For those who think the bridgepin thing is nonsense...

[zmf]

Originally Posted by drbluegrass

So, you're saying if I lose weight I'll be able to play faster? I'll do it!!!

No. You totally missed the point.

You've got to gain another 10% of your current body weigh to play faster.

[Krash58]

I think you are all splitting hairs, (or strings) about something that the majority of people wont be able to hear the difference. I think the most important factor would be getting the ball end of the string seated firmly, (and oriented correctly) against the bridge plate.

[vindibona1]

Originally Posted by Krash58

I think you are all splitting hairs, (or strings) about something that the majority of people wont be able to hear the difference.

Did you listen to the recording? Did you use a good headset and listen carefully.

I think the most important factor would be getting the ball end of the string seated firmly, (and oriented correctly) against the bridge plate.

This was covered a couple replies ago Krash. But think about it...When the ball is seated properly it makes the pins even more likely to make a difference. Have you done any testing at all to see how much different pin materials will or won't do???

[Wade Hampton]

For me, the simple truth is that I do not care about bridge pins.

For those of you who do, more power to you. But I shall never become so enraptured and enthralled by the subject that I'll expend any energy on it.


Wade Hampton Miller

[zmf]

Originally Posted by Wade Hampton

But I shall never become so enraptured and enthralled by the subject that I'll expend any energy on it.

Sorry Wade, but you just went through the process of bold facing your comments, which means you expended extra energy.

[rick-slo]

Variations in recording and playing overwhelm possible pin material effects - in this recording most evident in sample three.
Play music. Learn some new songs.

[Wade Hampton]

Originally Posted by zmf

Sorry Wade, but you just went through the process of bold facing your comments, which means you expended extra energy.

Oh, gosh. But if you want to be that technical, I was expending energy not on bridge pins themselves, but on saying I don't care about them.

Which is true. I forcefully do not care about bridge pins. I'm not negative on the subject of bridge pins, but emphatically apathetic about them.

It's a fine distinction, I know.


Wade Hampton "What? Are You Still Reading This Post?!?" Miller

[Zissou Intern]

Originally Posted by Silly Moustache

...I note that the Collings "T" Rosewood models now come with "ivoroid" pins - whatever that means...

Collings is using Waverly Ivoroid pins in their D2-T guitars and Waverly Tortoise pins in the D1-T Series. Both are available from Stew Mac for a nominal cost.

I believe that Waverly uses the same Galalith material as the Antique Acoustics pins.
Galalith (Erinoid in the United Kingdom) is a synthetic plastic material manufactured by the interaction of casein and formaldehyde. The commercial name is derived from the Greek words gala (milk) and lithos (stone).

[Shades of Blue]

Originally Posted by vindibona1

Did you listen to the recording? Did you use a good headset and listen carefully.

I mean absolutely no disrespect or malicious ill will with this comment, but read your response. Essentially, you are responding to someone who said that the majority of players wouldn't hear the difference by saying to put on nice headphones and listen carefully. Kind of ironic. If it takes nice headphones and careful listening, is it really worth the change?

In all seriousness, yes I hear the difference and while there is a difference in sound, I can't say that either is better/worse. I love the sound of my J-45 with TUSQ bridge pins, and I'd like to swap them out to bone, but I feel like the difference in sound might not be worth the premium price for bone pins.

Maybe it will, but maybe it won't. The real subjectivity in this debate is not whether or not the tone is different between materials, but is it worth it to the person playing the guitar.

Again, I'm not trying to rattle your chain, but I just wanted to point out that while the difference might be night and day to careful listeners, the position of the person you were responding to was a very valid point.

[jazzguy]

Originally Posted by The Bard Rocks

You hear what you want to hear. It's human nature.

I think perhaps a more accurate description would be "your ear hears frequencies that you are still able to hear depending on what kind of damage or normal aging delivers".

The point is....I don't think we can discount the OP's experience because he/she may or may not hear the same frequencies or overtones that you or I do? I think we underestimate how much this impacts what we like or dislike about the guitars we choose (our hearing).

[Goodallboy]

Originally Posted by jazzguy

I think perhaps a more accurate description would be "your ear hears frequencies that you are still able to hear depending on what kind of damage or normal aging delivers".

The point is....I don't think we can discount the OP's experience because he/she may or may not hear the same frequencies or overtones that you or I do? I think we underestimate how much this impacts what we like or dislike about the guitars we choose (our hearing).

Well stated, yet for some reason some can't resist doing exactly that. And the humorous part of it is that they can't resist, even when others clearly hear what Vin is proving with his clips.

As to another's comment about expending energy on such a minor issue. If this weren't being done on a daily basis there would be no forum.

String tension....round or hex cores....slight humidity variations...., and you thing bridge pin composition is frivolous?

The other great point in your post is the comment on the impact our hearing has on our preferences. This is evident in the "my cheap tuner is as good as your more expensive one", or "my $200 guitar is as good as your custom built, total waste of money, simply because you can afford it model". Other factors are at play but hearing, or the lack of it. is a major component.

[Nick S]

I'm with Derek C. Playing technique is such a variable. How do you "control" it (in a scientific sense, and I'm not a scientist)?

[Earwitness]

Originally Posted by Wade Hampton

Oh, gosh. But if you want to be that technical, I was expending energy not on bridge pins themselves, but on saying I don't care about them.

Which is true. I forcefully do not care about bridge pins. I'm not negative on the subject of bridge pins, but emphatically apathetic about them.

It's a fine distinction, I know.


Wade Hampton "What? Are You Still Reading This Post?!?" Miller

Good post (if I cared at all about good posts)

[Monsoon1]

Originally Posted by rick-slo

Variations in recording and playing overwhelm possible pin material effects - in this recording most evident in sample three.
Play music. Learn some new songs.

Good point.
I'm only surprised it took so long for someone to mention it.

[musicman1951]

" So I got it all strung up and as I'm playing I realize that the D string is more pronounced sounding than the rest of the strings."

Of course if you can't hear the D string as a problem (either because you simply can't hear the difference, or you can but it doesn't bother your ear at all) the point is moot. But obviously the Op can and finds it a distraction from making music. Clearly it's a subtle distinction, but if you have the ears for subtle distinctions they are not insignificant.

Like all the other distinctions: mahogany or rosewood, 1 3/4 or 1 11/16 neck, bright or dark strings, new or old strings, cheap or expensive guitars - if it doesn't bother you it doesn't bother you.

Sometimes we go from "it doesn't bother me" to "it shouldn't bother anyone," which is a step too far for me.