
A client wanted her D-12-20 to fret in tune all along the fretboard. Can it be done?
Intonating a flattop’s bridge saddle is tricky, and that’s especially true when it comes to vintage 12-string guitars. Back in the day, it was rare to find an acoustic 12-string with a compensated bridge saddle. In fact for many players, the slightly out-of-tune jangle was a big part of a 12-string’s aural mystique. But times have changed, and as music and recording technology have evolved, most musicians and producers expect a 12-string to play reasonably in tune all along the fretboard.
Intonating a flattop 12-string with a straight bridge saddle involves filing unique break angle and intonation points for each string—an operation that requires skill and patience. Let’s investigate and see exactly what’s involved.
We’ll use a beautiful 1972 Martin D-12-20 as our project guitar. The guitar was in good shape when its owner brought it into the shop, but it didn’t play even remotely in tune and the action was uncomfortably high. Many old 12-strings require a neck reset (an expensive proposition), but I checked the neck angle and it was fine. Fortunately for the guitar’s current owner, the problem was rather simple. Somewhere along the line a previous owner or tech had installed a saddle that was both too high and incorrectly radiused (Photo 1).
My job was twofold: lower the action by reshaping the bridge saddle and then intonate each string. I knew that once I completed these tasks, the D-12-20 would play better than ever and sound more in tune at the higher frets.
Requisite tools. To intonate a 12-string, you need a few specialized luthier tools. These include a string action gauge, radius gauges, and a radius block (the latter must match the fretboard radius). You’ll also need a mechanical pencil, a capo, self-adhesive 80-grit and standard 400-grit sandpaper, and flat, single-cut miniature needle files.
You can estimate where each string should rest on the saddle, but it’s nearly impossible to get it perfect on the first try.
Preliminary check. Before starting this kind of work on a guitar, it’s important to tune to concert pitch and take measurements. These specs provide a baseline to help gauge your progress. You’ll be taking several measurements, so write them down as you go.
First, put a capo on the 1st fret and measure action at the 12th fret with a string action gauge. Take this measurement for both the 1st and 11th strings—the first of the doubled high Es and the low E string. (We’ll assume your 12-string has the standard octave-string configuration, i.e., the octaves in each pair are closer to you than their wound partners. Some electric 12s, notably Rickenbackers, reverse this order.) Measure the distance between the bottom of the string and the top of the 12th fret.
Next measure the relief: With the capo still on the 1st fret, hold the 11th and 12th strings down at the 14th fret and measure the greatest gap between the bottom of the 11th string and the top of the frets. Typically this occurs around the middle of the fretboard, somewhere between the 7th and 9th frets. You can identify this gap by tapping the 11th and 12th strings against the frets while still pressing them down at the 14th fret.
Now remove the capo and check the action at the 1st fret.
Finally, using a strobe tuner, check the intonation for each string. (Naturally, this is tricky on a 12-string because you have to pluck each individual string of the six pairs.) Starting with the 1st string, play the 12th-fret harmonic—make sure it’s in tune—and then fret the same note. If the fretted note is sharp or flat compared to the reference harmonic, write down how many cents it’s off and in which direction. Repeat the process until you’ve documented the intonation at the 12th fret for all 12 strings.
Our 12-string’s preliminary specs. Here’s how the D-12-20 measured up: The action at the 12th fret was 6/64" for the 1st string and 7/64" for the 11th string. Too high to play! The relief was .012"—perfect for my client’s playing style. At the 1st fret, the 1st string was 1/64" and the 11th string was just over 2/64" above the fret. Again, perfect action at the string nut. At this point, I knew my job would simply entail lowering the action at the bridge saddle.
When I checked the intonation with a strobe tuner, and compared the 12th fret harmonics to their corresponding fretted notes, I found most of the fretted notes were from two to six cents sharp, although the G and D pairs were flat by about three cents.
With these measurements in hand, I was ready to get to work.
Photo 2
Sanding the bridge saddle. My next step was to check if the saddle’s radius matched the fretboard radius. My radius gauge revealed what I’d suspected—it wasn’t even close. The fretboard had a 14"radius (Photo 2), but the bridge saddle was around 8". This meant the saddle had a much more pronounced arch than the fretboard. I knew if I didn’t reshape the top of the saddle to match the fretboard, the D and G pairs would be radically higher than the other strings.
Photo 3
Using a 14" radius block and self-adhesive 80-grit sandpaper, I sanded the top of the saddle until it matched the block’s radius. Here’s the most accurate way to reshape the top of the saddle: Place the radius block in a vise with the radius side up and affix the self-adhesive sandpaper to the block. Now remove the saddle from its bridge slot, turn it upside down, and gently sand its top in the block’s concave area. If you shine light behind the saddle, you’ll be able to see how much material you’re removing from the saddle and make sure its radius matches the block (Photo 3).
Since the action was pretty high on our 12-string, I removed about 1/32" from the top of the saddle at both E string pairs. I removed quite a bit more from the middle of the saddle to flatten out the arch.
Once the saddle is correctly radiused, slip it back into the bridge and grab your mechanical pencil.
Photo 4
Marking the saddle. Now it’s time to draw guidelines on the saddle crown for both the individual intonation points and the various angles needed to guide the strings as they emerge from the pin holes (Photo 4). But before you start drawing lines, let’s take a moment to discuss where the strings should sit on the top of the saddle. First we’ll deal with the intonation points, then the string angles.
Fair warning: Setting the intonation entails some trial and error. You can estimate where each string should rest on the saddle, but it’s nearly impossible to get it perfect on the first try.
For this task, it’s helpful to mentally divide the 12 strings into three groups:
• The six E, A, D, G, B, and E strings you’d find on a regular flattop. We know the lowest four are wound, and the top two are plain. So far, so good.
• The plain octave strings (E, A, D, G) that pair with the wound E, A, D, and G strings.
• The doubled unison B and high-E strings. Just like their mates, these are plain.
Okay, think about the first group—our standard 6-string. As a general rule, both the low E and B strings intonate best at the rear edge of the saddle (closest to the bridge pins). The G string’s intonation point is typically at the very front of the saddle (closest to the soundhole).
That leaves the high E, D, and A strings to be accounted for. The high E will typically fall between the B (remember, that’s at the rear of the saddle) and the G (at the front of the saddle). The D and A strings usually create a stair-step pattern between the G and low E strings, with the D closer to the G, and A closer to the low E.
The four plain octave strings are a different story. Both the low E’s octave and the G’s octave points will be at the front of the saddle. The octave strings for A and D will be further back toward the bridge pins.
As you’d expect, the unison B and E strings sit at exactly the same point as their siblings.
Now consider how each string travels from the pin hole in the bridge to the top of the saddle—the intonation point. On this Martin, the six primary strings—those that correspond to a standard flattop—are set back toward the rear of the bridge. The six additional strings, the four octaves and two unisons that make a 12-string such a beautiful beast, emerge through the soundboard and bridge right behind the saddle.
On the rear of the saddle, you need to file individual angles (think of them as ramps) that allow each string to reach its intonation point without encountering a sharp edge. Correctly filed angles minimize string breakage and maximize sustain. The angle for the primary strings will be shallower than the six extra strings.
Photo 5
On the rear of the saddle, you need to file individual angles (think of them as ramps) that allow each string to reach its intonation point without encountering a sharp edge. Correctly filed angles minimize string breakage and maximize sustain. The angle for the primary strings will be shallower than the six extra strings.
Filing the saddle. This is where your inner artist gets a chance to shine. Using a miniature flat file, carve each string’s intonation point and rear angle, based on your markings (Photo 5). Go slowly, and to prevent any sitar-like buzzing, be sure each string leaves the saddle from a crisp, defined peak as it heads toward the soundhole.
Checking intonation. As I mentioned earlier, there’s a lot of trial and error involved with intonating a 12-string. Once you’ve done the first pass of filing, put on a fresh set of strings, tune them to pitch, and check the intonation.
Photo 6
The goal is to have the fretted note at the 12th fret match the corresponding 12-fret harmonic. Use a tuner to keep track of how close the fretted note comes to its reference harmonic. If the string frets sharp, file the intonation point back toward the rear of the saddle. Conversely, if the fretted note is flat, carve the intonation point forward toward the front of the saddle. When you’re done, the saddle should look similar to Photo 6. Don’t be dismayed at how many times you’ll need to slacken and remove the strings, file the saddle, restring, retune, and recheck the intonation.
Wrap it up. When you’ve got the intonation dialed in to your satisfaction, take off the strings one last time, pop out the saddle, and then polish it with 400 grit sandpaper, followed with a polishing cloth. Restring, retune, and you’re good to go.
This process takes a long time to master, but in the end, it’s worth it when your 12-string plays in tune all the way up the neck.
Whitman Audio introduces the Decoherence Drive and Wave Collapse Fuzz, two innovative guitar pedals designed to push the boundaries of sound exploration. With unique features like cascading gain stages and vintage silicon transistor fuzz, these pedals offer musicians a new path to sonic creativity.
Whitman Audio, a new audio effects company, has launched with two cutting-edge guitar pedals, the Decoherence drive and Wave Collapse fuzz. Combining science and art to craft audio effects devices, Whitman Audio aims to transcend the ordinary, believing that magic can occur when the right musician meets the right tool.
Delivering a solution for musicians looking to explore a wide range of sounds, each pedal offers a unique path to finding your own voice. The Decoherence drive injects a universe of unique saturation into your music arsenal while the Wave Collapse fuzz takes you to uncharted sonic territories.
Decoherence features include:
- Cascading stages (Gain A > Gain B) each with a unique sound and saturation character
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- Gain B - Low to Medium gain with a neutral EQ that compliments and expands Gain A
- G/S Toggle - Selects the clipping diodes for Gain B (NOS Germanium or NOS Silicon)
- Tone Knobs (H & L) - Tuned active Baxendall style EQs that boost or cut Highs and Lows
- True bypass switching, accepts standard 9V DC power supplies (does not accept battery)
Introducing: Decoherence Drive - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Wave Collapse features include:
- Vintage Silicon transistor fuzz that goes from vintage clean to doom metal mean
- Buffered input and pickup simulation ensure it sounds great anywhere in your chain
- Bias Knob - Allows for a huge range of texture and response in the pedals gain structure
- Range and Mass Toggles - Provide easy access to three diverse bass and gain ranges
- Filter Knob - A simple-to-use tilt EQ enhanced by the Center toggle for two mid responses
- True bypass switching, accepts standard 9V DC power supplies (does not accept battery)
The Decoherence drive and Wave Collapse fuzz pedals carry retail prices of $195.00 each.
For more information, please visit whitmanaudio.com.
Introducing: Wave Collapse Fuzz - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.In our third installment with Santa Cruz Guitar Company founder Richard Hoover, the master luthier shows PG's John Bohlinger how his team of builders assemble and construct guitars like a chef preparing food pairings. Hoover explains that the finer details like binding, headstock size and shape, internal bracing, and adhesives are critical players in shaping an instrument's sound. Finally, Richard explains how SCGC uses every inch of wood for making acoustic guitars or outside ventures like surfboards and art.
We know Horsegirl as a band of musicians, but their friendships will always come before the music. From left to right: Nora Cheng, drummer Gigi Reece, and Penelope Lowenstein.
The Chicago-via-New York trio of best friends reinterpret the best bits of college-rock and ’90s indie on their new record, Phonetics On and On.
Horsegirl guitarists Nora Cheng and Penelope Lowenstein are back in their hometown of Chicago during winter break from New York University, where they share an apartment with drummer Gigi Reece. They’re both in the middle of writing papers. Cheng is working on one about Buckminster Fuller for a city planning class, and Lowenstein is untangling Austrian writer Ingeborg Bachmann’s short story, “Three Paths to the Lake.”
“It was kind of life-changing, honestly. It changed how I thought about womanhood,” Lowenstein says over the call, laughing a bit at the gravitas of the statement.
But the moment of levity illuminates the fact that big things are happening in their lives. When they released their debut album, 2022’s Versions of Modern Performance, the three members of Horsegirl were still teenagers in high school. Their new, sophomore record, Phonetics On and On, arrives right in the middle of numerous first experiences—their first time living away from home, first loves, first years of their 20s, in university. Horsegirl is going through changes. Lowenstein notes how, through moving to a new city, their friendship has grown, too, into something more familial. They rely on each other more.
“If the friendship was ever taking a toll because of the band, the friendship would come before the band, without any doubt.”–Penelope Lowenstein
“Everyone's cooking together, you take each other to the doctor,” Lowenstein says. “You rely on each other for weird things. I think transitioning from being teenage friends to suddenly working together, touring together, writing together in this really intimate creative relationship, going through sort of an unusual experience together at a young age, and then also starting school together—I just feel like it brings this insane intimacy that we work really hard to maintain. And if the friendship was ever taking a toll because of the band, the friendship would come before the band without any doubt.”
Horsegirl recorded their sophomore LP, Phonetics On and On, at Wilco’s The Loft studio in their hometown, Chicago.
These changes also include subtle and not-so-subtle shifts in their sophisticated and artful guitar-pop. Versions of Modern Performance created a notion of the band as ’90s college-rock torchbearers, with reverb-and-distortion-drenched numbers that recalled Yo La Tengo and the Breeders. Phonetics On and On doesn’t extinguish the flame, but it’s markedly more contemporary, sacrificing none of the catchiness but opting for more space, hypnotic guitar lines, and meditative, repeated phrases. Cheng and Lowenstein credit Welsh art-pop wiz Cate Le Bon’s presence as producer in the studio as essential to the sonic direction.
“On the record, I think we were really interested in Young Marble Giants—super minimal, the percussiveness of the guitar, and how you can do so much with so little.”–Nora Cheng
“We had never really let a fourth person into our writing process,” Cheng says. “I feel like Cate really changed the way we think about how you can compose a song, and built off ideas we were already thinking about, and just created this very comfortable space for experimentation and pushed us. There are so many weird instruments and things that aren't even instruments at [Wilco’s Chicago studio] The Loft. I feel like, definitely on our first record, we were super hesitant to go into territory that wasn't just distorted guitar, bass, and drums.”
Nora Cheng's Gear
Nora Cheng says that letting a fourth person—Welsh artist Cate Le Bon—into the trio’s songwriting changed how they thought about composition.
Photo by Braden Long
Effects
- EarthQuaker Devices Plumes
- Ibanez Tube Screamer
- TC Electronic Polytune
Picks
- Dunlop Tortex .73 mm
Phonetics On and On introduces warm synths (“Julie”), raw-sounding violin (“In Twos”), and gamelan tiles—common in traditional Indonesian music—to Horsegirl’s repertoire, and expands on their already deep quiver of guitar sounds as Cheng and Lowenstein branch into frenetic squonks, warped jangles, and jagged, bare-bones riffs. The result is a collection of songs simultaneously densely textured and spacious.
“I listen to these songs and I feel like it captures the raw, creative energy of being in the studio and being like, ‘Fuck! We just exploded the song. What is about to happen?’” Lowenstein says. “That feeling is something we didn’t have on the first record because we knew exactly what we wanted to capture and it was the songs we had written in my parents’ basement.”
Cheng was first introduced to classical guitar as a kid by her dad, who tried to teach her, and then she was subsequently drawn back to rock by bands like Cage The Elephant and Arcade Fire. Lowenstein started playing at age 6, which covers most of her life memories and comprises a large part of her identity. “It made me feel really powerful as a young girl to know that I was a very proficient guitarist,” she says. The shreddy playing of Television, Pink Floyd’s spacey guitar solos, and Yo La Tengo’s Ira Kaplan were all integral to her as Horsegirl began.
Penelope Lowenstein's Gear
Penelope Lowenstein likes looking back at the versions of herself that made older records.
Photo by Braden Long
Effects
- EarthQuaker Westwood
- EarthQuaker Bellows
- TC Electronic PolyTune
Picks
- Dunlop Tortex 1.0 mm
Recently, the two of them have found themselves influenced by guitarists both related and unrelated to the type of tunes they’re trading in on their new album. Lowenstein got into Brazilian guitar during the pandemic and has recently been “in a Jim O’Rourke, John Fahey zone.”
“There’s something about listening to that music where you realize, about the guitar, that you can just compose an entire orchestra on one instrument,” Lowenstein says. “And hearing what the bass in those guitar parts is doing—as in, the E string—is kind of mind blowing.”
“On the record, I think we were really interested in Young Marble Giants—super minimal, the percussiveness of the guitar, and how you can do so much with so little,” Cheng adds. “And also Lizzy Mercier [Descloux], mostly on the Rosa Yemen records. That guitar playing I feel was very inspiring for the anti-solo,[a technique] which appears on [Phonetics On and On].”This flurry of focused discovery gives the impression that Cheng and Lowenstein’s sensibilities are shifting day-to-day, buoyed by the incredible expansion of creative possibilities that setting one’s life to revolve around music can afford. And, of course, the energy and exponential growth of youth. Horsegirl has already clocked major stylistic shifts in their brief lifespan, and it’s exciting to have such a clear glimpse of evolution in artists who are, likely and hopefully, just beginning a long journey together.
“There’s something about listening to that music where you realize, about the guitar, that you can just compose an entire orchestra on one instrument.”–Penelope Lowenstein
“In your 20s, life moves so fast,” Lowenstein says. “So much changes from the time of recording something to releasing something that even that process is so strange. You recognize yourself, and you also kind of sympathize with yourself. It's a really rewarding way of life, I think, for musicians, and it's cool that we have our teenage years captured like that, too—on and on until we're old women.”
YouTube It
Last summer, Horsegirl gathered at a Chicago studio space to record a sun-soaked set of new and old tunes.
Featuring torrefied solid Sitka Spruce tops, mahogany neck, back, and sides, and Fishman Presys VT EQ System, these guitars are designed to deliver quality tone and playability at an affordable price point.
Cort Guitars, acclaimed for creating instruments that exceed in value and quality, introduces the Essence Series. This stunning set of acoustic guitars is designed for musicians looking for the quintessential classic acoustic guitar with fabulous tone all at an exceptional price point. The Essence Series features two distinct body shapes: The Grand Auditorium and the OM Cutaway. Whatever the flavor, the Essence Series has the style to suit.
The Essence-GA-4 is the perfect Grand Auditorium acoustic. Wider than a dreadnought, the Essence-GA-4 features a deep body with a narrower waist and a width of 1 ¾” (45mm) at the nut. The result is an instrument that is ideal for any number of playing styles: Picking… strumming… the Essence GA-4 is completely up for the task.
The Essence-OM-4 features a shallower body creating a closer connection to the player allowing for ease of use on stage. With its 1 11/16’th (43mm) nut width, this Orchestra Model is great for fingerpickers or singer/guitarists looking for better body contact for an overall better playing experience.
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