
I guess because I already knew what the result would be, and is very hard to get the tuner to show up in a video without moving everything, lights and all. thanks for checking it out.
Always watch your videos Randy and this is probably the most confusing one 😅 I’d say it’s all about intonation and really has nothing to do with capo, as to playing bar chords. The only solution today to get the whole board right is the True Temperament system i guess. Keep it up Randy!
I saw you do this before, and I know you are right. I just don't want to do it. I have seen some folks make compensated nuts. Plus it looks ugly
Jeoff Stelling has did it for years on all Stelling banjos, I'm not aa fan of it but as a very last resort you can solve problems doing it. thanks for checking it out!
Wasn't the concept of a zero-fret intended to solve nut intonation variables?
no actually it was applied because the intention was for open strings to sound just like noted ones sound fretted, there's really not much difference but the thought entered someones mind and they invented it thinking whether the strings were played noted against the fret or openly on the zero fret would all sound the same. thanks for watching I hope this makes sense. :)
👍👍👍
Thanks Randy!!
Of course, raising a string below a capo would change the pitch, but no one does that. Randy has been working too hard, or something.
lol just another variable no one thinks of that actually works if done right. thanks for checking it out.
I don't really know what you are trying to prove here, other than a fretboard with the nut positioned incorrectly (compared to the fret positioning) would never intonate correctly. However, irrespective of the overall scale length, if the frets are installed with the correct distances between them FOR THAT SCALE LENGTH, the octave will be at the 12th fret position. While the 12th fret intonation can be adjusted within limits by creating a different string take off point on the bridge saddle (acoustic) or by moving the individual saddle position further towards or away from the nut (electric), of more concern should be the effect of pressing the strings down at the first two or three frets, which will obviously stretch the string more than expected (especially if the nut slot heights are too high). Try this: tune all your open strings accurately; press a string behind the first fret: does the tuner show a value exactly a semitone higher than the open string? The octave of this note should be at the 13th fret. Does the tuner now show that this note is exactly an octave higher? The chances are that it won't. This is the reason that some luthiers will modify the nut 'take-off' point on a string by string basis, to ensure that lower-position notes do actually play in tune. Check-out "Guitar Repair @ StringTech Workstations'
'promosm' 😁