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How to make a Kite Guitar: Difference between revisions

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→Saddle and Nut Compensation: added the saddle slot calculator spreadsheet
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→String Gauges: added some string sets and some links, also made a new section Ranges for full-8, high-7, etc.
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[[File:B-fret 5.jpg|left|thumb|328x328px|With capo (unfortunately this capo isn't long enough to reach all 8 strings)]]
[[File:B-fret 5.jpg|left|thumb|328x328px|With capo (unfortunately this capo isn't long enough to reach all 8 strings)]]
[[File:B-fret 6.jpg|none|thumb|311x311px|Side view. The 2nd fret is still usable, barely.]]
[[File:B-fret 6.jpg|none|thumb|311x311px|Side view. The 2nd fret is still usable, barely.]]




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Assuming one is not using an open tuning, a Kite guitar with 6 strings is a little limiting. 7 strings or even 8 is better. Arguably a slightly longer scale, say 26.5-27", is nice because it makes the frets less cramped. Fortunately 7- and 8-string electric guitars often have longer scales anyway. But on the other hand, the Kite guitar's frets are not much tighter than a normal mandolin's, and some feel a longer scale isn't necessary.  
Assuming one is not using an open tuning, a Kite guitar with 6 strings is a little limiting. 7 strings or even 8 is better. Arguably a slightly longer scale, say 26.5-27", is nice because it makes the frets less cramped. Fortunately 7- and 8-string electric guitars often have longer scales anyway. But on the other hand, the Kite guitar's frets are not much tighter than a normal mandolin's, and some feel a longer scale isn't necessary.  


=== Converting a 6-string or 12-string to a 7-string ===
While 7- and 8-string electric guitars are plentiful, acoustic ones are rarer. (See [[Extended range guitar]].) One way to get one is to convert a 12-string guitar. The neck will be sufficiently strong and there will be enough [[wikipedia:Machine_head|tuners]] (aka tuning machines or machine heads). On the bridge, fill in all but the outer two pin holes. Then measure the distance between these two holes, divide by 6, and draw 5 new lines. (For an 8-string, divide by 7 and draw 6 new lines.) Drill new pin holes accordingly. There's fewer strings but more courses, so the string spacing can be very tight. To avoid this, the new fretboard can be wider than the old one. The fretboard overhang can be filled with bondo to create a nice-feeling neck.  
While 7- and 8-string electric guitars are plentiful, acoustic ones are rarer. (See [[Extended range guitar]].) One way to get one is to convert a 12-string guitar. The neck will be sufficiently strong and there will be enough [[wikipedia:Machine_head|tuners]] (aka tuning machines or machine heads). On the bridge, fill in all but the outer two pin holes. Then measure the distance between these two holes, divide by 6, and draw 5 new lines. (For an 8-string, divide by 7 and draw 6 new lines.) Drill new pin holes accordingly. There's fewer strings but more courses, so the string spacing can be very tight. To avoid this, the new fretboard can be wider than the old one. The fretboard overhang can be filled with bondo to create a nice-feeling neck.  


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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 ===
The range affects the string gauges, which should match the nut slots, so ideally the range is chosen before conversion or construction. In the table below, the less likely ranges are in parentheses.
{| class="wikitable"
|+
!
!range
! colspan="9" |notes
|-
! rowspan="6" |guitar
!full-8
|
|vD
|^^F
|^A
|C#
|F
|vA
|^^C
|^E
|-
!high-7
|
|
|^^F
|^A
|C#
|F
|vA
|^^C
|^E
|-
!low-7
|
|vD
|^^F
|^A
|C#
|F
|vA
|^^C
|
|-
!(high-6)
|
|
|
|^A
|C#
|F
|vA
|^^C
|^E
|-
!mid-6
|
|
|^^F
|^A
|C#
|F
|vA
|^^C
|
|-
!(low-6)
|
|vD
|^^F
|^A
|C#
|F
|vA
|
|
|-
| colspan="11" |
|-
! rowspan="9" |bass
!full-6
|
|vD
|^^F
|^A
|C#
|F
|vA
|
|
|-
!(high-5)
|
|
|^^F
|^A
|C#
|F
|vA
|
|
|-
!low-5
|
|vD
|^^F
|^A
|C#
|F
|
|
|
|-
!(high-4)
|
|
|
|^A
|C#
|F
|vA
|
|
|-
!mid-4
|
|
|^^F
|^A
|C#
|F
|
|
|
|-
!low-4
|
|vD
|^^F
|^A
|C#
|
|
|
|
|-
!deep-7
|Bb
|vD
|^^F
|^A
|C#
|F
|vA
|
|
|-
!deep-6
|Bb
|vD
|^^F
|^A
|C#
|F
|
|
|
|-
!(deep-5)
|Bb
|vD
|^^F
|^A
|C#
|
|
|
|
|}


===Nut width===
===Nut width===
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==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 frequency table below. The unit weight is pounds per inch, and is a function of string gauge and string type (plain vs. wound, etc.). D'Addario has [https://www.daddario.com/globalassets/pdfs/accessories/tension_chart_13934.pdf published] their unit weights, thus the individual tensions can be calculated for a given set of strings. One can work backwards from this and select string gauges/types that give uniform tensions using this spreadsheet: [https://tallkite.com/misc_files/StringTensionCalculator.ods TallKite.com/misc_files/StringTensionCalculator.ods] The desired tension depends on the instrument, and of course personal taste. A steel-string acoustic guitar might have 25-30 lbs. tension for each string. A 12-equal 25.5" electric guitar strung with a standard 10-46 set has 15-20 lbs. With a 9-42 set it has 13-16 lbs.   
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>.
 
The desired tension depends on the instrument, and of course personal taste. A steel-string acoustic guitar might have 25-30 lbs. tension for each string. A 12-equal 25.5" electric guitar strung with a standard 10-46 set has 15-20 lbs per string. With a 9-42 set it has 13-16 lbs. A 34" electric bass with a standard 45-100 set has 35-50 lbs.   
*A longer scale means a higher tension or a smaller gauge or a lower pitch (frequency)
*A longer scale means a higher tension or a smaller gauge or a lower pitch (frequency)
*A higher tension means a longer scale or a bigger gauge or a higher pitch
*A higher tension means a longer scale or a bigger gauge or a higher pitch
*A bigger gauge means a shorter scale or a higher tension or a lower pitch
*A bigger gauge means a shorter scale or a higher tension or a lower pitch
*A higher pitch means a shorter scale or a higher tension or a smaller gauge
*A higher pitch means a shorter scale or a higher tension or a smaller gauge
[https://stringjoy.com/ Stringjoy] has an online [https://tension.stringjoy.com/ tension calculator]. 
[https://www.ghsstrings.com/ GHS Strings] has various string tension guides: 
* [http://www.ghsrep.weebly.com/uploads/2/2/2/5/22258814/2020-ghs-elec-guitar-tension.pdf ghs-elec-guitar-tension.pdf] 
* [http://www.ghsrep.weebly.com/uploads/2/2/2/5/22258814/2020-ghs-acoustic-guitar-tension.pdf ghs-acoustic-guitar-tension.pdf] 
* [http://www.ghsrep.weebly.com/uploads/2/2/2/5/22258814/2020-ghs-bass-guitar-tension.pdf ghs-bass-guitar-tension.pdf] 
D'Addario has [https://www.daddario.com/globalassets/pdfs/accessories/tension_chart_13934.pdf published] their unit weights, thus the individual tensions can be calculated for a given set of strings. This spreadsheet contains their products with their unit weights: [https://tallkite.com/misc_files/StringTensionCalculator.ods TallKite.com/misc_files/StringTensionCalculator.ods]. 


Microtonalist and luthier Tom WInspear can provide custom string sets at his website [https://www.winspearinstrumental.com/ www.winspearinstrumental.com]. His approach is to extrapolate from familiar string sets. He says this about string gauges: "Gauges can be scaled at the same ratios as frequency. A 41-equal downmajor 3rd is 2^(13/41) = 1.2458, thus from string to string the gauge changes by 24.58%. But you can't do that across the plain to wound transition. To tune to different keys, increase the gauges by 5.95% for each 12-equal semitone of transposition, or 1.705% for each 41-equal step. All this assumes a 25.5" scale. For a scale of S inches, multiply each gauge by 25.5/S and round off. For scales longer than 25.5", err on the side of heavier and round up, as longer scales do feel more flexible loaded with the same tension. Likewise, for scales less than 25.5", err on the side of lighter and round down. However, the plain strings should always be rounded slightly down, and should utilize .0005" increment plain strings where available."  
Microtonalist and luthier Tom WInspear can provide custom string sets at his website [https://www.winspearinstrumental.com/ www.winspearinstrumental.com]. His approach is to extrapolate from familiar string sets. He says this about string gauges: "Gauges can be scaled at the same ratios as frequency. A 41-equal downmajor 3rd is 2^(13/41) = 1.2458, thus from string to string the gauge changes by 24.58%. But you can't do that across the plain to wound transition. To tune to different keys, increase the gauges by 5.95% for each 12-equal semitone of transposition, or 1.705% for each 41-equal step. All this assumes a 25.5" scale. For a scale of S inches, multiply each gauge by 25.5/S and round off. For scales longer than 25.5", err on the side of heavier and round up, as longer scales do feel more flexible loaded with the same tension. Likewise, for scales less than 25.5", err on the side of lighter and round down. However, the plain strings should always be rounded slightly down, and should utilize .0005" increment plain strings where available."  


[https://www.juststrings.com/ JustStrings.com] sells custom gauges singly or in bulk. Recommended (somewhat light) gauges for a 27" acoustic guitar: '''11.5 15 18 24 30 36 46 56''' (3 plain, 5 wound). For a 25.5" or 26.5" electric: '''10 13 16 22 26 32 42 52''', the wound 4th string could instead be a '''19''' plain.  
[https://www.juststrings.com/ JustStrings.com] and [https://www.stringsbymail.com/ StringsByMail.com] both sell custom gauges singly or in bulk.  
{| class="wikitable"
|+
!
!scale
!low note
!gauges (p = plain, w = wound)
!source
!notes
|-
! rowspan="2" |acoustic guitar
|25.5"
|vD
|12  15  19p/20w  25  32  40  48  59
|StringJoy
|Phosphor Bronze
|-
|27"
|vD
|11.5 15 18p  24w  30 36 46 56
|D'Addario
|somewhat light
|-
! rowspan="2" |electric guitar
|25.5-26.5"
|vD
|10 13 16 19p/22w  26 32 42 52
|D'Addario
|
|-
|25.5"
|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
|StringJoy
|Nickel Wound
|}


==Saddle and Nut Compensation==
==Saddle and Nut Compensation==


Since the Kite guitar is so much more in tune than the 12-equal guitar, extra care should be taken with saddle compensation.
Since the Kite guitar is so much more in tune than the 12-equal guitar, extra care should be taken with saddle/nut compensation.


'''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¢.)
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