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Will this be a problem? If so, is it salvageable without surgery?

M

moshuajusic

Nov 25, 2009
247
26
#1
The G is just barely intonated. It could actually stand to go a tiny bit closer to the neck, but I think you can see the issue with that. :rolleyes:

I'm guessing Warmoth installed the studs a few mm too far from the neck.

Setup-wise, the bridge sits parallel to the body, the neck pocket is shimmed--without the shim, the bridge can't go low enough to achieve a decent action--and the truss rod is properly adjusted with a nice action. Strings are Circle K, though I also tried TI and had the same issue with the G string.

CIMG0956.jpg
 
#2
Warmoth is a CNC shop. It is more likely that the problem is at the nut. Or it might be the string itself.

Create witness points at the saddle and nut by pressing down on the string. The idea is that the string speaks from the stop point. If it curves over the saddle or nut the scale length is changed.

If that does not fix the problem check the nut. The string must have the final point of contact on the fingerboard side of the nut. Sometimes there is a high point in the nut slot that prevents this. Use some pencil lead in the slot and tune and detune several times. Look at the pencil mark. It should be worn to the edge. If it is not it is time to reshape the slot.
 
#3
It looks, from the pic, as if witness points are needed. There's no way that B saddle should be that far forward.

Loosen your strings. Measure from the nut to fret 12. Set the g saddle the same distance to the 12 plus an eighth. Set all the saddles back further than that. Tune up. Witness the G at the saddle and the nut. Check intonation, the g should need a bit of movement toward the neck. Move it and re witness, repeat until its right. Move on to the next string. Etc.
 
#4
+1 to seating the witness points, but taper-core B strings actually do end up further towards the neck like that (thanks zoob!); the string is way more flexible over the saddle, so it needs less compensation.

As for the G, it would be worth measuring scale length to see where it's "supposed to" be. Measure exactly from the fretboard edge of the nut to the exact center of the 12th fret itself. Take the same measurement from the fret to the G saddle, and it should be exactly the same, maybe 1/16" back further.
 
#5
walterw said:
+1 to seating the witness points, but taper-core B strings actually do end up further towards the neck like that (thanks zoob!); the string is way more flexible over the saddle, so it needs less compensation.

As for the G, it would be worth measuring scale length to see where it's "supposed to" be. Measure exactly from the fretboard edge of the nut to the exact center of the 12th fret itself. Take the same measurement from the fret to the G saddle, and it should be exactly the same, maybe 1/16" back further.
Click to expand...

Add me to the Witness Points Queue...
 
#6
Witness points, check. (I know to do that already.)

Nut slot test will have to wait till I get some chalk or if someone knows what else I could use considering the nut is black.

In the meantime, the scale length measures 34" between the edge of the nut (facing the fretboard) to where the G string saddle is right now, or basically the studs. That don't sound right.

And CNC doesn't mean immune from error. I've seen plenty of production guitars that were off in some way. Usually a bunch of them at a time. They could've made a slight error setting it up in the first place. It's such a rarely requested option that it could've very well gone unnoticed.
 
#10
jscomposer said:
Witness points, check. (I know to do that already.)

Nut slot test will have to wait till I get some chalk or if someone knows what else I could use considering the nut is black.

In the meantime, the scale length measures 34" between the edge of the nut (facing the fretboard) to where the G string saddle is right now, or basically the studs. That don't sound right.

And CNC doesn't mean immune from error. I've seen plenty of production guitars that were off in some way. Usually a bunch of them at a time. They could've made a slight error setting it up in the first place. It's such a rarely requested option that it could've very well gone unnoticed.
Click to expand...

White pencil from the art store: one is a lifetime supply for the casual user.

It is correct to say that CNC is not a panacea for all things accurate. On the other side of the equation, they don't make a lot of mistakes. It is always wise to look for simple solutions first.
 
#11
202dy said:
White pencil from the art store: one is a lifetime supply for the casual user.

It is correct to say that CNC is not a panacea for all things accurate. On the other side of the equation, they don't make a lot of mistakes. It is always wise to look for simple solutions first.
Click to expand...

I agree. Given that the CNC they use is probably accurate to about 0.001" and they had approximately +/-0.5" tolerance with the bridge for adjustments, I'd definitely take a look at other options.

The witness point thing is usually not an issue on the G-string, so my first thought is that this is a shorter scale neck on a body designed for the longer scale.

OP, did you measure the distance between the nut and the 12th fret?
 
#12
could this be a case of having a neck with the wrong fret count?

in the one picture it almost looks like the bridge has been moved and no longer fits into the recess correctly. if the front of the bridge is sitting higher on the body wouldn't that be a cause of the neck shimming?
 
#16
wcoffey81 said:
in the one picture it almost looks like the bridge has been moved and no longer fits into the recess correctly. if the front of the bridge is sitting higher on the body wouldn't that be a cause of the neck shimming?
Click to expand...

I made the recess myself. :D And the bridge is as low as it can possibly get. And I STILL had to file down the bottom of the G string saddle, AND shim the neck to get a decent action.
 

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