Intonation - Callaham Compensated Saddles

When the Telecaster was first "designed" and built, the saddles (the metal bar over which the strings pass on their way to the nut.- between the nut and the saddles is where a string vibrates) were two strings to a saddle. Three brass barrels.

You are able to set the overall length of the string via the three spring loaded screws.

Fretted instruments "suffer" with tempered tuning. It's mathematically impossible to lay out the frets in such a way that the strings are in tune over the entire length of the neck. With twenty one to twenty four frets on most electric guitars or scale lengths from twenty four inches to twenty five and three quarters, there is a lot of variation to be had - add into this the curvature (radius) of the fretboard, and you can see there are hurdles to be surmounted.

Back to the Telecaster. The epitome of simple...simplistic. With the three barrel design there is an inherent trade off. One of those two strings will be closer to perfect intonation than the other. Players back in the 1950s learned to bend the spring loaded screws which would angle the barrels...effectively lengthening one string and shortening or retaining the same with the other.

You can see the Tune-O-Matic Bridge design has an individual saddles for each string. The arc described by the radius and scale is also easier to visualize in the arc of the saddles.
Eventually Fender came out of the dark ages and began to install six saddle designs of their own.

But you can also see, this bridge in much harder to adjust. On the TOM there is one spring loaded screw for the string length, and two thumbwheels, one at each end to raise or lower the bridge. With the Fender design, each string is adjusted for intonation and height individually. While that may sound as though it makes for a more perfect instrument, it makes for a colossal pain.
The height adjustment screw are hex heads,  you need two tools instead of one. Each height adjustment is done with two screws - the design itself almost precludes the use of only one. I say almost because someone figured out how to stabilize an offset screw.

My two Teles have three barrel bridges. I like the look. I have no belief in mythical properties of the brass material or the three barrels, themselves, I just like the way they fit the overall old school vibe.
Intonation has always been a huge compromise. And it hurts my ears to hear a guitar that can get no closer to perfect intonation; much as reading text written by the illiterate will hurt my eyes.
(In this way, I am a snob...I guess)

In my own way, I started to do research. I found angled barrels, much the same as the bent screw trick of years gone by. I also found a very clever variation.
A Slanted Compensated Saddle.

The face of each barrel has two surfaces at angles from each other. Length overall is still adjusted with the same spring loaded screws. And dammit, they use hex head screws to adjust the height...one for each string.
After removing the strings it took fifteen minutes to remove the old saddles and replace then with the Callahams. Another ten minutes adjusting intonation and I was done.
Height takes days to dial in. I want the action (height above the fretboard) to be as low as possible. When you lower the action you are inviting fret buzz. So you lower it and play. Find a dead fret...Raise it a bit. Play some more. Determine you can lower it a touch and so on.

The intonation? Spot on. No change in any other quality.
$46 with shipping.

Cork

Referring to 'cork' in the guitar community is short hand for a "cork sniffer." A poser rather than a player.
The schizophrenia is deep among musicians.
No, I am not kidding.

To a person, if asked in pulic they will eschew cork.
"What matters is your tone!"

Then why are most NGD (new guitar day) threads nothing but pictures?
"Look at the flame!" "Dude! Awesome LOOKING guitar!"
And the irony misses them...completely.

So I post a NGD thread in which I included clips but no pictures. A couple of the thoughtful community people respond. The kids are absent.
So I asked, do you wear or play your guitar? Is it jewelry to you?
And I was met with replies such as , "You can't tell me you never stood in front of the mirror and thought,'Damn that looks good!'"
And truthfully I replied, when I was 16 maybe I did, once. But my aim has always been the music.
Close your eyes and listen.

I do understand theatrics...I am a ham. But the best shows in my mind were the ones with the great music and not the lights or smoke to add to the experience.
I watched John McLaughlin's fingers, I couldn't care less what guitar he was using. I knew his sound came from within, not from the tool he used.

Telecasters, my new, current consuming guitar love are ugly guitars. There are a few specimens that are nice to look at. Fender has tried to dress them up - there is a tuxedo...a black guitar with white binding and a white pickguard. Or the one made from redwood - although Fender tried to make it more historic than visually enticing by tying it to a railway trestle that was over one hundred years old.
It's their function that drew me.
It has that singular Fender single coil sound and with a touch of OD can out creamy any humbucker.
Wait...you are saying it can sound like either?
It could be a Ford or a GM?
French or Italian?
It is God's gift...but it is wrapped in an ugly, ugly shape.
In the 1950s the routing done for the bridge pickup was a tad too large. A very slight bit of uncovered routing is referred to as 'buttcrack' and now is held as a sign of lineage.

Look at that?! There is no flattened edge radius. There is no "belly cut." No binding. Not much chrome. When they were first made, it was from pine. They are the cheapest in the Fender line.
But what a beautiful palette.
The swiss army knife of guitars. But it's cork quotient is very low.
Posing hair bands need not apply.
But if you close you eyes to enjoy you favorite music, then tele players are for you.

Everyone Has An Agenda

Yesterday, July 4th was spent playing at George Harrison's.

Roadhouse opened.
By the time they took their first break, Tony the guitarist, came up to me and asked if I'd sit in.
We started playing a tune written by the bass player. A rambling sort of thing, very reminiscent of the Allman Brothers. It was fun.
As people began to filter in the list of tunes grew. Lefty Jeff brought his new ES 335 and had a tune or two in mind..."Can't You See," being his favorite. Ric came...dance partner in tow. She doesn't know you as, "Shotgun?!" Gee whatta surprise. He wants to play Santana. Status showed up as well. He had played a four hour gig in Long Beach and was ready to go. The kid is dedicated.

 Jeff asks me to start a tune..."Something out of the ordinary..."
Do you guys want to try something new?
Not.on.your.life.
Fine...I start playing 'Voodoo Chile.'
It is neither out of the ordinary nor is it new. George tells me to "blaze, and pay no attention to the rest..."

Musicians have comfort zones, much like anyone else. However, being the fragile egos that we are, no one is vying to try new things as it may include failure. That...disappoints me.
I had been waiting to try some Colin James tunes; the opportunity was not going to present itself this night.
Failure is a huge part of musical growth. Many times it is much less painful than failure in "real life."

Most people do not hear the screw-ups we make on stage.
They DO notice when we are out of sorts, less than communicative, not here to play.

Tony, like myself exudes passion when he plays. It doesn't matter that half of what he plays doesn't fit, or is too loud, or he blows a particular passage. He closes his eyes and plays. People appreciate that.
A genuine desire to play or perform.
Tony turns to me as they are packing their gear, "Dude, I want to play with you again!"
Musicians also appreciate honest passion and desire.

I have no real agenda other than playing.
I'd like to be playing my material - it is what I am striving to do.
In the meanwhile, I can play anything the crowd wants to hear.
Requests?