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Discussion in 'Telecaster Discussion Forum' started by JodanOrNoDan, Jan 2, 2019.
Guys ,guys the guitar CAME with INTONATED SADDLES.
The difference is that it came with BETTER saddles than the ones in the Fender site that are a problematic design (just read the many posts of the Brad Paisley model owners,that has the same saddles,almost everybody has changed them to solid ones)
It is like ordering a car with 16" steel wheels,a 2.0 liter engine ,no A/C and manual transmission and recieving the same car with alloy 20" wheels,a 4.0 liter engine,A/C and automatic transmission and COMPLAINING about it
OP has one thing right though: the Fender website continues to be a mess though improved compared to the past (at least now HALF the models have their specs and photos listed correctly )
First of all — congrats to the OP on buying a very nice guitar!
I hadn’t even realised the Elite Thinline ever had “intonatable” saddles... and I’ve played one of those! But surely some engineer at Fender must have looked at those and said “those will be a warranty nightmare”??
Anyway when I look at the Fender website although I can see now that the adjustable parts are on the saddles in the picture it does not seem to mention them — the emphasis is, quite reasonably, on the “floating” bridge design. (I also noticed that some of the strings sit perilously close to the edges of their ‘adjustable saddle parts’.)
I suspect that somewhere in the small print there will be a statement that “Fender reserve the right to continuously improve our products” or words to that effect. Manufacturers can’t be bound to an old advert or a detail in a picture if a design change will allow them to reduce warranty costs or even manufacturing costs, so long as the customer doesn’t get a worse product.
i use these on both teles and they intonate perfectly.
"Good enough" intonation is not "good enough" if you play actual music and play clean. However, those 3-pc slanted saddles are not really compromises -- the good ones are serious, and are designed carefully around the scale length and string gauge being used. They should work well, unless you play with either unusually high strings, in which case they won't. I understand why some players would say just string up and forget about it if you're off, but I wouldn't go for that. Music begins with rhythm and notes. Beginning with off notes caused by bad mechanics is ridiculous.
Same here. No issues.
I’ll Google ‘brass saddles, Wazzockstan’ and see what I find!
Well, you just slagged Roy Buchanan, Danny Gatton, James Burton, Steve Cropper and most all of the other historical Telecaster players who created the music we all know and love on Telecasters with vintage 3-barrel bridges...congratulations.
OP, if your next set still don't quite work out, I've got a couple sets of Wilkinson compensated brass saddles. I'll be glad to give you one. Another alternative are the saddles by Philadelphia Luthier Tools.
I switched to them, because I like the rounded string slot better for my Bigsby. It's nice not to have the sharper edge that's on the Wilkinson, but realistically the Wilkinson never gave me issues on a hardtail bridge.
Just PM me if interested.
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If we ever get together to jam, does your American Elite mind being seen with my Mexican?
Damn, this whole time I thought my fuzz was turned off
"Bad" is not "good enough", but good enough most assuredly is. It's no secret the average cheap tuner can "hear" finer differences than ears can, so you can get away being off by a hair this way or that. It's technically off, but effectively just fine.
I bought these puppies and intonation greatly improved with my Squier VM.
Here's another option with grooves:
You can also get them in materials other than brass...
This is a screw up. A portion of the intonable part of the saddle is missing altogether.
I'm going to speculate that FMIC is crawfishing on the original adjustable design because parts are disappearing off of in stock guitars and most dealers are simply not fully cognizant as to what is going on. So, FMIC figured "To Hell" with this exotic design and they're offering a mild compensation similar to those that Darren Riley has been selling for them for quite a while now.
These are USA made, big 6-32 hardware, nice husky springs and just look soooo professional on any Tele or T style guitar. Mild compensation, all 90% of guys really ever need. My sense is, too many people are using too much compensation - less is better.
I like Marc Rutters, and Bill Callaham, and C + J tooling, and Glendale Guitars and some of the other premium sourced saddles (Gotoh's new ones are very nice!) but if you're in the USA and you're buying a cheap, Chinese sourced M3 hardware facet compensated saddle from Sung Il to save two dollars, please get a grip on yourself. I mean it. You deserve better - stop doing yourself wrong. I apologize, but please folks!
Scout's Honor, I do not work for Darren - hadn't even met face to face. You may ask yourself "why doesn't FMIC put these on everything?" and the answer is I do not know. You are TDPRI and this is your inside scoop so stop passing it up!
I just put Gotoh saddles on my MIM Tele. My B string was sliding around a little on the stock saddle and the Gotohs fixed that. Set up was easy.
Yes and no. Gatton, for instance, used those compensated saddles from Vintique. Others like Burton used the dreaded 6 "hammer" saddle bridge before switching to a modern bridge. Others bent the "length" screw and still others dialed in some compensation by filing slots. And finally, if you have the gift and especially if the guitar is more Vintage specs than most (7.25 radius, low wire, large gauge strings, conventional gauge intervals) you can achieve nice intonation with straight saddles. It isn't how intonation messed with The Masters, really. It was how it made life miserable for the Weekend Warriors who played part time or just didn't have access to the better guitarsmiths and they're the ones whose work product got screwed up. The most highly talented guys almost always find a way to drive around the pothole in the road - their honor is not besmirched at all IMO.
There was a member here called Mellecaster, from Maryland, and so many guys here would testify he could set up a 3 straight saddle Esquire or Telecaster in such a way that the intonation was as optimal as a 25.5 scale, 6 string electric could attain. And I for one, believe it and further, that Mellecaster wasn't the only guy who could consistently do it. I can and do do it on certain guitars. It is worth trying, first, before you jump to the compensateds and sometimes 1 or 2 strings can use a straight saddle even if all 3 won't quite work.
To me, the attraction of compensated saddles is, basically anyone can accomplish nice intonation and they are freer to make adjustments as to string height, relative string heights, amount of relief and all the other things we like to sweat about. One way to visualize this is to say one guy can juggle 5 chainsaws and others can only juggle 3. In any event, all this "Good Enough" is about people who won't take the time. Just as much as it is about which pieces parts they choose.
And finally, when we babysit people too carefully about this aspect of being in tune, then they still have all the other ways of producing a recording or show that's no fun to listen to. I would just as soon a guy learn that in the end, every single moment you are playing you could mess up. We can try to make their undertaking a little easier but you cannot play the guitar for the guy and so at some point he must be on his own and find any way he can to make it sound right.
My Tele's intonation is really close with just the regular 3 saddle setup. I love the look of the Darren Riles set - and I have also looked at these:
I like the idea of a slot to keep string spacing consistent, but they do look a bit "busy". I will probably just keep mine and not ever bother - but I really like that DR set.
...and those also come in 1/4" as well.
My ears must really suck:
Been playing 50 years, although I was a Strat guy back in the day, 1968 Strat. Played that when I was 12 until I was 30.
Did all kinds of crap like changing gauges, and never even thought about having to reintonate, or do nut work. We didn’t obsess over these things then. And we couldn’t obsess with electronic tuners, because no one had them.
Unless you’re playing tons from the 15th fret until you fall off the end of the earth, my close enough intonation was definitely ENOUGH. I don’t think I ever played anything past the 13th fret. (Chicago’s “Begininngs,” the chords, started and topped off, at the 13th fret.)
I think some members here obsess over perfect intonation too much, and I think most of those who do just haven’t been around the block enough times, but want to do the right thing, like learning any new discipline. Listen to the experts, etc. A totally logical behavior.
But man, it’s not worth killing yourself over. If it sounds okay to you, it’s okay. Don’t take the word of a tuner over your own ears.