Compensators
Posted: 22 Apr 2002 10:43 am
In another thread concerning "splitting" the term "compensator" came up and I got to thinking.
With so many new players coming along and this fantastic forum, it may be that this term (and others) is quite confusing to a lot of newbies, (and maybe even some older ones
).
Thinking about compensators, I can recall 4 different situations where the term is used and yet, it is meant for entirely DIFFERENT things.
This must be terribly confusing to some players. Especially new ones.
Ok, this may help.
Compensators have been used for the following 4 reasons:
1. "Hysterisis" This is the phenomenon that many players sooner or later realize they have when a string is raised, then released and then lowered and released (or vice-versa). Here is what happens. The 4th string is lowered then released. String comes back in tune. Now the string is raised and released. The string comes back flat. (The reverse is also true, IF, the raising was the first order when setting the raise and lowers).
Compensators have been used by several manufacturers to get around this problem. Emmons' was the first I saw. They use small "O-rings" on a fixed lowering pull rod. When adjusted probably it does indeed cure the problem.
This problem can also be greatly diminished by using a keyless head. In fact, some believe (I do) that the problem is caused by small amount of the string length NOT coming back over the roller between the nut and keyhead when the pedal is released.
So eliminating the keyhead solves the problem.
2. One or more strings that become OUT of tune with pedals engaged versus disengaged. The classic example of this is the F# strings on the E9th tuning. This happens when a player likes to hear no beats between any two strings.
Compensator rods are installed to slightly "flatten" (or raise) these offenders to remove the beat. NOTE: It is not necessary to compensate when a player tunes ET (equal temperament) because all intervals except octaves HAVE beats in this type of tuning.
MOST players do not tune this way, so some use compensators for this problem.
3. "Cabinet Drop". This problem is when UNpulled strings lower in pitch when other strings are raised.
The classic example of this is the 6th string on E9th when the A pedal is engaged. Compensator pulls are often used to counteract this problem.
NOTE" The oppposite of this is true also. That is, "Cabinet raise". Again (using string 6) can raise in pitch when the E's are lowered. Both of these problems (and others) can be very annoying to those whose ears are cultured over time to relative pitch errors. Compensators can be of great help here.
The Emmons' LeGrande III and at least one other manufacturer has a modification to counteract this annoyance.
To date NO one has satisfied some of us as to exactly WHAT is causing this problem.
4. Double versus single raises (and lowers) on the same string causing strings to go out of tune.
Example is string 8 on a U-12. This string is lowered a half tone when playing in the "6th" mode. It is further lowered another half tone when the 6th pedal (C6 equivalent) is engaged.
Then, when this pedal is released while still holding the E's to D#, the 8th string will be flat.
This problem is caused by the crossbar that lowers the E's flexing (and/or) twisting). Again, Compensators can be used to greatly diminish or cure this problem.
There may be other "compensators" that have been used. I am not sure.
I hope this helps any who may have been confused by this 'oft used term having entirely different meanings.
God bless you all,
carl <FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by C Dixon on 22 April 2002 at 11:50 AM.]</p></FONT><FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by C Dixon on 22 April 2002 at 11:57 AM.]</p></FONT>
With so many new players coming along and this fantastic forum, it may be that this term (and others) is quite confusing to a lot of newbies, (and maybe even some older ones
).Thinking about compensators, I can recall 4 different situations where the term is used and yet, it is meant for entirely DIFFERENT things.
This must be terribly confusing to some players. Especially new ones.
Ok, this may help.
Compensators have been used for the following 4 reasons:
1. "Hysterisis" This is the phenomenon that many players sooner or later realize they have when a string is raised, then released and then lowered and released (or vice-versa). Here is what happens. The 4th string is lowered then released. String comes back in tune. Now the string is raised and released. The string comes back flat. (The reverse is also true, IF, the raising was the first order when setting the raise and lowers).
Compensators have been used by several manufacturers to get around this problem. Emmons' was the first I saw. They use small "O-rings" on a fixed lowering pull rod. When adjusted probably it does indeed cure the problem.
This problem can also be greatly diminished by using a keyless head. In fact, some believe (I do) that the problem is caused by small amount of the string length NOT coming back over the roller between the nut and keyhead when the pedal is released.
So eliminating the keyhead solves the problem.
2. One or more strings that become OUT of tune with pedals engaged versus disengaged. The classic example of this is the F# strings on the E9th tuning. This happens when a player likes to hear no beats between any two strings.
Compensator rods are installed to slightly "flatten" (or raise) these offenders to remove the beat. NOTE: It is not necessary to compensate when a player tunes ET (equal temperament) because all intervals except octaves HAVE beats in this type of tuning.
MOST players do not tune this way, so some use compensators for this problem.
3. "Cabinet Drop". This problem is when UNpulled strings lower in pitch when other strings are raised.
The classic example of this is the 6th string on E9th when the A pedal is engaged. Compensator pulls are often used to counteract this problem.
NOTE" The oppposite of this is true also. That is, "Cabinet raise". Again (using string 6) can raise in pitch when the E's are lowered. Both of these problems (and others) can be very annoying to those whose ears are cultured over time to relative pitch errors. Compensators can be of great help here.
The Emmons' LeGrande III and at least one other manufacturer has a modification to counteract this annoyance.
To date NO one has satisfied some of us as to exactly WHAT is causing this problem.
4. Double versus single raises (and lowers) on the same string causing strings to go out of tune.
Example is string 8 on a U-12. This string is lowered a half tone when playing in the "6th" mode. It is further lowered another half tone when the 6th pedal (C6 equivalent) is engaged.
Then, when this pedal is released while still holding the E's to D#, the 8th string will be flat.
This problem is caused by the crossbar that lowers the E's flexing (and/or) twisting). Again, Compensators can be used to greatly diminish or cure this problem.
There may be other "compensators" that have been used. I am not sure.
I hope this helps any who may have been confused by this 'oft used term having entirely different meanings.
God bless you all,
carl <FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by C Dixon on 22 April 2002 at 11:50 AM.]</p></FONT><FONT SIZE=1 COLOR="#8e236b"><p align=CENTER>[This message was edited by C Dixon on 22 April 2002 at 11:57 AM.]</p></FONT>
Bob
Theresa