Re: Stop Bar Adjustment
No, it's not the same. They claim that having the tailpiece tight against the body is what increases sustain so even if it is top-wrapped it's still tight to the body. It's not like raising it up off the body.
Which is what I said. Now explain why the stop bar touching the body would make any difference to sustain? The body does not contribute to sustain. Sustain is a product of how stiff the neck is, and how much energy from the strings is NOT being lost by the neck flexing and body absorbing the energy (vibrations) of the strings.
The more parts that vibrate, the less sustain. So as an example, a banjo has a loud acoustic output and almost zero sustain. All the energy from the strings is being converted to moving the drum head.
The opposite is a heavy, stiff solid body. Minimum acoustic output and maximum sustain. Because of mechanical impedance, the body has too much mass to be excited by the strings.
So isolating the strings from the body improves sustain. This is why Alembic and Ibanez had brass “inertia” blocks under their bridges.
So screwing the stop bar to the body improves nothing.
Not true. For example, compare two guitars with 24" scale length (from nut to bridge). One has 24" strings anchored at the nut and bridge, the other has 48" strings (same gauge and type) anchored one foot beyond the nut and one foot beyond the bridge. They are both tuned to the same pitch (same number of beats). The second guitar is much easier to bend strings on. Why?
You say “not true” but you don’t know why the strings are more pliable. The tension of the string at 24”, at pitch, is the same regardless of how much string is behind the nut and bridge saddles. Most string makers list the tension of that string at pitch. That tension doesn’t change or the pitch would change.
Most luthiers agree the reason is the core of the string can slip past the saddle a little in a bend. So the rest of the string flexes like a shock absorber, and the strings are more pliable.
But try it on a guitar with a locking nut. It feels the same regardless if the nut is locked or not.
-snip-
This statement has no sense to it. But, whatever you are meaning, I don't know about any effect of harmonics going out of tune because of being "too stiff at the anchor point".
You have just disqualified yourself from this conversation.
First off, read up on stretch tuning. Because you don’t know what that means or why they do it.
“Intervals and inharmonicity
In tuning, the relationship between two notes (known musically as an interval) is determined by evaluating their common harmonics. For example, we say two notes are an octave apart when the fundamental frequency of the upper note exactly matches the second harmonic of the lower note. Theoretically, this means the fundamental frequency of the upper note is exactly twice that of the lower note, and we would assume that the second harmonic of the upper note will exactly match the fourth harmonic of the lower note.
On instruments strung with metal wire, however, neither of these assumptions is valid, and inharmonicity is the reason.
Inharmonicity refers to the difference between the theoretical and actual frequencies of the harmonics or overtones of a vibrating tine or string. The theoretical frequency of the second harmonic is twice the fundamental frequency, and of the third harmonic is three times the fundamental frequency, and so on. But on metal strings, tines, and reeds, the measured frequencies of those harmonics are slightly higher, and proportionately more so in the higher than in the lower harmonics. A digital emulation of these instruments must recreate this inharmonicity if it is to sound convincing.
The theory of temperaments in musical tuning do not normally take into account inharmonicity, which varies from instrument to instrument (and from string to string), but in practice the amount of inharmonicity present in a particular instrument will effect a modification to the theoretical temperament which is being applied to it.”
“If you try bending a short piece of piano wire or guitar string slightly with your fingers, you can feel the wire's resistance to bending. In a vibrating string, that resistance adds to the effect of string tension in returning a given part of the string toward its rest position. The result is a frequency of vibration higher than the theoretical frequency. And because the wire's resistance to bending increases as its length decreases, its effect is greater in higher harmonics than in lower.”
https://en.wikipedia.org/wiki/Stretched_tuning
Now we go to tuning systems like:
“The Buzz Feiten Tuning System solves tuning and intonation problems with 2 simple steps:
1. Shelf Nut
Our exclusive Buzz Feiten Tuning System¨ (BFTS) Shelf Nut moves the strings closer to the first fret according to our Patented Formula. This eliminates sharp notes at the first three frets.”
Same with the Earvanna nut.
Why are the notes sharp by the anchor point (the nut)? Inharmonicity
Famous luthier Rick Tuner wrote while discussing zero frets:
“There is also...and this relates to some other threads, the fact that strings do not necessarily come straight off of either a nut nor zero fret in a perfectly straight direction. There is a bit of a curve where the string is biased up and away from being directly even with the nut, zero fret, or fret. And that is one of the major reasons why the termination of the string is "fuzzy"...requiring intonation compensation. The working string length literally gets shorter at increasing harmonic modes; this because of the string's stiffness having progressively greater effect at higher harmonics.”
So, to recap; a string is stiffer at its anchor points than in the middle of the string. This is obvious. Where the string is stiffer, it’s harmonics are not in tune with the fundamental. This is why they stretch tune pianos. The harmonics on the thick bass strings behave more like a metal rod, which is why that has a more dissonant “clang.” So the treble strings are tuned progressively sharper. The tuning is “stretched” so the treble strings sound in tune with the sharp harmonics on the bass strings.
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