TommyTouch
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- Feb 15, 2006
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I saw a new "long scale" Les Paul. 25 1/2" scale. It looks interesting. Has anyone here tried one? Split parallelogram inlays look cool. What do you think?
That was something Robb Lawrence was very much in favor of. I remember talking with him and Edwin about it in 05 at Nashville. I even mentioned using the ES345 style split inlay. I'm sure it has no bearing on this one. I do remember being told no, as a Les Paul is spec'd as 24 3/4 scale.
Wonder what changed?
When they build a "long scale" Les Paul, how is the extra 3/4" incorporated? Is the tailpiece simply moved or is the 3/4" spread along the entire scale? In other words, is there more space between the frets of a 25 1/2" scale than a 24 3/4' scale?
That was something Robb Lawrence was very much in favor of. I remember talking with him and Edwin about it in 05 at Nashville. I even mentioned using the ES345 style split inlay. I'm sure it has no bearing on this one. I do remember being told no, as a Les Paul is spec'd as 24 3/4 scale.
Wonder what changed?
They adjust the entire scale or it would be wildly out of tune on every string and every fret...the only thing "in tune" would be completely open.
The short scale Jr's I've played, along with similar scale ES120T's and ES140's all play in tune. I don't know what renderit means by "wildly" out of tune.
I think there's a miscommunication going on in this thread. So:
Guitars with different scale lengths (i.e. Gibson Les Paul 24 3/4," and Fender Strat 25 1/2") incorporate different fret placement and spacing. Regardless of the scale length (guitars are made with many, BTW), the first octave will always be found at half the strength length, the second octave at half the remaining length, third at half of that, etc. For the sake of comparison, the 12th fret on a traditional Les Paul is 12 3/8" from the nut (and bridge) while on a Strat, it's 12 3/4" from the nut (and bridge).
Beyond defining the octaves (half-way points), the intervening fret positions are derived with a little bit of math. The formula derives a constant reduction in spacing as the octave is approached, and this is called fixing the temperament. True semitones are sought out when this spacing is compensated (think Buzz Feiten tuning adjustments at the nut). BTW, when you move the saddles on your bridge, you are compensating the scale length, but obviously not the fret spacing. It's a compromise and its one of many found on all guitar scales.
Juniors, Strats, Barney Kessels have different scale lengths but the fret location and spacing is tempered for that length, or the guitars would play wildly out of tune :ganz
Al is referring to the characteristics of playing the different scale lengths and the general differences in the tone of these guitars - a lot of which comes from the higher string tension that is necessary to bring a longer-scale guitar up to concert pitch, versus the shorter one. The new Les Pauls with 25 1/5" scales are going to feel and sound different, thus the idea behind this new option (I guess).
.....My observation of tunning stability of the longer scale is a function of it's greater overall didtance and more precise harmonic tunning. It is easier to "Tune" a longer scale as there is more room. On shorter scales with less room you need to be more precise as smaller adjustments have greater effect, from tunning to setting harmoncs to vibrato.......