classical guitar identification by headstock design

Compensation by moving the nut contact point towards the neck, so decreasing the total length of the string, but increasing the relative length of the fretted string.įor guitars with a 0-fret, compensation at the nut must be the same for all.Compensation by moving the saddle (contact point) away from the neck, so increasing the length of the string.7) a twofold compensation is recommended: It looks like a minor problem, but it is complicated because this compensation is different for the individual strings and also because the stiffness of the strings asks for an extra compensation. By moving the saddle a little away from the head you can compensate for that effect. Because the fretted strings are stretched the pitch of that string will be slightly increased. Here the question of compensation is important. Compensationįirst the location and profile of the saddle have to be chosen. The different aspects you have to deal with. In the following we will discuss in detail Of that middle part will be at least 6 cm and the width (parallel to the longitudinalĪxis of the guitar) 20 to 30 mm. You will undoubtedly end up with a profile that is veryĬlose to the well-known bridge forms in current classical guitars. Profiles to connect the strings to that mid-section at the same time minimizing Just take a piece of scribbling paper and draw all kinds of different Is leading in the design of the length and the profile of the middle part of

The strings have to be connected to the bridge. As long as the saddle can be immovably fixed to the bridge, the choice is open and again mostly based on aesthetic arguments. Materials most in use are ivory, bone or ebony. For instance by choosing the same wood for the bridge as for the back, sides, head veneer, the finger board or the sound-hole rosette. The choice between these types of wood may be influenced by aesthetic arguments. A flexible piece of wood will absorb energy so we have to look for a light bridge, made of hard material. Above that, the reaction on the movement of the strings should be as fast as possible. Always take care that it will not be the source of any energy loss. If the bridge of a guitar is too heavy, too weak or not connected properly to the strings or top it will seriously hurt the acoustic characteristics. Guitars need a bridge to connect the strings with the soundboard.

Classical guitar identification by headstock design