A different approach to first string compensator: E9

Paul Sutherland · From: Placerville, California

I've put up a video on YouTube regarding a less common way to put a compensator on the first string F#. I really like this compensator and what it does to clean up the tuning issues of the first and second strings.

http://youtu.be/fKOzS35kIJc

Aaron McFate · From: Arizona, USA

Wow, Paul, this is great. I never really paid attention to compensators and what they did, but this video makes it make perfect sense.. or maybe I should say "just sense", Thanks

Alex Cattaneo · From: Quebec, Canada

Very interesting video Paul. I have that compensator on my B pedal, but this certainly makes a lot of sense too. As you say, everything is a compromise, but this is certainly worth a good conversation, in terms of the benefits of having that compensator attached to a pedal or a lever, as well as the use of the full tone lower on string 2. Good stuff!

Keith Currie · From: Shellbrook, Saskatchewan, Canada

What do you mean when you say a full half tone lower on your video? I have always thought it was one or the other.

Paul Sutherland · From: Placerville, California

Keith: At about 13:02 I misspoke when I used the phrase "full half tone lower." I meant to say: If that's the only lick that justifies having a full tone lower on the knee lever, you can do without it.

Also: at about 6:30 I misspoke when I said you get a G chord at the third fret using strings 5, 2 & 1. I should have said you get a D chord.

I also think I didn't explain clearly why I think it's better to have the first string compensator linked to the second string half tone lower.

In my experience, you want the first string compensator to be in effect every time you lower the second string a half tone, and you do NOT want it to be in effect if the second string is not lowered.

If the compensator is set up as I propose, then you can play the 1 & 2 strings together in all the major pedal positions, and strings 1 & 2 are in tune to each other. If the first string compensator is instead linked to either the A or B floor pedal, there will be certain pedal positions where either you don't have the compensation when you want it, or you have compensation when you don't want it, all of which cause intonation problems.

For example in the key of G: At the third fret open G chord position you don't want the compensator whether the pedals are up or down. But if the compensator is linked to either the A or B pedal the compensator is in effect when pedals are down, so string 1 & 2 are out of tune.

Similarly, when playing at the tenth fret pedals down G position, you want the compensator along with the lowered second string, whether you are using the A &/or B pedals or not. If the first string compensator was on the A or B pedal, you would have no compensation when not using either the A or B pedal. So you would have the lowered second string (with you knee lever), but no compensation on the first string because you're not engaging the floor pedal; thus intonation issues.

Everything lines up perfectly when the first string compensator is linked to the second string half tone lower. All you have to give up is that whole tone lower on the second string.

(Perhaps you could put the second string whole tone lower on another knee lever if that change is really important you.)

chris ivey · From: california (deceased)

paul..you already play in tune and i bet you could get by without any compensator.

Paul Sutherland · From: Placerville, California

Thanks Chris. Part of the method to playing in tune is avoiding string combination that are out of tune. This compensator cleans up the intonation on those top strings, so you have more options. I find myself now playing somewhat differently regarding the top strings because they are in tune.

Before the compensator (BC if you will) I could not use strings one and two together if the situation called for lowering the second a half tone. Now I can. Now I visualize the neck differently.

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