The Steel Guitar Forum

I've noticed that vintage Weissenborns etc have a straight ( ie: non-compensated ) saddle...

Contemporary "Weissenborn-Style" guitars seem to be made with either straight or compensated saddles, depending on the luthier I guess...

It seems to me that compensated makes more sense, as the bass strings are more prone to being pushed sharp than the treble strings when barred closer to the 12th fret...

I play steel guitars with both types, and to be honest with you I can't really notice that much of a difference, I seem to vary the bar pressure and angle without really thinking about it.

So is a straight saddle "right" & compensated "wrong" or what?
There's players of converted regular acoustics ( with angled saddles ) that seem to be doing okay!
Is the straight saddle thing just "traditional" for "Weissenborn-Style" guitars? ...or better in some way for playing "lap-style".

I'm curious about this, due to noticing both kinds of saddle on modern hollownecks, straight saddles on vintage guitars, and a comment on another forum about compensated being "wrong".

Thanks for any clarification with this!

I never thought about this, but keep in mind a steel guitar is fretless, you approximate bar position. Developing a nice vibrato eliminates intonation problems and the need for compensation!

Joe Wills, Z88-9, Warm hearted Country, and the BAD DOGZ

Lap steels have straight saddles. Why should a Weiss be any different? I notice most are straight saddles and often a fret wire is used. That's how mine is built.

There is no need for a compensated bridge on a steel guitar, whether pedal or non pedal - acoustic or electric.

If there is a need, please give an example.

Thanx,
Jim

No compensation works best for me. I think that the need is more apparent in the higher registers. A straight saddle makes the most sense for any steel, in my opinion. If the bridge compensates, at some point the player will also have to do the same.

I think that maybe the more important issue is getting the nut slots cut such that the tops of the strings will all be at the same height as the bar. This helps avoid bar chatter in the lower register or having to put too much pressure on the string.