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How to make a Kite Guitar: Difference between revisions

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There are two types of [[The Kite Guitar|Kite Guitar]] fretboards, even-frets and odd-frets. In the former, all or almost all of the frets are an even number of 41-equal steps from the nut. In the latter, it's an odd number. The even-frets layout is primarily for isomorphic ("same-shape") tunings and the odd-frets layout is primarily for open tunings. Most of the research and development to date has focused on the even-frets layout.
There are two types of [[The Kite Guitar|Kite Guitar]] fretboards, even-frets and odd-frets. In the former, all or almost all of the frets are an even number of 41-equal steps from the nut. In the latter, it's an odd number. The even-frets layout is primarily for isomorphic ("same-shape") tunings and the odd-frets layout is primarily for open tunings. Most of the research and development to date has focused on the even-frets layout.


==== In-between frets ====
An odd-frets guitar can be converted to an even-frets one simply by capoing. An even-frets one can be converted to odd-frets similarly if there is an additional fret (or fret slot that accepts a temporary fret) near the nut. There are also advantages musically to this extra fret even if not using open tunings. The extra fret or "in between" fret is named the "a-fret" if it's between the nut and the 1st fret, "b-fret" if it's between the 1st and 2nd frets, etc. (An alternative terminology is 0.5-fret, 1.5-fret, etc.) A b-fret or b-fret-slot might be better for acoustics, which tend to have higher nuts, which might make capoing only 29¢ from the nut difficult. An empty fret slot does not interfere at all with normal play. Thus there is absolutely no downside to having an a-slot and/or a b-slot, and it's <u>highly</u> recommended.
An odd-frets guitar can be converted to an even-frets one simply by capoing. An even-frets one can be converted to odd-frets similarly if there is an additional fret (or fret slot that accepts a temporary fret) near the nut. There are also advantages musically to this extra fret even if not using open tunings. The extra fret or "in between" fret is named the "a-fret" if it's between the nut and the 1st fret, "b-fret" if it's between the 1st and 2nd frets, etc. (An alternative terminology is 0.5-fret, 1.5-fret, etc.) A b-fret or b-fret-slot might be better for acoustics, which tend to have higher nuts, which might make capoing only 29¢ from the nut difficult. An empty fret slot does not interfere at all with normal play. Thus there is absolutely no downside to having an a-slot and/or a b-slot, and it's <u>highly</u> recommended.


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On a Kite guitar, each string fills in the missing notes on the neighboring strings. But there are 6 missing notes in the very upper and lower ranges. The 6 gaps in the upper range are fairly easily filled with half-fret bends. To fill the 6 low gaps, one might want short "fretlets" on the lowest string, especially on a bass guitar. Their names run from a-fretlet to f-fretlet.
 
A d-fret (3.5 fret) provides a note 9/8 from the nut. This can be very useful if using the alternating 3rds tuning (vM3 and ^m3) or an open tuning. For example in the alternating 3rds tuning, one can play a 5-limit downmajor scale by the nut with every other note as an open string, great for fast runs. An e-fret 7/6 from the nut provides 7-limit downminor notes.
 
On a Kite guitar, each string fills in the missing notes on the neighboring strings. But there are 6 missing notes in the very upper and lower ranges. The 6 gaps in the upper range are fairly easily filled with half-fret bends. To fill the 6 low gaps, one might want short "[https://Fretlet.com fretlets]" on the lowest string, especially on a bass guitar. Their names run from a-fretlet to f-fretlet.  
[[File:Bass fretlets.jpg|none|thumb|661x661px|Kite bass with 6 fretlets]]


===Scale length and number of strings===
===Scale length and number of strings===
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Another possibility is to convert a 6-string classical nylon-string to 7 or 8 strings. The tension is low enough that an extra string or two won't break the guitar. The fingerboard is wide enough that it may suffice as is. If not, again the new fretboard can be slightly wider.  
Another possibility is to convert a 6-string classical nylon-string to 7 or 8 strings. The tension is low enough that an extra string or two won't break the guitar. The fingerboard is wide enough that it may suffice as is. If not, again the new fretboard can be slightly wider.  


To add an additional [[wikipedia:Machine_head|tuner]] or two, the 3 holes on each side of the headstock that the tuner pegs go through can be filled and 4 new holes drilled. Or a ukulele tuner or two can be added at the top of the headstock. (Banjo tuners can work too.) Use the type of tuner that has the knob pointing backwards, not sideways (i.e. perpendicular to the headstock, not parallel to it). For ease of use, get one that is geared (via a [[wikipedia:Epicyclic_gearing|planetary gear]]), so that many turns of the knob equals one turn of the post that the string passes through. This [https://graphtech.com/collections/ratio-machine-heads-ukulele/products/ratio-tune-a-lele-machine-heads-pru-4004-bk set of 4 ukulele tuners from graphtech.com] is $33 plus shipping.
To add an additional [[wikipedia:Machine_head|tuner]] or two, the 3 holes on each side of the headstock that the tuner pegs go through can be filled and 4 new holes drilled. Or a ukulele tuner or two can be added at the top of the headstock. (Banjo tuners can work too.) Use the type of tuner that has the knob pointing backwards, not sideways (i.e. perpendicular to the headstock, not parallel to it). For ease of use, get one that is geared (via a [[wikipedia:Epicyclic_gearing|planetary gear]]), so that many turns of the knob equals one turn of the post that the string passes through. This [https://graphtech.com/collections/ratio-machine-heads-ukulele/products/ratio-tune-a-lele-machine-heads-pru-4004-bk set of 4 ukulele tuners from graphtech.com] is $33 plus shipping as of 2024.
[[File:7th tuner topside.jpg|left|thumb|banjo tuner, top view]]
[[File:7th tuner topside.jpg|left|thumb|banjo tuner, top view|301x301px]]
[[File:7th tuner underside.jpg|none|thumb|banjo tuner, bottom view]]
[[File:7th tuner underside.jpg|none|thumb|banjo tuner, bottom view|268x268px]]
 
 
Or one could use a standard guitar tuner as seen here:
[[File:Classical guitar headstock 1.jpg|left|thumb|261x261px|guitar tuner, top view]]
[[File:Classical guitar headstock 2.jpg|none|thumb|310x310px|guitar tuner, bottom view]]
 


There will need to be new 1/16" holes in the tie block. One could drill at an angle, entering from near the upper edge of the back of the tie block. But it's better to go straight in with an extra-long bit, perhaps 6" long. Or you can use a bit extension. This type is good because it's magnetic so there's no chuck to get in the way: [https://www.harborfreight.com/6-in-magnetic-hex-bit-extension-62691.html harborfreight.com/6-in-magnetic-hex-bit-extension-62691.html]. Make sure the bit is long enough to pass through both the guide block and the tie block. This one should be long enough: [https://www.harborfreight.com/titanium-hex-shank-drill-bit-set-13-piece-61621.html harborfreight.com/titanium-hex-shank-drill-bit-set-13-piece-61621.html].
There will need to be new 1/16" holes in the tie block. One could drill at an angle, entering from near the upper edge of the back of the tie block. But it's better to go straight in with an extra-long bit, perhaps 6" long. Or you can use a bit extension. This type is good because it's magnetic so there's no chuck to get in the way: [https://www.harborfreight.com/6-in-magnetic-hex-bit-extension-62691.html harborfreight.com/6-in-magnetic-hex-bit-extension-62691.html]. Make sure the bit is long enough to pass through both the guide block and the tie block. This one should be long enough: [https://www.harborfreight.com/titanium-hex-shank-drill-bit-set-13-piece-61621.html harborfreight.com/titanium-hex-shank-drill-bit-set-13-piece-61621.html].
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Drill the hole(s) for this string with a 1/16" drill bit. Drill a little at a time and clean the dust off the bit between passes. Leave the metal plate in place and reposition the guide block to drill the remaining holes.
Drill the hole(s) for this string with a 1/16" drill bit. Drill a little at a time and clean the dust off the bit between passes. Leave the metal plate in place and reposition the guide block to drill the remaining holes.


The nut will need to be replaced. Making a high-quality nut is a bit tricky for the amateur DIY-er, and you may need to use a luthier. But if the new fretboard has a zero fret, the nut merely serves as a spacer. It doesn't affect the sound, and the exact width and depth of the nut slots don't matter as much. Because both the nut and the tie block holes will be replaced, and because the new fretboard can be a little wider or narrower than the old one, one has a lot of control over the new string spacing.
The nut will need to be replaced. Making a high-quality nut is a bit tricky for the amateur DIY-er, and you may need to use a luthier. But if the new fretboard has a zero fret, the nut merely serves as a spacer. It doesn't affect the sound, and the exact width and depth of the nut slots don't matter as much.  
 
Because both the nut and the tie block holes will be replaced, and because the new fretboard can be a little wider or narrower than the old one, one has a lot of control over the new string spacing.


=== Range ===
=== Range ===
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In any given key, the Kite guitar has multiple "rainbow zones" on the neck. Assuming the tonic falls in the "sweet spot" between the 4th and 11th fret, it takes about 28 frets to provide 2 zones in every key, but it takes the full 41 frets to provide 3 zones. This 3rd zone increases the range the lead guitarist has to solo in by a 5th or so. The highest frets are very tight, but still playable melodically. Chording is very difficult. Having a 41st fret makes intonating the guitar easier, see [[How to make a Kite Guitar#Saddle%20and%20Nut%20Compensation|Saddle and Nut Compensation]] below. In general, if you can fit in 41 frets, do so.
In any given key, the Kite guitar has multiple "rainbow zones" on the neck. Assuming the tonic falls in the "sweet spot" between the 4th and 11th fret, it takes about 28 frets to provide 2 zones in every key, but it takes the full 41 frets to provide 3 zones. This 3rd zone increases the range the lead guitarist has to solo in by a 5th or so. The highest frets are very tight, but still playable melodically. Chording is very difficult. Having a 41st fret makes intonating the guitar easier, see [[How to make a Kite Guitar#Saddle%20and%20Nut%20Compensation|Saddle and Nut Compensation]] below. In general, if you can fit in 41 frets, do so.


There is a 'home zone" around the 14th fret that is the rainbow zone when the low open string is the tonic. There is a 2nd home zone around the 28th fret. To get a complete 2nd home zone, one needs about 32 frets. This should be the minimum number of frets even on an acoustic or classical without a cutaway. Fortunately this translates to almost 19 conventional frets, which almost all guitars have.
There is a 'home zone" around the 14th fret that is the rainbow zone when the low open string is the tonic. There is a 2nd home zone around the 28th fret. To get a complete 2nd home zone, one needs about 32 frets. Ideally this would be the minimum number of frets even on an acoustic or classical without a cutaway. Fortunately this translates to almost 19 conventional 12-equal frets, which almost all guitars have.


The fret spacing is 1.71 times tighter than a 12-equal guitar. This chart compares it to the standard fret spacing. The spacing between the nut and the first fret is about the same as the space between the 12-equal 9th and 10th frets. Increasing the overall scale length will widen the spacing.
The fret spacing is 1.71 times tighter than a 12-equal guitar. This chart compares it to the standard fret spacing. The spacing between the nut and the first fret is about the same as the space between the 12-equal 9th and 10th frets. Increasing the overall scale length will widen the spacing.
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The frets should be as narrow as possible, because the frets are so closely spaced high up on the neck. One can always manage to produce the desired note, even with wide frets closely packed. But to get good sustain, it helps to get one's finger behind the fret, so that the fleshy fingertip doesn't overhang the fret and deaden the note. The narrower the fretwire, the easier that is.  
The frets should be as narrow as possible, because the frets are so closely spaced high up on the neck. One can always manage to produce the desired note, even with wide frets closely packed. But to get good sustain, it helps to get one's finger behind the fret, so that the fleshy fingertip doesn't overhang the fret and deaden the note. The narrower the fretwire, the easier that is.  


If the fretwire is somewhat tall, that aids microbending to sharpen the downmajor 3rds, because one can simply squeeze those notes harder. Taller frets also prolong the life of the frets, since repeated fret jobs over the years wear them down.  
If the fretwire is somewhat tall, that aids microbending to sharpen the downmajor 3rds, because one can simply squeeze those notes harder. Taller frets also prolong the life of the frets, since repeated fret leveling over the years wears them down.
 
Two possibilities are [https://jescarmusic.com/products/jescar-fret-wire-50078 Jescar FW50078] (.078X.050) and [https://www.stewmac.com/luthier-tools-and-supplies/materials/fretwire/stewmac-medium-fretwire/ Stew-Mac Medium/Highest #0155] (.080x.050).  


===Replacing each fret vs. replacing the entire fretboard===
===Replacing each fret vs. replacing the entire fretboard===
When converting a guitar, it's best to replace the entire fretboard, rather than removing the frets and putting new frets in the old fretboard. The 41-equal 5th is 702.5¢, so two frets will be only 2.5¢ away from the old ones, two will be 5¢ away, etc. So the old and new fret slots overlap, making conversion difficult. The following table shows the distance from the old fret to the new fret for close pairs. One could just use the old slots (or even the old frets) and accept a few cents error. But in certain keys a 5¢ error will make the downmajor 6th or 10th that's already 6¢ flat a full 11¢ flat.
When converting a guitar, it's best to replace the entire fretboard, rather than removing the frets and putting new frets in the old fretboard. Here's why: the 41-equal 5th is 702.5¢, so two frets will be only 2.5¢ away from the old 12-equal frets, two will be 5¢ away, etc. So the old and new fret slots overlap, making conversion difficult. The following table shows the distance from the old fret to the new fret for close pairs. One could just use the old slots (or even the old frets) and accept a few cents error. But in certain keys a 5¢ error will make the downmajor 6th or 10th that's already 6¢ flat a full 11¢ flat.
{| class="wikitable center-all"
{| class="wikitable center-all"
|+distance between fret slots (center to center, scale = 25.5")
|+distance between fret slots (center to center, scale = 25.5")
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|0.032"
|0.032"
|}
|}
Removing the entire fretboard also has the advantage that you can get a pre-slotted computer-cut fretboard fairly cheaply that has extremely accurate slot placement (see [[How to make a Kite Guitar#Fret%20Placement|Fret Placement]] below).  
Removing the entire fretboard also has the advantage that you can get a pre-slotted computer-cut fretboard fairly cheaply that has extremely accurate slot placement (see [[How to make a Kite Guitar#Fret%20Placement|Fret Placement]] below). Before removing the old fretboard from an acoustic or classical guitar, see [[How to make a Kite Guitar#Method #1|Fretboard placement Method #1]] below.  


==Fret placement==
==Fret placement==
On a standard guitar, the nth fret is SL * (1 - 2^(-n/12)) from the nut, where SL is the scale length. On a Kite guitar, for an even-fret layout, it's SL * (1 - 4^(-n/41)). In other words, simply replace the 12th root of 2 with the 41st root of 4. For the a-fret, use n = 0.5. The b-fret is 1.5, the c-fret is 2.5, etc. Or use this LibreOffice spreadsheet:  
On a standard guitar, the nth fret is SL * (1 - 2^(-n/12)) from the nut, where SL is the scale length. On a Kite guitar, for an even-fret layout, it's SL * (1 - 4^(-n/41)). In other words, simply replace the 12th root of 2 with the 41st root of 4. (4 not 2 because it's 41 frets per ''double'' octave, which has [[frequency ratio]] 4/1 not 2/1.) For the a-fret, use n = 0.5. The b-fret is 1.5, the c-fret is 2.5, etc. Or use this LibreOffice spreadsheet:  


[https://en.xen.wiki/images/5/55/KiteGuitarFret%26DotPlacementCalculator.ods.zip KiteGuitarFret&DotPlacementCalculator.ods.zip]
[https://en.xen.wiki/images/5/55/KiteGuitarFret%26DotPlacementCalculator.ods.zip KiteGuitarFret&DotPlacementCalculator.ods.zip]
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The spreadsheet also has formulas to locate the fret markers aka dots (see the next section).
The spreadsheet also has formulas to locate the fret markers aka dots (see the next section).


Various suppliers can make pre-slotted fingerboards complete with radius, taper and inlays. All you need to do is glue it on and put in the frets. All of these suppliers have made Kite guitar fretboards:
Various suppliers can make pre-slotted fingerboards complete with radius, taper and inlays. All you need to do is glue it on and put in the frets. [https://KiteGuitar.com KiteGuitar.com] often has fretboards in stock. Furthermore, all of these suppliers have made Kite guitar fretboards:


*[http://kozmguitars.com/ KOZM Guitars] (Oregon)
*[http://kozmguitars.com/ KOZM Guitars] (Oregon)
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===Adding in-between frets or fretlets===
===Adding in-between frets or fretlets===
This section covers adding new frets or [https://Fretlet.com fretlets] (short frets that don't reach all the strings) to an already completed Kite guitar. The fret you are adding may or may not have a tang, and you may or may not need to cut a fret slot for it. A tangless fret is secured with glue or two-sided tape. You can place it temporarily with ordinary tape over the top of it, and check the cents with a tuner. Then mark the position with a pencil and attach it more permanently. Or you can use the following formulas.
This section covers adding new frets or [https://Fretlet.com fretlets] (short frets that don't reach all the strings) to an already completed Kite guitar. The fret you are adding may or may not have a tang, and you may or may not need to cut a fret slot for it. A tangless fret is secured with glue or two-sided tape. You can place it temporarily with ordinary tape over the top of it, or two-sided tape underneath it, and check the cents with a tuner. Then mark the position with a pencil and attach it more permanently with superglue. Or you can find the correct position using the following formulas.


To add <u>tangless</u> frets, measure X and F (or X+F and F) like so:
To add <u>'''tangless'''</u> frets, measure X and F (or X+F and F) like so:
[[File:FretletPlacement1.jpg|none|thumb]]
[[File:FretletPlacement1.jpg|none|thumb]]
The new fret will not be exactly equidistant from the neighboring frets. It will be slightly closer to the higher one. The formulas are:
The new fret will not be exactly equidistant from the neighboring frets. It will be slightly closer to the higher one. The formulas are:
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Use either D1 or D2, or both, to place the fret.
Use either D1 or D2, or both, to place the fret.
[[File:FretletPlacement2.jpg|none|thumb]]
[[File:FretletPlacement2.jpg|none|thumb]]
If one is instead cutting a fret-slot for a fret with a tang, D1 and D2 are the distances from the edge of the original fret to the center of the new fret slot. Use the same formulas, but measure X and F like so:
For a <u>'''fret with a tang'''</u>, D1 and D2 are the distances from the edge of the original fret to the center of the new fret slot. Use the same formulas, but measure X and F like so:
[[File:FretletPlacement3.jpg|none|thumb]]
[[File:FretletPlacement3.jpg|none|thumb]]
Incidentally, these formulas work for any edo. Just change the value of K. If adding frets to a 12-edo guitar to convert it to 24edo:
Incidentally, these formulas work for any edo. Just change the value of K. If adding frets to a 12-equal guitar to convert it to 24-equal:


*K = 24th root of 2 = 2 ^ (1/24) = 1.0293
*K = 24th root of 2 = 2 ^ (1/24) = 1.0293
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On an even-frets layout, dots (fretboard markers) are placed every 4 frets in a cycle of single-double-triple. So, the 4th fret has a single dot, the 8th fret has double dots, the 12th fret has triple dots, and then the 16th fret is back to single, and so on. Thus, a 36-fret guitar (pictured) has 18 dots on 9 frets, and a 41-fret guitar has 19 dots on 10 frets.
On an even-frets layout, dots (fretboard markers) are placed every 4 frets in a cycle of single-double-triple. So, the 4th fret has a single dot, the 8th fret has double dots, the 12th fret has triple dots, and then the 16th fret is back to single, and so on. Thus, a 36-fret guitar (pictured) has 18 dots on 9 frets, and a 41-fret guitar has 19 dots on 10 frets.
[[File:Ovation fretboard.jpg|none|thumb|538x538px]]
[[File:Ovation fretboard.jpg|none|thumb|538x538px]]
The small dots on the side of the neck follow the same single/double/triple pattern. The double and triple dots are oriented like the usual 12-equal double dots. At the 36th fret, the triple dots are too wide to fit between the frets. This is not a problem if there is no binding and each fret's tang stops short of the edge of the fretboard, as is the case with the removable b-fret shown [[How to make a Kite Guitar#Even-frets vs. odd-frets|above]]. Otherwise, the triple side dots can be placed in a triangle.
The small dots on the side of the neck follow the same single/double/triple pattern. The double and triple dots are oriented like the usual 12-equal double dots. At the 36th fret, the triple dots are too wide to fit between the frets. This is not a problem if there is no binding and each fret's tang stops short of the edge of the fretboard, as is the case with the removable b-fret shown [[How to make a Kite Guitar#Even-frets vs. odd-frets|above]]. Otherwise, the tangs of the 35th and 36th frets can stop short on the bass side of the fretboard only. As a last resort, the triple side dots can be placed in a triangle.
[[File:Jackson dinky side dots 1 small.jpg|left|thumb|339x339px]]
[[File:Kite guitar side dots 2 small cropped.jpg|none|thumb]]
 


Because the frets get closer as one goes up the neck, the double dots are closer to the triple dots than the single dots. As a result, if the distance between the double dots is the same as the distance between any two of the triple dots, the side of each "kite" formed by the dots is a concave line. To make a nice straight line, use the spreadsheet from [[How to make a Kite Guitar#Fret%20Placement|above]].
Because the frets get closer as one goes up the neck, the double dots are closer to the triple dots than the single dots. As a result, if the distance between the double dots is the same as the distance between any two of the triple dots, the side of each "kite" formed by the dots is a concave line. To make a nice straight line, use the spreadsheet from [[How to make a Kite Guitar#Fret%20Placement|above]].
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* half-round dental clasp wire
* half-round dental clasp wire
*tangless fretwire meant for [[wikipedia:Parker_Guitars|Parker guitars]]
*tangless fretwire meant for [[wikipedia:Parker_Guitars|Parker guitars]]
*plastic cable ties aka zip ties (easiest to apply)
*tangless fretwire from [https://sintoms.com/en/frets-and-tools-for-frets-production/frets-production/microtonal-frets/ Sintoms.com]
*[https://Fretlet.com fretlets] from John Schneider
*short sections of an old guitar string (good for a radiused fretboard)
*plastic cable ties aka zip ties (easiest to install)
 
For the guitar string sections, use packaging tape over the fret. For the other metal materials, use double-sided tape under the fret. Check the placement with an electronic tuner.
 
=== Cable ties ===
Cable ties work better with a nylon-string guitar than a steel-string. Use cable ties that are as narrow as possible. If needed, trim the tie with scissors, as shown in the photo. To get the cable tie to lie as flat as possible on the fretboard, pre-crimp the cable tie with pliers, as pictured.
[[File:Guitar frets from cable ties original.jpg|none|thumb]]
Various cable-tie sources:
 
* [https://www.gardnerbender.com/en/p/46-206UVB/Cable-Tie-6-inch-30-lb-Black# www.gardnerbender.com/en/p/46-206UVB/Cable-Tie-6-inch-30-lb-Black#] (narrow but short)
* [https://www.doitbest.com/product/500740/do-it-7-in-x-0-189-in-black-molded-nylon-weather-resistant-cable-tie-20-pack-500740/ www.doitbest.com/product/500740/do-it-7-in-x-0-189-in-black-molded-nylon-weather-resistant-cable-tie-20-pack-500740/]
* [https://byjasco.com/power-gear-plastic-cable-ties-8in-100pk-clear-0 byjasco.com/power-gear-plastic-cable-ties-8in-100pk-clear-0] (long and narrow, but can't take much tension)


For the metal materials, use double-sided sticky tape to attach the fret. Check the placement with an electronic tuner. Works best on an unradiused fretboard.
The little box that you feed the end of the cable tie through tends to get in the way of playing. If you never fret with your thumb, you might want to position the boxes along the bass edge of the fretboard. Or you can position them in the middle of the neck (pictured below). After you install a cable tie, clip off the "tail" with a nail clipper, as close to the box as you possibly can. Install the cable tie for the highest fret first. Tighten it around the narrower part of the neck, then push it up to the wider part, using the neck's taper to get an extremely snug fit. To tighten the last few cable ties, grab the tail with needlenose pliers, as close to the box as you can, with the pliers perpendicular to the tail. Then for maximum leverage, tighten using a twisting motion, rotating the pliers along its long axis, wrapping the tail around the needlenose. Finally, you can shove the clipped-off tails from the other frets under those last few cable ties. Once they are all installed, cover the back of the neck with a few layers of painter's tape to make them more comfortable and less likely to slip out of position.
[[File:Cable-tie frets.jpg|left|thumb|340x340px]]
[[File:Cable-tie frets after covering.jpg|none|thumb|335x335px]]


==String Gauges==
==String gauges==


A 6-string Kite guitar tuned in 3rds can be strung with a standard set of strings, but it's not ideal. The high strings will be somewhat slack, and the low strings will be somewhat tight. To find the appropriate gauges, use the D'Addario method: calculate each string's tension from its unit weight, length and pitch (frequency) by the formula T =  UW  x (2 x L x F)<sup>2</sup> / 386.4. For open strings, the length is the guitar's scale. The frequency in hertz of the Nth string of 8 strings tuned in the standard downmajor 3rds with a low string of vD is 440 * (2 ^ (-7/12 + (21 - 13*N) / 41)). For a 6-string guitar in mid-6 tuning, N ranges from 2 to 7. Or use the [[How to make a Kite Guitar#Frequencies|frequency table]] below. The unit weight is pounds per inch, and is a function of string gauge and string type (plain vs. wound, etc.). <u>Unit weights for a given gauge vary by manufacturer</u>. One can work backwards from this and select string gauges/types that give uniform tensions. The formula is UW = (T x 386.4) / (2 x L x F)<sup>2</sup>.   
A 6-string Kite guitar tuned in 3rds can be strung with a standard set of strings, but it's not ideal. The high strings will be somewhat slack, and the low strings will be somewhat tight. To find the appropriate gauges, use the D'Addario method: calculate each string's tension from its unit weight, length and pitch (frequency) by the formula T =  UW  x (2 x L x F)<sup>2</sup> / 386.4. For open strings, the length is the guitar's scale. The frequency in hertz of the Nth string of 8 strings tuned in the standard downmajor 3rds with a low string of vD is 440 * (2 ^ (-7/12 + (21 - 13*N) / 41)). For a 6-string guitar in mid-6 tuning, N ranges from 2 to 7. Or use the [[How to make a Kite Guitar#Frequencies|frequency table]] below. The unit weight is pounds per inch, and is a function of string gauge and string type (plain vs. wound, etc.). <u>Unit weights for a given gauge vary by manufacturer</u>. One can work backwards from this and select string gauges/types that give uniform tensions. The formula is UW = (T x 386.4) / (2 x L x F)<sup>2</sup>.   
Line 400: Line 434:


[https://www.juststrings.com/ JustStrings.com] and [https://www.stringsbymail.com/ StringsByMail.com] both sell custom gauges singly or in bulk. Individual Savarez nylon strings in various gauges: [https://www.StringsByMail.com/classical-guitar-strings-1/savarez-62/savarez-specialty-singles-147/alliance-kf-carbon-602/alliance-kf-1-meter-460/ StringsByMail.com/classical-guitar-strings-1/savarez-62/savarez-specialty-singles-147/alliance-kf-carbon-602/alliance-kf-1-meter-460]
[https://www.juststrings.com/ JustStrings.com] and [https://www.stringsbymail.com/ StringsByMail.com] both sell custom gauges singly or in bulk. Individual Savarez nylon strings in various gauges: [https://www.StringsByMail.com/classical-guitar-strings-1/savarez-62/savarez-specialty-singles-147/alliance-kf-carbon-602/alliance-kf-1-meter-460/ StringsByMail.com/classical-guitar-strings-1/savarez-62/savarez-specialty-singles-147/alliance-kf-carbon-602/alliance-kf-1-meter-460]
Seagaur [https://seaguar.com/products/blue-label?variant=42960855531739 blue label flourocarbon fishing line] is also an option for plain strings for classical guitars. A 50lb string is about .025", and a 60lb string is about .028". Beware, 60 lbs refers to the maximum weight of the fish being caught, not the tension that you should tune the string to!


{| class="wikitable center-2 center-3"
{| class="wikitable center-2 center-3"
Line 410: Line 446:
!notes
!notes
|-
|-
! rowspan="2" |acoustic guitar
! rowspan="2" | acoustic guitar
|25.5"
|25.5"
|vD
| vD
|12  15  19p/20w  25  32  40  48  59
| 12  15  19p/20w  25  32  40  48  59
|StringJoy
| StringJoy
|Phosphor Bronze
|Phosphor Bronze
|-
|-
| style="text-align:center;" |27"
| style="text-align:center;" |27"
|vD
|vD
|11.5  15  18p  24w  30  36  46  56
| style="text-align:left;" | 11.5  15  18p  24w  30  36  46  56
| D'Addario
|D'Addario
|somewhat light
|somewhat light
|-
|-
! rowspan="2" |electric guitar
! rowspan="4" |electric guitar
| style="text-align:center;" |25.5"
| vD
|10  11.5  15  19p/20w  26  32  40  50
|StringJoy
|Nickel Wound
|-
|25.5-26.5"
|25.5-26.5"
|vD
|vD
|10  13  16  19p/22w  26  34  42  52
| style="text-align:left;" |10  13  16  19p/22w  26  34  42  52
|D'Addario
|D'Addario
|
|
|-
|-
| style="text-align:center;" | 25.5"
| style="text-align:center;" |26.5"
|C
| style="text-align:left;" |13.5 17p 24w 28 36 48 58
|Phlub
|
|-
| style="text-align:center;" |26.5"
|C
| style="text-align:left;" |11 14 18p 24w 30 36 46 62
|John Platter
|C F vA C vE G C vE
|-
! rowspan="2" |electric bass
|34"
|vD
|vD
|10  11.5  15  19p/20w  26  32  40  50
|StringJoy
|Nickel Wound
|-
!electric bass
| 34"
| vD
|40  55  70  80  95  110/115
|40  55  70  80  95  110/115
|StringJoy
|StringJoy
|Nickel Wound
|Nickel Wound
|-
|-
!classical guitar
| style="text-align:center;" |35"
|C
|32 45 55 70 80 90 125 (all wound)
|John Platter
|C F vA C vE G C
|-
! rowspan="2" |classical guitar
|25.5"
|25.5"
|^^F
|^^F
|24.4 26.0 30.3p 24w 28 33 40<br>high 3 strings in mm: 62 66 77
|24.4 26.0 30.3p 24w 28 33 40 48<br>high 3 strings in mm: 62 66 77
|
|Kite
|high 3: Savarez KF<br>low 4: Silverwound
|high 3: Savarez KF<br>low 5: Silverwound
|-
| style="text-align:center;" |650mm
|C
| style="text-align:left;" |29 33 41p 26w 31 33 40 52
|John Platter
|C F vA C vE G C vE
|}
|}


== Fretboard placement ==
== Fretboard removal ==
<u>'''IMPORTANT'''</u>: Before removing the old fretboard from an acoustic or classical guitar, see [[How to make a Kite Guitar#Method #1|Fretboard placement Method #1]] below.
 
If the old fretboard is glued on, apply heat and use a putty knife. Go very slowly to avoid damaging the neck. The whole process often takes an hour or two.
 
If the old fretboard is epoxied on, you may prefer to grind it off using a router. Remove all the old frets first. For an electric, remove the neck from the body first.
 
==Fretboard placement ==
 
When building a guitar, the bridge/saddle is positioned relative to the fretboard. When converting a guitar, the fretboard is positioned relative to the bridge/saddle. This process is like saddle compensation, but instead of moving the saddle points back and forth, one moves the entire fretboard back and forth.
 
On an electric guitar, the saddle points are adjustable, so the fretboard placement need be only roughly correct. But on an acoustic or classical guitar, it's crucial to place the fretboard accurately.
 
When gluing on the fretboard, unless it's an electric, be sure to use locator pins! This is a standard (non-microtonal) luthier practice, search for "fretboard locator pins". With the fretboard clamped onto the neck, drill two (some suggest three or four) 1/16" guide holes through the fretboard and partway into the neck, to position the neck during glue-up. Drill the holes in the fret slots so that the frets will hide the holes. Drill off-center to avoid the truss rod. Drill one hole at the first fret slot and the other near the top of the neck. Do not drill into the body. Unclamp the fretboard and put 1/16" locating pins in the guide holes to position the fretboard exactly. If the fretboard wood is extremely oily (such as padauk wood), first treat it with acetone. Glue the fretboard on using ordinary [[wikipedia:Polyvinyl_acetate|woodworker's glue]]. Once the glue is dry, carefully remove the locator pins. Do one final levelling on the fretboard along each string path, then install the frets.
 
=== Method #1 ===
Before removing the old fretboard, check the intonation. Assuming it's on, mark the location of the old (12-equal) 7th fret on both sides of the neck. Do the same with the old 17th fret by putting tape on the guitar body on both sides of the fretboard. We'll be using these 4 guide marks to place the new (41-equal) fretboard.
 
If the intonation is off, use a formula to convert the error in cents to an error in millimeters or inches. This formula is given in the section below on saddle compensation. We're doing saddle compensation in reverse: rather than moving the saddle points, we're moving the guide marks.


When building a guitar, the bridge is positioned relative to the fretboard. When converting a guitar, it's crucial to place the fretboard accurately relative to the bridge. This process is like saddle compensation, but instead of moving the saddle points back and forth, one moves the entire fretboard back and forth.
Remove the old fretboard. Use the guide marks to position the new fretboard, which at this point has no frets in it. The new 12th fret slot will be only 2.5¢ closer to the soundhole than the old 7th fret. And the new 29th fret slot will be 2.5¢ further from the soundhole than the old 17th fret. That 2.5¢ distance will be almost twice as large for the new 12th fret as for the new 29th fret (almost twice because a 34\41 minor 7th is almost an octave). So eyeball the marks and the fret slots until it looks right on both sides of the neck/body.  


One method: first put the frets on the fretboard. Then clamp it to the neck using narrow wooden blocks that won't interfere with the strings. Then string it up, test the intonation, and adjust the fretboard placement as needed (see below). Finally, mark the correct position, remove the strings, and glue down the fretboard.
=== Method #2 ===
Remove the old fretboard. Put the frets on the new fretboard. Then clamp it to the neck using narrow wooden blocks that won't interfere with the strings. Then string it up, test the intonation, and adjust the fretboard placement as needed (see below). Finally, mark the correct position, remove the strings, and glue down the fretboard.


But many luthiers prefer to install the frets after the fretboard is attached, so that they can do one final levelling on the fretboard along each string path. If so, only install those frets needed for intonation. After gluing down the fretboard, remove those few frets, level, and then install all the frets.  
But many luthiers prefer to install the frets after the fretboard is attached, so that they can do one final levelling on the fretboard along each string path. If so, only install those frets needed for intonation. After gluing down the fretboard, remove those few frets, level, and then install all the frets.  
Line 463: Line 542:
[[File:Positioning a Kite Guitar fretboard -2.jpg|thumb|alt=|none]]
[[File:Positioning a Kite Guitar fretboard -2.jpg|thumb|alt=|none]]


Always install at least two frets, because the nut might need compensation (see below), and can't be trusted yet. One might use frets 1 and 13 to get a fifth, or frets 0.5 (the a-fret) and 21 to get an octave. Or one might install 3 or 4 frets, for safety. Check the tuning at all the frets and all the strings, using Method #2 below. Then place the fretboard  
Always install at least two frets, because the nut might need compensation (see below), and can't be trusted yet. One might use frets 1 and 13 to get a fifth, or frets 0.5 (the a-fret) and 21 to get an octave. Or one might install 3 or 4 frets, for safety. Check the tuning at all the frets and all the strings, using Method #2 below. Then place the fretboard.


== Saddle and nut compensation ==
==Saddle and nut compensation ==


Since the Kite guitar is so much more in tune than a 12-equal guitar, extra care should be taken with compensation. On an electric guitar, one can simply dial in the correct saddle compensation. On an acoustic or nylon, one must file the saddle.
Since the Kite guitar is so much more in tune than a 12-equal guitar, extra care should be taken with compensation. On an electric guitar, one can simply dial in the correct saddle compensation. On an acoustic or classical, one must file the saddle. Or one can make the saddle points adjustable. Widen the saddle slot by about 1/8" or 1/4". Cut the saddle into sections, one per string. Shim each saddle section individually in front and/or in back to place it properly.
[[File:Closeup of adjustable saddle points on a classical guitar.jpg|none|thumb|adjustable saddle points on a classical guitar]]
[[File:Closeup of adjustable saddle points on a classical guitar 2.jpg|none|thumb|adjustable saddle points on a classical guitar]]


=== Short answer ===
===Short answer===
For each string, match the 41st fret harmonic exactly with the fretted note, using a tuner. You can also match the 12th fret harmonic with the 12th fret note, which will be 1 octave lower. (To be precise, the fretted note should be half a cent sharper than the harmonic.) Ideally check at both the 12th and 41st frets, and split the difference to get both as in tune as possible.
For each string, match the 41st fret harmonic exactly with the fretted note, using a tuner. You can also match the 12th fret harmonic with the 12th fret note, which will be 1 octave lower. (To be precise, the fretted note should be half a cent sharper than the harmonic.) Ideally check at both the 12th and 41st frets, and split the difference to get both as in tune as possible.


=== Long answer ===
You could instead simply check various fretted notes against the tuner. Every 4th note (i.e. every fret marker) should suffice.
 
===Long answer===
'''Method #1:''' To find the saddle compensation on a standard guitar, one compares the harmonic at the 12th fret with the fretted note at the 12th fret. For the Kite guitar, by a weird coincidence, one does the same! But the 12th fret now makes the 3rd harmonic, not the 2nd. Thus the two notes should be an octave apart, not a unison. If using a tuner, this is not a problem. But if using your ear, a unison is easier to hear than an octave. To get a unison, when you fret the string, play the 2nd harmonic with your other hand. With your forefinger or middle finger, touch the string midway between the 32nd and 33rd frets. Then stretch your hand and pluck with your thumb as close as you can get to the midpoint between your finger and the bridge. If this isn't feasible (e.g. with a bass guitar), you can capo the string at the 12th fret and use both hands to play the harmonic. (And to be extremely precise, the fretted note should be 0.48¢ sharper than the harmonic. The 3rd harmonic is 701.96¢ and the 41-equal interval is 702.44¢.)
'''Method #1:''' To find the saddle compensation on a standard guitar, one compares the harmonic at the 12th fret with the fretted note at the 12th fret. For the Kite guitar, by a weird coincidence, one does the same! But the 12th fret now makes the 3rd harmonic, not the 2nd. Thus the two notes should be an octave apart, not a unison. If using a tuner, this is not a problem. But if using your ear, a unison is easier to hear than an octave. To get a unison, when you fret the string, play the 2nd harmonic with your other hand. With your forefinger or middle finger, touch the string midway between the 32nd and 33rd frets. Then stretch your hand and pluck with your thumb as close as you can get to the midpoint between your finger and the bridge. If this isn't feasible (e.g. with a bass guitar), you can capo the string at the 12th fret and use both hands to play the harmonic. (And to be extremely precise, the fretted note should be 0.48¢ sharper than the harmonic. The 3rd harmonic is 701.96¢ and the 41-equal interval is 702.44¢.)


Line 505: Line 588:
|26"
|26"
|15.0
|15.0
|655mm
| 655mm
|0.378mm
|0.378mm
|-
|-
Line 532: Line 615:
{| class="wikitable"
{| class="wikitable"
|+best frets to check for Kite Guitar intonation setup
|+best frets to check for Kite Guitar intonation setup
! fret
!fret
!interval
! interval
!ratio
!ratio
!harmonic
!harmonic
!fretted note should be
!fretted note should be
! for each cent of sharpness
!for each cent of sharpness
!location to play shared harmonic
!location to play shared harmonic
|-
|-
|12
|12
|5th
|5th
|3/2
| 3/2
| 3rd
| 3rd
|0.5¢ sharp
|0.5¢ sharp
| flatten by two cents
|flatten by two cents
|2/3 of string: between frets 32 and 33
|2/3 of string: between frets 32 and 33
|-
|-
|24
|24
|maj 9th
|maj 9th
|9/4
| 9/4
|9th
|9th
|1¢ sharp
|1¢ sharp
Line 558: Line 641:
|37
|37
|vmin 7th
|vmin 7th
|7/2
| 7/2
|7th
| 7th
|3¢ flat
|3¢ flat
|flatten by two-fifths of a cent
|flatten by two-fifths of a cent
| 6/7 of string: past the fretboard up by the bridge
|6/7 of string: past the fretboard up by the bridge
|-
|-
|41
|41
|dbl 8ve
|dbl 8ve
| 4/1
|4/1
|4th
|4th
| the same
|the same
|flatten by one-third of a cent
|flatten by one-third of a cent
|1/4 of string: at the same fret 41
|1/4 of string: at the same fret 41
Line 579: Line 662:
{| class="wikitable"
{| class="wikitable"
|+multiplicative factors for various fret distances.
|+multiplicative factors for various fret distances.
!frets
! frets
!factor
!factor
!
!
Line 589: Line 672:
!
!
!frets
!frets
!factor
! factor
|-
|-
|10
|10
|2.486
| 2.486
| rowspan="20" |
| rowspan="20" |
|20
|20
Line 606: Line 689:
|2.346
|2.346
|20.5
|20.5
|1.000
| 1.000
|30.5
|30.5
|0.554
|0.554
Line 616: Line 699:
|21
|21
|0.967
|0.967
|31
| 31
|0.540
|0.540
|41
|41
|0.333
| 0.333
|-
|-
|11.5
|11.5
Line 636: Line 719:
|0.513
|0.513
|-
|-
|12.5
| 12.5
|1.901
| 1.901
|22.5
|22.5
|0.877
|0.877
Line 646: Line 729:
|1.812
|1.812
|23
|23
|0.850
| 0.850
|33
| 33
|0.487
|0.487
|-
|-
Line 659: Line 742:
|14
|14
|1.652
|1.652
|24
| 24
|0.799
|0.799
|34
|34
|0.464
|0.464
|-
|-
|14.5
| 14.5
|1.580
|1.580
|24.5
|24.5
Line 683: Line 766:
|0.731
|0.731
|35.5
|35.5
|0.431
| 0.431
|-
|-
|16
|16
Line 690: Line 773:
|0.710
|0.710
|36
|36
|0.421
| 0.421
|-
|-
|16.5
|16.5
|1.339
|1.339
|26.5
|26.5
|0.690
| 0.690
|36.5
|36.5
|0.411
|0.411
|-
|-
|17
| 17
|1.287
|1.287
|27
|27
|0.670
|0.670
|37
| 37
|0.401
|0.401
|-
|-
Line 716: Line 799:
|1.193
|1.193
|28
|28
|0.634
| 0.634
|38
|38
|0.383
|0.383
Line 730: Line 813:
|1.110
|1.110
|29
|29
|0.600
| 0.600
|39
| 39
|0.365
|0.365
|-
|-
Line 777: Line 860:
|+distance from center of 1st string to center of Nth string
|+distance from center of 1st string to center of Nth string
!
!
! C2C
!C2C
! E2E
!E2E
! E2NE
!E2NE
! E2NE off-centeredness
!E2NE off-centeredness
|-
|-
!2nd string
!2nd string
| D
|D
|D + R1 + R2
|D + R1 + R2
|D - x + R1
|D - x + R1
| x
|x
|-
|-
! 3rd string
!3rd string
| 2D
|2D
|2D + R1 + 2R2 + R3
|2D + R1 + 2R2 + R3
|2D + R1 + R3
|2D + R1 + R3
Line 796: Line 879:
!4th string
!4th string
|3D
|3D
| 3D + R1 + 2R2 + 2R3 + R4
|3D + R1 + 2R2 + 2R3 + R4
|3D - x + R1 + R2 + R4
| 3D - x + R1 + R2 + R4
|x + (R3-R2) - (R4-R3)
|x + (R3-R2) - (R4-R3)
|-
|-
! 5th string
!5th string
|4D
|4D
|4D + R1 + 2R2 + 2R3 + 2R4 + R5
|4D + R1 + 2R2 + 2R3 + 2R4 + R5
Line 810: Line 893:
|5D + R1 + 2R2 + 2R3 + 2R4 + 2R5 + R6
|5D + R1 + 2R2 + 2R3 + 2R4 + 2R5 + R6
|5D - x + R1 + R2 + 2R4 + R6
|5D - x + R1 + R2 + 2R4 + R6
| x + (R3-R2) - (R4-R3) + (R5-R4) - (R6-R5)
|x + (R3-R2) - (R4-R3) + (R5-R4) - (R6-R5)
|-
|-
!7th string
!7th string
|6D
|6D
|6D + R1 + 2R2 + 2R3 + 2R4 + 2R5 + 2R6 + R7
|6D + R1 + 2R2 + 2R3 + 2R4 + 2R5 + 2R6 + R7
| 6D + R1 + 2R3 + 2R5 + R7
|6D + R1 + 2R3 + 2R5 + R7
| -x - (R3-R2) + (R4-R3) - (R5-R4) + (R6-R5) - (R7-R6)
| -x - (R3-R2) + (R4-R3) - (R5-R4) + (R6-R5) - (R7-R6)
|-
|-
!8th string
!8th string
|7D
|7D
| 7D + R1 + 2R2 + 2R3 + 2R4 + 2R5 + 2R6 + 2R7 + R8
|7D + R1 + 2R2 + 2R3 + 2R4 + 2R5 + 2R6 + 2R7 + R8
|7D - x + R1 + R2 + 2R4 + 2R6 + R8
|7D - x + R1 + R2 + 2R4 + 2R6 + R8
|(N/A)
|(N/A)
Line 835: Line 918:
==Tables==
==Tables==


=== Notes ===
===Notes===
6-string (mid-6), downmajor 3rds tuning
6-string (mid-6), downmajor 3rds tuning
[[File:Kite Guitar Fretboard for a 6-string.png|none|thumb|833x833px]]
[[File:Kite Guitar Fretboard for a 6-string.png|none|thumb|833x833px]]
Line 896: Line 979:
|-
|-
|
|
|2
| 2
|Eb
|Eb
| -12.2
| -12.2
Line 941: Line 1,024:
!G#
!G#
!-14.6
!-14.6
!C
! C
!-34.1
!-34.1
!Eb
!Eb
Line 956: Line 1,039:
|-
|-
|
|
| 5
|5
|F
|F
| -36.6
| -36.6
Line 971: Line 1,054:
|Eb
|Eb
| +46.3
| +46.3
|G
| G
| +26.8
| +26.8
|
|
Line 985: Line 1,068:
|F
|F
| -36.6
| -36.6
|G#
| G#
| +43.9
| +43.9
|C
|C
Line 996: Line 1,079:
|-
|-
|
|
| 7
|7
|F#
| F#
| -19.5
| -19.5
|Bb
|Bb
Line 1,041: Line 1,124:
|B
|B
| -22.0
| -22.0
|Eb
| Eb
| -41.5
| -41.5
|F#
|F#
Line 1,072: Line 1,155:
| +39.0
| +39.0
|Bb
|Bb
| +19.5
| +19.5
|
|
|-
|-
Line 1,082: Line 1,165:
|'''<u>''-4.9''</u>'''
|'''<u>''-4.9''</u>'''
|E
|E
| -24.4
| -24.4
|G#
|G#
| -43.9
| -43.9
| B
|B
| +36.6
| +36.6
|Eb
|Eb
| +17.1
| +17.1
Line 1,092: Line 1,175:
|'''<u>''-2.4''</u>'''
|'''<u>''-2.4''</u>'''
|B
|B
| -22.0
| -22.0
|
|
|-
|-
Line 1,100: Line 1,183:
!-26.8
!-26.8
!C#
!C#
! -46.3
!-46.3
!E
!E
!+34.1
!+34.1
Line 1,110: Line 1,193:
!-24.4
!-24.4
!G#
!G#
! -43.9
!-43.9
!B
!B
!+36.6
!+36.6
Line 1,116: Line 1,199:
|-
|-
|
|
| 13
|13
|A
|A
| +31.7
| +31.7
Line 1,157: Line 1,240:
|
|
|15
|15
|Bb
| Bb
| +48.8
| +48.8
|D
| D
| +29.3
| +29.3
|F#
|F#
Line 1,188: Line 1,271:
!+29.3
!+29.3
!F#
!F#
!+9.8
! +9.8
!Bb
!Bb
!-9.8
!-9.8
!D
!D
!-29.3
! -29.3
!'''*'''
!'''*'''
|-
|-
|
|
| 17
|17
|C
|C
| -34.1
| -34.1
Line 1,211: Line 1,294:
|Bb
|Bb
| +48.8
| +48.8
|D
| D
| +29.3
| +29.3
|
|
|-
|-
|
|
|18
| 18
|C
| C
| +24.4
| +24.4
|'''<u>''E''</u>'''
|'''<u>''E''</u>'''
Line 1,223: Line 1,306:
|G#
|G#
| -14.6
| -14.6
|C
| C
| -34.1
| -34.1
|Eb
|Eb
| +46.3
| +46.3
|G
| G
| +26.8
| +26.8
|'''<u>''B''</u>'''
|'''<u>''B''</u>'''
Line 1,236: Line 1,319:
|-
|-
|
|
| 19
|19
|C#
|C#
| -17.1
| -17.1
Line 1,297: Line 1,380:
|
|
|22
|22
| Eb
|Eb
| -41.5
| -41.5
|F#
|F#
Line 1,311: Line 1,394:
|C#
|C#
| +41.5
| +41.5
|F
| F
| +22.0
| +22.0
|
|
Line 1,322: Line 1,405:
|'''<u>''-2.4''</u>'''
|'''<u>''-2.4''</u>'''
|B
|B
| -22.0
| -22.0
|Eb
|Eb
| -41.5
| -41.5
Line 1,357: Line 1,440:
|
|
|25
|25
| E
|E
| +34.1
| +34.1
|G#
|G#
Line 1,370: Line 1,453:
| +36.6
| +36.6
|Eb
|Eb
| +17.1
| +17.1
|'''<u>''G''</u>'''
|'''<u>''G''</u>'''
|'''<u>''-2.4''</u>'''
|'''<u>''-2.4''</u>'''
Line 1,381: Line 1,464:
|A
|A
| -26.8
| -26.8
|C#
| C#
| -46.3
| -46.3
|E
| E
| +34.1
| +34.1
|G#
| G#
| +14.6
| +14.6
|'''<u>''C''</u>'''
|'''<u>''C''</u>'''
|'''<u>''-4.9''</u>'''
|'''<u>''-4.9''</u>'''
|E
| E
| -24.4
| -24.4
|G#
| G#
| -43.9
| -43.9
|
|
|-
|-
|
|
| 27
|27
|F#
|F#
| -48.8
| -48.8
Line 1,407: Line 1,490:
|A
|A
| -26.8
| -26.8
|C#
| C#
| -46.3
| -46.3
|E
| E
| +34.1
| +34.1
|G#
| G#
| +14.6
| +14.6
|
|
Line 1,427: Line 1,510:
!A
!A
!+31.7
!+31.7
! C#
!C#
!+12.2
!+12.2
!'''<u>''F''</u>'''
!'''<u>''F''</u>'''
Line 1,445: Line 1,528:
|F#
|F#
| +9.8
| +9.8
|Bb
| Bb
| -9.8
| -9.8
|D
|D
Line 1,456: Line 1,539:
|-
|-
|
|
| 30
|30
|G
|G
| +26.8
| +26.8
Line 1,463: Line 1,546:
| Eb
| Eb
| -12.2
| -12.2
|G
| G
| -31.7
| -31.7
|Bb
|Bb
Line 1,556: Line 1,639:
|-
|-
|
|
|35
| 35
|Bb
|Bb
| +19.5
| +19.5
|'''<u>''D''</u>'''
|'''<u>''D''</u>'''
|'''<u>''+0.0''</u>'''
|'''<u>''+0.0''</u>'''
|F#
| F#
| -19.5
| -19.5
|Bb
| Bb
| -39.0
| -39.0
|C#
| C#
| +41.5
| +41.5
|F
|F
| +22.0
| +22.0
Line 1,584: Line 1,667:
!+39.0
!+39.0
!Bb
!Bb
! +19.5
!+19.5
!'''<u>''D''</u>'''
!'''<u>''D''</u>'''
!'''<u>''+0.0''</u>'''
!'''<u>''+0.0''</u>'''
Line 1,610: Line 1,693:
| +39.0
| +39.0
|Bb
|Bb
| +19.5
| +19.5
|'''<u>''D''</u>'''
|'''<u>''D''</u>'''
|'''<u>''+0.0''</u>'''
|'''<u>''+0.0''</u>'''
Line 1,622: Line 1,705:
| -24.4
| -24.4
|G#
|G#
| -43.9
| -43.9
|B
|B
| +36.6
| +36.6
Line 1,636: Line 1,719:
|-
|-
|
|
| 39
|39
|C#
|C#
| -46.3
| -46.3
|E
|E
| +34.1
| +34.1
|G#
|G#
| +14.6
| +14.6
Line 1,647: Line 1,730:
|E
|E
| -24.4
| -24.4
|G#
| G#
| -43.9
| -43.9
|B
|B
Line 1,665: Line 1,748:
!C#
!C#
!-46.3
!-46.3
! E
!E
!+34.1
!+34.1
!G#
!G#
Line 1,678: Line 1,761:
|41
|41
|D
|D
| -29.3
| -29.3
|F#
|F#
| -48.8
| -48.8
|A
| A
| +31.7
| +31.7
|C#
|C#
Line 1,690: Line 1,773:
| -26.8
| -26.8
|C#
|C#
| -46.3
| -46.3
|E
|E
| +34.1
| +34.1
|
|
|}
|}
Line 1,698: Line 1,781:
{| class="wikitable"
{| class="wikitable"
!
!
!C anchor
! C anchor
!G anchor
!G anchor
!D anchor
!D anchor
Line 1,719: Line 1,802:
|C +22¢
|C +22¢
|C +20¢
|C +20¢
!^C
! ^C
|-
|-
!^^C / vDb
!^^C / vDb
|C# -41¢
| C# -41¢
|C# -44¢
|C# -44¢
|C# -46¢
|C# -46¢
Line 1,748: Line 1,831:
|C# +46¢
|C# +46¢
|C# +44¢
|C# +44¢
|C# +41¢
| C# +41¢
|C# +39¢
|C# +39¢
|C# +37¢
|C# +37¢
!^C# / vvD
!^C# / vvD
|-
|-
!vD
! vD
|D -24¢
|D -24¢
|D -27¢
|D -27¢
|D -29¢
|D -29¢
|D -32¢
| D -32¢
|D -34¢
|D -34¢
!vD
!vD
|-
|-
!D
! D
|'''D +5¢'''
|'''D +5¢'''
|'''D +2¢'''
|'''D +2¢'''
Line 1,777: Line 1,860:
!^D
!^D
|-
|-
!^^D / vEb
! ^^D / vEb
|Eb -37¢
|Eb -37¢
|Eb -39¢
|Eb -39¢
Line 1,785: Line 1,868:
!^^D / vEb
!^^D / vEb
|-
|-
!vD# / Eb
! vD# / Eb
|Eb -7¢
| Eb -7¢
|Eb -10¢
|Eb -10¢
|Eb -12¢
|Eb -12¢
Line 1,812: Line 1,895:
|E -20¢
|E -20¢
|E -22¢
|E -22¢
|E -24¢
| E -24¢
|E -27¢
|E -27¢
|E -29¢
|E -29¢
!vE
! vE
|-
|-
!E
!E
Line 1,827: Line 1,910:
!^E
!^E
|E +39¢
|E +39¢
|E +37¢
| E +37¢
|E +34¢
|E +34¢
|E +32¢
|E +32¢
Line 1,841: Line 1,924:
!vF
!vF
|-
|-
!F
! F
|'''F -2¢'''
|'''F -2¢'''
|'''F -5¢'''
|'''F -5¢'''
Line 1,853: Line 1,936:
|F +24¢
|F +24¢
|F +22¢
|F +22¢
|F +20¢
| F +20¢
|F +17¢
|F +17¢
!^F
!^F
|-
|-
!^^F / vGb
! ^^F / vGb
|F# -44¢
|F# -44¢
|F# -46¢
|F# -46¢
Line 1,871: Line 1,954:
|F# -22¢
|F# -22¢
|F# -24¢
|F# -24¢
!vF# / Gb
! vF# / Gb
|-
|-
!#F / ^Gb
!#F / ^Gb
|F# +15¢
| F# +15¢
|F# +12¢
|F# +12¢
|F# +10¢
|F# +10¢
Line 1,907: Line 1,990:
!^G
!^G
|G +32¢
|G +32¢
|G +29¢
| G +29¢
|G +27¢
|G +27¢
|G +24¢
|G +24¢
Line 1,914: Line 1,997:
|-
|-
!^^G / vAb
!^^G / vAb
|G# -39¢
| G# -39¢
|G# -41¢
| G# -41¢
|G# -44¢
| G# -44¢
|G# -46¢
|G# -46¢
|G# -49¢
|G# -49¢
Line 1,929: Line 2,012:
!vG# / Ab
!vG# / Ab
|-
|-
!G# / ^Ab
! G# / ^Ab
|G# +20¢
|G# +20¢
|G# +17¢
|G# +17¢
Line 2,051: Line 2,134:


===Frequencies===
===Frequencies===
41-equal frequencies in Hertz. The anchor note D is tuned to standard A-440 pitch. vA is roughly 432hz, and vvB is roughly the ubiquitous 60hz electrical hum.
41-equal frequencies in Hertz. The anchor note D is tuned to standard A-440 pitch. vA is roughly 432 Hz, and vvB is roughly the ubiquitous 60 Hz electrical hum. (For readers in China or Europe, ^G is roughly 50 Hz.)
{| class="wikitable"
{| class="wikitable"
!
!
Line 2,170: Line 2,253:
|303.76395
|303.76395
|607.52791
|607.52791
|1215.0558
| 1215.0558
|2430.1116
|2430.1116
|4860.2232
|4860.2232
Line 2,192: Line 2,275:
|314.21045
|314.21045
|628.42090
|628.42090
|1256.8418
| 1256.8418
|2513.6836
|2513.6836
|5027.3672
|5027.3672
Line 2,203: Line 2,286:
|319.56766
|319.56766
|639.13532
|639.13532
|1278.2706
| 1278.2706
|2556.5413
|2556.5413
|5113.0825
|5113.0825
Line 2,277: Line 2,360:
|44.964337
|44.964337
|89.928675
|89.928675
|179.85735
| 179.85735
|359.71470
|359.71470
|719.42940
|719.42940
Retrieved from "https://en.xen.wiki/w/How_to_make_a_Kite_Guitar"