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Intonation Question


Nijyo

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So, I've got this Ibanez RG(lettersalad) from about a decade ago (seems to be an Edge III trem, but I've got it blocked with a Tremol-No) For a while now it's been bugging me with a thousand tiny cuts of annoyance. After reaching my limit I finally went in and fixed up all the little things that needed fixing.

 

In the process I found that the intonation for the 6th string was pretty far off, so I adjusted it to get it as close as I can for this particular instrument. The result being that the saddle for that string sits *much* further back (that is, towards the tail) than the rest of the strings (which also have their intonation set up correctly -- or, again, as correctly as I can get them; probably over-pickiness on my part there, though).

 

This huge disparity in the saddle position of 6 vs 5-1 seems weird to me, though. Is it a sign of something else being set wrong? Or are some bridges just like that?

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There's probably nothing wrong. High action can throw intonation off, as can pressing too hard, so make sure you've eliminated both of those as suspects. If you look carefully at the bridge saddle of a decent acoustic guitar such as a Martin, you'll notice that the 6th string is compensated more than the other strings. It's simply the nature of the beast. I had a Fernandes Strat copy that couldn't be intonated because the saddle for the 6th string wouldn't go far enough back. I finally sold it. Do us a favor and post a pic if you can so we can give a better informed opinion.

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If the heights are all profiled correctly it suggests a flaw like a slight unevenness in the gauge of that string. I would definitely try another set of strings before doing anything drastic.

 

(Or if they are new which I suspect they would be after a setup just replace the one :) )

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I agree with Chordite. If your string height is good above the 12th fret (5/64ths) It may be the strings.

 

I'd be sure the relief is good too. If you've changed gauges and gone to heavier gauged strings, the relief is greatest under the low E.

 

Hold the first and last frets down and make sure the strings just clear all other frets. Also hold the last fret down and make sure the strings clear all frets up to the nut. Necks can change with the seasons especially in the hottest and coolest months. The truss expands with heat and contracts with cold changing intonation.

 

So long as you don't have fret wear, relief and height are close, immediate problems after changing strings can be related to the strings themselves. Also be sure you only set intonation with new strings or just broken in. Strings go flat when worn out and setting intonation to dead strings will wind up making the new ones come up sharp.

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Thanks for the replies, all.

 

The action is good and I'm not getting any buzzing, but I've jotted down the few other suggestions and I'll give them a look this weekend.

 

If I remember, I'll also get that picture for DeepEnd!

 

Thanks again.

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Actually, that's kind of normal. I have an Edge 2, and while loving it, setting the intonation was a bit of a pain, especially when I had a high E, .10, that was a little wonky. Replace the string, and if it's still that way,. well.... that's the nature of the beast.

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Well humbuckers... if it's a Paul type of bridge, reversing the saddle can fix that. Strat with blocks? Get brave with a grinder, and grind down the intonation screw side of the saddle. If it's a Floyd type, make sure you have the saddle of the low E in the second screw hole closer to the tail of the guitar.

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A floating Fender type fulcrum bridge can be a real bastard to set up. As you lengthen the string you're not only running the saddle up hill raising the strings height but you also increase tension which pulls on the springs raising the saddle even more. When you check intonation it doesn't seem like you're getting anyplace.

 

One little trick I learned that made a big difference for setting these bridges up is to set springs off the G string. Tune the instrument to the tuner, then pull up on the bar. The G string should go from a G note to an A note as the bridge bottoms out on the body top. Some use a ruler measurement instead but after trying the G>A method you realize using a tuner to make the adjustment is much more accurate.

 

From there, as you adjust intonation, you also check the sting height and the G to A spring adjustment after each intonation tweak.

 

This trick adds a point of reference you can continually come back to as you build all your other adjustments on top of it. if you shorten intonation you increase string height. As you lengthen strings you shorten them because you're adjusting the saddles on an inclined plane. Many people get frustrated and just wang the whammy down against the body or block it so they don't have to deal with the height changes or the springs.

 

Other whammys that sit parallel to the body aren't nearly as complex because there's no inclined plane to deal with.

 

The good part is the tuner does an excellent job tweaking the whammy springs in. You just have to counter adjust them when making any other adjustments. The bad part is floating bridges take twice as much tweaking to get every other adjustment set right but it is worthwhile once you do get them set right.

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