i'm ready to start build 6-have the neck mostly ready. all cherry with a thin maple inlay on the back of the neck.
the question- how do i decide how far in from the edge of the box do i put the saddle? I get the whole 25.5 inch from the nut part for a strat scale, but when i set it up how do i decide where to place it on the cigar box to get the most response and resonance/best tone from the guitar once it's done?
i recently built a sweet looking punch that does not sound good and i think part of my issue is the saddle is too close to the boxes edge. i then reread a bit on placement and it said a simple mantra is put the saddle 2/3 to 3/4 of the way from the neck, but then went into further explanation involving using a tuning fork etc. etc. to find the lids sweetspot.
after all that i thought i'd just reach out to all of you for your experience based input.
how do i decide how far from the edge of the box to set the 25.5" saddle?
I'm using one of 2 boxes i've been saving- a sweet macanudo or an arturo fuente. what do you think?
Replies
Where you put the saddle will effect the intonation . You tune it with open strings then as you go up the neck pressing down the guitar could be out of tune . By moving the bridge back or forward this can be rectified ,and quite likely also a sweet spot . Just something to keep in mind.
i usually put the bridge 1/3rd of the way in tha box. so to use round figures for a 12" box the bridge will be around 4" from the edge. then measure the 25 1/2 " from there to get the neck length needed.. gives enough room for a sound hole if you want one like a trad guitar or put holes in the corners like most do.
i say around because depending on string guage the bridge will be slanted and moved slightly to get intonation correct.
Happy New Year Jon! I've learned for acoustic response 1/2 to 2/3 (from the neck join end) is best. Like JD said, this allows the most resonance from the top - remember: guitars are basically air pumps, and the pressure of the bridge elicits the most 'spring' from the top (think trampoline) which pumps the most air to the back and forward again. In addition to this, I use standard guitar-building techniques including a 2-degree neck (back) angle. On a 24-1/2" scale set up for medium-medium frets that puts the saddle height at the top 'e' string at about 5/8". I also do a 15-degree scarf angle headstock and that plus whatever I do with the tailpiece gives enough break angle. Now all that said, I've never had it be a problem on full-on electric builds to have the bridge further back. My struggle is that I like guitar neck to body proportion and this isn't usually possible on full scale builds and I hate having a ton of neck hanging off the box - plus that poses a real risk to neck stability - so unless I've got a nice big bix, I try to compromise optimal bridge placement with proportion aesthetics. I'm, shall we say, pretty meticulous and always do a detail plan drawing of every build and one of the most valuable lessons I ever learned was to start the drawing with the string - what it's all about when you think about it - and work down to the fingerboard, neck, and box. This helped me understand the principles at work so clearly. Good luck!
Are you fretted or fretless? If your fretless then forget about the 25.5 scale length. Put the saddle where it sounds the best. Simply put. The 25.5 scale length means the half way point on your neck would be at 12 3/4 inches. If you move your saddle in two inches your half way point would then be 11 3/4 inches. And a better sounding box. A Fender mini or 3/4 size guitar has a scale length of 22 3/4.
If your committed to a 25 1/2 scale then your bridge has to be right at that mark.
I think there is a certain aesthetic appeal to using the 2/3 or 3/4 formula. My gut tells me that the middle of the box would have maximum resonance but that might be compromised if you end up with less string break from the tailpiece. I say stick with the 2/3, 3/4 formula.