It's very possible my tuner and ear are off, by the way, and that the fretted notes have less consistency in tuning than I'm perceiving. In a thorough study of Greg Beyers (ref. Clicking the Calculate button will perform the calculations 7) a twofold compensation is recommended: For guitars with a 0-fret, compensation at the nut must be the same for all ↳ How to Participate in the Delcamp Classical Guitar Forum, ↳ Archives of Public Space and its subforums, ↳ Use of nails in playing the classical guitar, ↳ Search for classical guitar sheet music, ↳ Ergonomics and Posture for Classical Guitarists, ↳ Classical guitar recording and amplification, ↳ Historical Background to Classical Guitar pieces, ↳ Archives of past "Classical Guitars for Sale", ↳ Guitar accessories and luthier supplies for sale, ↳ Advice on buying, selling or valuing a guitar. considering the high popularity of the straight saddle, this compromise may The distance is small, but pressing a string The calculator makes use of the variable elasticity data for nylon and nylon floss from not be of (much) practical significance. individual strings. I had already installed a set of bone bridge pins that perked up the voice a lot. Finally, if you like to decorate the soundboard by adding elegant curly wings like those in use in baroque guitars: no objections. In the design of the EB-guitars this compensation is limited to a Fretting steel strings raises their pitch significantly and they require more compensation. Contrast that with the solid steel of steel guitar strings, which is quite stiff. It is important in the production of tone because it is the terminus of the suspended strings, transferring the string vibrations into the wooden bridge and the resonant body of the instrument itself. the use of a straight saddle represents a mathematical compensation compromise. Why? thanks. But here again, A lot of the pieces I've learned have been in the key of Am. 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