Members DarkHorseJ27 Posted July 10, 2012 Author Members Share Posted July 10, 2012 I've had a lot of hands on with tusq and bone and my feeling is that tusq is consistent and clear, but has a bit of a plastic sound. Bone sounds more warm, but with soft spots and differences in overall density it's a bit hit and miss. It's not hard to see why a company that makes a lot of guitars wouldn't want to use bone, but I prefer it. Yeah, consistency is a HUGE selling point with the manufacturers, not to mention its cheaper. Tonal considerations are third after consistency and cost. Link to comment Share on other sites More sharing options...
Members Doctor49 Posted July 10, 2012 Members Share Posted July 10, 2012 TUSQ has quickly become an important tone performance tool for some of the world's most renowned guitar manufacturers, luthiers and playing professionals. TUSQ nuts and saddles have rich tone and sustain, without the inconsistency found in ivory, bone and other natural materials. Bone and ivory have hard and soft spots (grain) throughout each piece, hampering consistent transfer of vibrations to the guitar top. TUSQ nuts, saddles and bridge pins are designed to transfer the right frequencies more efficiently from the string to the guitar body. Acoustic guitars come alive!Rich Tone: a crystal clear bell like high end and big open low end. Engineered for maximum vibration transfer. Consistent quality from piece to piece and within each piece. Easy to work with - can be filed and sanded; will not chip or flake Laboratory-proven to enhance harmonic content (up to 200%) Used by the world's finest guitar manufacturers. No flat or dead spots that can be found in bone or ivory.http://graphtech.com/products.html?CategoryID=1 well, they would say that.how else do you sell product if not by hyping up its qualities?But thanks for quoting the URL for the text. Link to comment Share on other sites More sharing options...
Members Mel Cooley Posted July 10, 2012 Members Share Posted July 10, 2012 Trick question! The guitar by its nature uses tempered tunings at all times, thus yes, we all use tempered tunings. What I find helps, once you have a properly set up and intonated guitar, is to tune the E, A, D, and G strings to their 7th fret harmonic on a digital tuner. Then tune the B string just slightly less than a cent sharp on the 12th string harmonic, and tune the light E string open. This tuning method helps chord voicings sound more in tune together. Link to comment Share on other sites More sharing options...
Members nicholai Posted July 10, 2012 Members Share Posted July 10, 2012 It is simply not possible to have all notes "in tune" on an even tempered, fretted instrument. Wrong. Micro frets or fan shape. http://www.youtube.com/watch?v=myk_pf9wtre&sns=em http://www.novaxguitars.com/sales/ch8.html Sent from my iPhone Link to comment Share on other sites More sharing options...
Members PrawnHeed Posted July 11, 2012 Members Share Posted July 11, 2012 Wrong. Micro frets or fan shape. http://www.youtube.com/watch?v=myk_pf9wtre&sns=emhttp://www.novaxguitars.com/sales/ch8.html Sent from my iPhone That doesn't contradict my statement in any way Link to comment Share on other sites More sharing options...
Members headless Posted July 11, 2012 Members Share Posted July 11, 2012 Regarding the under-string compensator technology (like the Hosco, SOS device that I've linked below): I have made two DIY versions of this, for two different guitars. One was made of bone and one was graphite (from nut-blanks). In both cases, I found that I had trouble with behind the compensator string-rattles, from the string passing through the original's nut's slots, with insufficient down-pressure. It seems to me that it's a real trick to get one of these understring compensators to be just the right-height to provide good nut-action, and not so high that the behind the compensator string rattle problem comes-up. I solve this problem by making new nuts behind the compenstor, which are more of a back-stop to keep the compensator in place, and doesn't touch the strings at all (my DIY compensator has string-slots, unlike the store-bought version, below). I'd be interested in hearing from anyone who's tried the SOS system and if they had any of the fitting problems that I described above. http://www.hosco.co.jp/HOSCO_ENGLISH/Pages/Parts/SOS.html Link to comment Share on other sites More sharing options...
Members Markdude Posted July 12, 2012 Members Share Posted July 12, 2012 Wrong. Micro frets or fan shape. http://www.youtube.com/watch?v=myk_pf9wtre&sns=emhttp://www.novaxguitars.com/sales/ch8.html Sent from my iPhone Still not in tune. It's just a different temperament system and it still has its compromises. The only way to "naturally" have every note perfectly intonated on a guitar is to use a true tempered fretboard, like this: Also of note is the Peavey AT-200 guitar, which is supposed to be released soon. It's an electric guitar that has DSP technology built into the circuit and pitch corrects the signal (polyphonically, of course). I was very skeptical at first (both about sound quality and ability), but there's some Youtube videos of it in action at NAMM and it sounds great and truly seems to work. Lots of purists scoff at it, but I'm definitely going to pick one up since I have a sensitive ear to intonation and it really hampers my creative process. Link to comment Share on other sites More sharing options...
Members Doctor49 Posted July 12, 2012 Members Share Posted July 12, 2012 dunno why anyone would want to change the fundamental character of the instrument.A lot of its uniqueness comes from those "not quite in tune combinations - like bagpipes. I say "If you want perfect tuning and pitch, get a synthesiser". Link to comment Share on other sites More sharing options...
Members mdintx Posted July 12, 2012 Members Share Posted July 12, 2012 Regarding the under-string compensator technology (like the Hosco, SOS device that I've linked below): I have made two DIY versions of this, for two different guitars. One was made of bone and one was graphite (from nut-blanks).In both cases, I found that I had trouble with behind the compensator string-rattles, from the string passing through the original's nut's slots, with insufficient down-pressure.It seems to me that it's a real trick to get one of these understring compensators to be just the right-height to provide good nut-action, and not so high that the behind the compensator string rattle problem comes-up.I solve this problem by making new nuts behind the compenstor, which are more of a back-stop to keep the compensator in place, and doesn't touch the strings at all (my DIY compensator has string-slots, unlike the store-bought version, below).I'd be interested in hearing from anyone who's tried the SOS system and if they had any of the fitting problems that I described above.http://www.hosco.co.jp/HOSCO_ENGLISH/Pages/Parts/SOS.html I ordered the SOS for my Les Paul yesterday. The high E slot is too low and the string sits on the first fret. I haven't had time to get it to my tech so I decided to order the SOS to experiment on that guitar before I take it in. I'll report back after I've had some time to test it. That said, I would think that a single unit that incorporates the compensation would be best. Link to comment Share on other sites More sharing options...
Members DarkHorseJ27 Posted July 12, 2012 Author Members Share Posted July 12, 2012 Still not in tune. It's just a different temperament system and it still has its compromises. The only way to "naturally" have every note perfectly intonated on a guitar is to use a true tempered fretboard, like this: Also of note is the Peavey AT-200 guitar, which is supposed to be released soon. It's an electric guitar that has DSP technology built into the circuit and pitch corrects the signal (polyphonically, of course). I was very skeptical at first (both about sound quality and ability), but there's some Youtube videos of it in action at NAMM and it sounds great and truly seems to work. Lots of purists scoff at it, but I'm definitely going to pick one up since I have a sensitive ear to intonation and it really hampers my creative process. That still has compromises of its own, though the compromises don't have so much to do with the actual intonation. The Peavey AT-200 does sound rather interesting. If it works reliably without somehow coloring the tone it may be the way to go in the future. I'm sure Buzz Feiten will be happy about the business it may take away. Link to comment Share on other sites More sharing options...
Members Markdude Posted July 12, 2012 Members Share Posted July 12, 2012 That still has compromises of its own, though the compromises don't have so much to do with the actual intonation.The Peavey AT-200 does sound rather interesting. If it works reliably without somehow coloring the tone it may be the way to go in the future. I'm sure Buzz Feiten will be happy about the business it may take away. Agreed, I just meant compromises in regard to intonation. Link to comment Share on other sites More sharing options...
Members DarkHorseJ27 Posted July 12, 2012 Author Members Share Posted July 12, 2012 Agreed, I just meant compromises in regard to intonation. Lol I read too fast and misread. Link to comment Share on other sites More sharing options...
Members McCain Posted July 12, 2012 Members Share Posted July 12, 2012 Can you imagine the nightmare of bending the B on one of those. Link to comment Share on other sites More sharing options...
Members McCain Posted July 12, 2012 Members Share Posted July 12, 2012 I ordered the SOS for my Les Paul yesterday. The high E slot is too low and the string sits on the first fret. I haven't had time to get it to my tech so I decided to order the SOS to experiment on that guitar before I take it in. I'll report back after I've had some time to test it. That said, I would think that a single unit that incorporates the compensation would be best. Yes. Anyone who has the ability to compensate a nut, say on a strat, should just do it right...widen the slot and drop in a 1/4" nut blank, instead of trying to do some sort of add-on thing. Link to comment Share on other sites More sharing options...
Members McCain Posted July 12, 2012 Members Share Posted July 12, 2012 Can you imagine the nightmare of bending the B on one of those. What idiot came up with this design? Instead of doing a compensated nut and THEN arranging the frets he decided to leave the nut alone and just move/bend/noodle the frets instead..end result is this monstrosity. And look at where the fret markers are placed...looks normal at first but look again... Link to comment Share on other sites More sharing options...
Members DarkHorseJ27 Posted July 12, 2012 Author Members Share Posted July 12, 2012 What idiot came up with this design? Instead of doing a compensated nut and THEN arranging the frets he decided to leave the nut alone and just move/bend/noodle the frets instead..end result is this monstrosity. And look at where the fret markers are placed...looks normal at first but look again... I don't know what temperament system the neck pictured is for, but compared to that one the rest of the necks they make are more subdued. I don't think the design itself is idiotic. I guess the current standard for intonation systems would be the Buzz Feiten tuning systems. On a 22 fret neck that is 132 fretted notes they are trying to calibrate with 7 adjustments (nut adjustment and tuning offsets for each string). I can see how the True Temperament would be more accurate, not to mention you don't need a special tuner or have to take it to a BFTS certified tech every time it needed to be set up. The question is is it worth the cost and its associated headaches, such as lots of fun come refret time. Link to comment Share on other sites More sharing options...
Members McCain Posted July 13, 2012 Members Share Posted July 13, 2012 I'm on dial-up so have only watched about 4min. but this looks to be a preview demo of the DSP as in the Peavey At-200.Antares ATG-6: Auto-Tune for Guitar Peavey at-200. Link to comment Share on other sites More sharing options...
Members headless Posted July 13, 2012 Members Share Posted July 13, 2012 I'm going to try to post some pics of my understring compensator and nut (backstop), but if it doesn't work (having trouble with my computer/browser), I'll try to fix it later: The understring compensator is the bone piece that has the string-slots at the bottom of each scallop. I made the compensator with these half circle scallops because it's so hard to work with a tiny, thin piece of bone. I used a round-tapered needle file to make these scallops. The piece without the string-slots is the nut/backstop that fits in the nut slot of the fretboard, and it has large scallops to allow the strings to pass-through without touching it: The pic below shows the compensator and nut backstop, and shows that compensation set-backs. These were done with the round-tapered needle file: Below, the two bone pieces are in-place: Below, a crude drawing of the system: And finally, here's my (estimated) dimensions of the S.O.S. compensator: I read somewhere (couldn't find it again) that to properly find the compensations for each individual guitar, one should tune the string to it's pitch, then fret it at the 12th fret. When you begin adjusting the compensator, it's forward-edge will be about 3mm forward of the original nut's edge. So you file the compensator front-edge back, until the open note and the 12th fretted note are identical. Once the compensators front-edge is established in the above manner, the bridge saddle compensation is made by comparing the fretted 5th and 12th notes, and adjusting the saddle until those notes match. I didn't do the first part. I just made my compensator to the dimensions that I estimated by measuring the S.O.S. compensator on from my computer-screen. Then I did the bridge saddle compensation. I'm not saying the my guitar intonates perfectly, but is certainly is much improved over the standard nut intonation (I conceed that there are so many factors involved in intonation, that my experience doesn't really prove much). EDIT: Sorry, the Pics didn't come-out. I'll go to another computer and edit them in Second EDIT: I posted the pics, and noticed that this bone compensator uses compensation set-backs that mimic the Earvana system--not the S.O.S. system. I later made an S.O.S. type compensator for another guitar. Link to comment Share on other sites More sharing options...
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