Fine Radius Adjustments on a Fender LSR Nut

The action on the low-E string of my LSR nut was a little high.  I think it's because the nut's supposed 9.5" radius doesn't match the fretboard's supposed 10" radius at the nut, or my alleged fret leveling job, which might very well have changed the effective radius of the neck.  Either way, the low string was way high.  I decided to explore a theory.  No pictures because my crappy old camera won't focus on anything so small.

No warranty, expressed or implied.  Proceed at your own risk.  Good luck.

Here's what I did to lower the action on a string.  Seems to have worked for me, except that this operation seems to have wrecked some of the springy retention ability of the retainer prongs.  I will have to be careful when changing strings forever more.  I think if I had removed the nut completely and taken the retainer finger assembly off in one piece, that might not have happened, but imagine what a pain in the ass that would have been!

1. Place the guitar on a nice smooth surface covered neatly in cloth.  The little ball bearings, once lost, will never be found again if they bounce on something hard.
2. Loosen the string and pull it aside into a neighboring string slot.
3. Pry the retainer prongs back toward the headstock a little.
4. Use a slightly-magnetic awl tip to draw out the two ball bearings.  Grab them between your pinched fingers before you lift them very high, and put them in a container.
5. Use a drill bit slightly smaller than the ball bearing cups to deepen the holes that hold the bearings.  Measure forty five times and cut twenty times.  Go a little at a time.  You can't go back.  How do you know where to put the holes?  I dunno.  I just leaned the bit into the corners ever so slightly and drilled.
6. Replace the bearings, replace the string, and tune to pitch.  If you are convinced you need to go deeper, do so.
7. Lather, rinse, repeat.

Here's what I did to widen the string slots on the LSR nut.  I'm using a set of very heavy strings (12's) and I've been worried that the low string was hitting the edges of the little exit slot.

1. Steps 1-4 above
2. Use the awl to pop out the little foam dampener on the headstock side of the nut, and place it with the ball bearings.
3. Sand away with a tiny rectangular file.  Don't wreck the retainer prongs.

Your mileage may vary, especially considering that I'm just making all of this up.

Acoustic Refret, Nut and Bridge Shave

I've got an 80's Harmony acoustic, given to me by my brother.  It has a terrible high action.  The neck doesn't seem messed up, and the soundboard isn't too bellied out.  I don't want to reset the neck because it's a bit of a big step that requires tools that would cost real money:  steam and all kinds of things.  I know I could slap something together from junk, but in my experience junk (and connecting junk to junk) costs real money.

So for my next project, I'm going to try to lower the action on this guitar - backwards:

• Put gigantor frets on it
• Redo the nut to compensate
• Shave the bridge
• Perhaps convert the bridge from an adjustable-height bridge, which seems to take up precious verticality, to a fixed height
• Put in a brass plate below the bridge plate to prevent the string ball ends from tearing up the soft wood down there.  StewMac wants $12 for this but I can make one for more like 20 cents.

Here's the old adjustable bridge:

 It won't go low enough.  I think I'll have to shave the bridge down too.  That will come after the refret, once I see the action I'm getting.

Here are the strips of feeler gauge I'm using to protect the very soft fretboard against the heel of my fret-removal chisels:

I don't have a fancy fret-removing end cutter that's ground down so the cutting edges are flush with the flat face. These chisels work beautifully.  I do guess that there's a slight outside chance of a truly horrifying accident, if one of the chisels comes loose, rides up the other chisel and unzips the flesh of my forearm.  That would suck.  But I didn't get the feeling that was likely to happen.  There's not a lot of force involved in this; the trick is getting a sharp edge under the metal/wood interface.

I'll be ordering fret wire and replacement blank nut and and bridge this week.

Intonation - the 12th Fret Harmonic vs. the Open String

The question I tried to answer today is, "Which is more better?"

• Comparing the note at the 12th fret with the harmonic at the 12th fret, or
• Comparing the note at the 12th fret with the open string

Today I set the intonation on my new guitar for the Xth time.  I have a Peterson Strobostomp, which is good because neither my ear, nor a needle tuner, has ever helped me intonate a guitar.  And I couldn't tell see much difference between the two methods.  I think the reason is that if the intonation is already close, the harmonic and the open string are converging somewhat.  Who knows?  It's such an inexact thing.  My favorite E-form barre chord sometimes sounds good to me, and sometimes sounds horrible, when played up the neck.  That can change from day to day.

I tried hacking the G string compensation a little by increasing it arbitrarily, because it seems like the G is the primary culprit in spoiling my perfect chord.  I've heard of studio musicians doing that when they know exactly what intervals, and where on the neck, they're planning to be.  I think experienced luthiers, guitar techs and musicians consciously or unconsciously "sweeten" their intonation, and they're not telling me how it's done.  I've read that experience musicians of the fretless persuasion (eg violin) adjust their intonation dynamically, like magicians.  

I'm trying to work up a system for hacking intonation that works reliably, and when I do, I'll post it.  It'll be something along the lines of:

1. Play your chord or group of notes where it needs to be
2. Strum repeatedly and silence different strings in turn, looking for the one that's ruining it most for everybody
3. Use the regular guitar tuners to nudge that string up or down a little at a time (basically make it out of tune) until it plays better with others
4. If you sharpened it, decrease compensation for that string beyond what is normal, and if you flatted it increase compensation beyond what is normal

Also I just realized that I might be able to do something using just the tuner:  hold the chord up where I need it and, in effect, see how far from equal temperament perfection each note is.  That's basically simple intonation, but maybe it changes the equation when all the strings are fingered?

I am a monkey.

Strange High E String Failure Mode

I've heard it said of tremolo use and Kahlers in particular, that guitar string windings at the ball end should be soldered.  I always wondered what the heck that was about.  From what I have discerned, Kahlers have fixed saddles and wrap the string ball ends around a semi-circular rotating stop, similar to Bigsby tremolos and, in a way, to some wrap-around TOM (Tune-O-Matic) fixed bridges.  And there, I thought, was the crux:  something about turning a corner with the wrapped end perhaps caused problems.

Now maybe I understand.

I lost the ability to maintain tuning on my high E string on my new homemade guitar.  Every time I did a bend, it came back low - and it's a fixed bridge.  It happened over and over and over.  I even loosed the Steinberger gearless tuner at the headstock, unclamped the string, grabbed the free tail and reclamped it with the slack taken up.  It kept happening.  Here were my theories, in descending order of probability:

1. string clamp mechanism slipping - but I didn't see any less tag end than I remembered having after the initial string installation
2. string stretching like all getout - but I couldn't imagine a string stretching that much without breaking
3. tuner shifting in the soft basswood of the tuner hole - but i saw no visual indication of it
4. adjustable saddle moving of its own accord - but I checked the compensation screw head and it was against the rear of the bridge
5. bridge moving - but the other strings were great

Then I measure the wrapping at the ball end where it comes through the rear of the bridge.  I measured 19/64ths, worked the string by bouncing the guitar on it repeatedly.  I measured 16/64ths, but I didn't believe it.  I stretched the string again and it became clear:  the high E string was getting pulled around the ball end and  smooshing the wrap toward the ball end.  In this picture you can see it:

Imagine for a moment that I had a camera made after about 2003, that could take a picture worth a damn.  You would see that the green arrow is approximately where the final wrap used to be, and the yellow arrow is where it is now.  Between the two is kinked-up string, unwrapped wraps that have wriggled out of the wrap zone.

From now on I will solder my strings, I guess.