ColinMolton
Member
Good shout! Carl Verheyen is a beast
Yes.
So theoretically for the angled claw setting shown in the vid, there is another setting with the claw straight that would produce the exact same tension.
I think the angle is just a visual aid and makes it faster for Carl to dial in the tension. As he says, about 15mins for him to setup and off-the-shelf strat.
Not sure what you mean... If you listen to Karl's vid, he gets 1 1/2 steps on the G String, 1 step on the B String, and a 1/2 step on the E string. How do you do that with straight claw? This is his secret way of tuning the claw so you can use different strings...similar to a pedal steel guitar. Have you tried this setup?
Not sure what you mean... If you listen to Karl's vid, he gets 1 1/2 steps on the G String, 1 step on the B String, and a 1/2 step on the E string. How do you do that with straight claw? This is his secret way of tuning the claw so you can use different strings...similar to a pedal steel guitar. Have you tried this setup?
You're mixing up two things, string gauge vs elasticity and string tension balance on both sides of the bridge.Yeah that's an old myth about the angled claw thing. It really makes no difference. The block and bridge plate are held fixed at 90 degrees and they pivot across fixed points parallel to the bridge plate. The only way uneven spring tension would make a difference is if the bridge plate or block could flex or twist. It does neither unless you've got a really crappy or damaged bridge. If that were really the case, having the tremolo bar mounted off to one side would make the bridge twist like crazy and it would never stay in tune. The string tension itself is also not even across all the strings. They are all slightly different.
The relationship between the pitch change of the different strings is determined by the string diameters and their overall lengths. Thicker strings are stiffer and will stretch less compared to thinner strings at a given tension. Also, on a Strat, the Low E is the shortest string and the High E is the longest string (bridge block to tuning post). Longer strings will have more available length to stretch and will require more pull distance to raise the pitch a given amount. So between the G, B and e strings, the G is the thickest and shortest so it stretches the least and therefor raises in tension and pitch the most when the bar is pulled up.
It's like trying to pick up a weight with a rope tied to it versus a rubber band tied to it. Both will require the same amount of force to move the weight, but the stretching rubber band will require you to pull much further up to reach that force. The stretch is slowing the application of force. The rope that doesn't stretch nearly as much will more quickly reach the required level of tension to move the weight.
Not sure what you mean... If you listen to Karl's vid, he gets 1 1/2 steps on the G String, 1 step on the B String, and a 1/2 step on the E string. How do you do that with straight claw? This is his secret way of tuning the claw so you can use different strings...similar to a pedal steel guitar. Have you tried this setup?
How do you explain the difference in tension with a 24.75" short scale neck vs. a 25.5" long scale neck? Also, why do many players w/long scale necks down tune to 1-2 steps in order make it easier to play...tension.
Is this not the same as lengthening/shortening one side pr the other of the claw?
You're right when saying that a thicker string will vary less in pitch than a lighter gauged one, so far no doubt
I still contend the angle is a visual aid that makes setting the tension easier (for Carl).
How do you explain the difference in tension with a 24.75" short scale neck vs. a 25.5" long scale neck? Also, why do many players w/long scale necks down tune to 1-2 steps in order make it easier to play...tension.
Is this not the same as lengthening/shortening one side pr the other of the claw?
You're mixing up two things, string gauge vs elasticity and string tension balance on both sides of the bridge.
- You're right when saying that a thicker string will vary less in pitch than a lighter gauged one, so far no doubt
- Please note the reason for balancing the string tension is not the pitch variation, allthough it will influence as pitch - string tension curves are not totally linear (http://www.physics.usyd.edu.au/~cross/StringTension.pdf)
- For sure it will contribute to prevent strings from getting out of tune due to the fact that pull on the the backside of the bridge is close or equal to the string tension on the front side. At the sole condition that the nut is working correctly also; as most of the problems related to guitars going out of tune at twang bar actionning are nut problems IMHO
You'd have to step up to a larger diameter B string or smaller diameter G string and reset everything for those sizes and tensions to change that bend interval relationship between them.
If you tune the G, B and e strings to the same note and push the bar down, they still bend at different rates.
Likewise, if you tuned three identical sized strings to G, B and e (different tensions, but same size), it will still bend at different rates because the amount of stretch in the string is different at different tensions and the strings are slightly different lengths due to intonation offsets of the saddles. The rates will not be the same as before
No. It's the same as lengthening/shortening the string. Shorter strings take less tension to reach a given pitch. Adjust the claw doesn't change the length of the strings.How do you explain the difference in tension with a 24.75" short scale neck vs. a 25.5" long scale neck? Also, why do many players w/long scale necks down tune to 1-2 steps in order make it easier to play...tension.
Is this not the same as lengthening/shortening one side pr the other of the claw?