#1
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D18 and Bridge Pins
The specs say they are plastic.
Comments? Anybody change them out to another material and if so what and with what results?
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Nothing bothers me unless I let it. Martin D18 Gibson J45 Gibson J15 Fender Copperburst Telecaster Squier CV 50 Stratocaster Squier CV 50 Telecaster |
#2
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I changed mine to ebony pins on a 2014. No real difference other than I know they are not plastic. Probably more mental than anything. Plus after a few years of string changes the plastic pins get a bit messed up. Plus ebony drop in pins are not expensive.
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#3
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Swapped mine out for bone pins with faux tortoise inlays from Bob C. Looked great. No noticeable change in tone.
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Walker Clark Fork (Adi/Honduran Rosewood) Edmonds OM-28RS - Sunburst (Adi/Old Growth Honduran) |
#4
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To me it seems like Martin skimps out on that aspect. If u buy somewhere other than a forum sponsor ur gonna spend over $2k and they still put cheap plastic pins. To me that crazy
It’s not just Martin tho cause I bought a j45 that had a plastic bridge and nut which again is crazy for a guitar of that caliber On the other hand when I bought my master works Alvarez it had ebony pins and bone nut/bridge |
#5
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Changed the plastic pins in my D-18 to Martin Ebony with Abalone Dots. Can't say I could tell a difference in sound, but the aesthetics increased by a large factor for me.
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#6
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Pin choice is personal.
I don't blame Martin for staying with traditional plastic pins. We will replace them with what we like and not expect Martin to guess what each of us like. Not a big concern for me. Kind of like string choice.
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Happiness Is A New Set Of Strings L-20A |
#7
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That is the key I think. Plus Martins have used plastic pins of one sort or another since 1930. I prefer Antique Acoustics pins which are very similar to the hard plastic pins Martin used in the 1930's.
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#8
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Quote:
1. Plastic is not susceptible to humidity fluctuations and therefore is perfect for putting into holes without worrying about expanding and causing cracks. 2. Plastic is tone neutral and therefore does not effect the natural tone of the guitar. Two great reasons for me.
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Martin 00018 |
#9
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I added some custom bone pins to my D-18 back in 2014. Bob Colossi lives just across the border and he made these and match my sitka top nicely! I just didn't care much for the stock all black ones, however, not much change in tone, maybe a nice touch of presence....I did try some ebony that I already had and did not care for the slightly muddier tone, they seem to have more impact then bone on this guitar.
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NOLE TUNES & Coastal Acoustic Music one love jam! Martin D18 & 3 lil' birdz; Takamine KC70, P3NC x 2 |
#10
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Here are my comments...because of this site a few years ago (been luring for a long time, only got a membership a few weeks ago) I got suckered into thinking changing out bridge pins would change my world. Honestly, it didn't make a bit of difference in "tone", just emptied my wallet a little bit. I'm sure there are guys out there with a more acute, discernible ear, or others who hear with their wallet and will swear that those expensive pins made from some crazy pre-historic fossilized extinct creature made a huge difference.
Over the years I've found that actually sitting down with the instrument and playing it, learning it and practicing it is going to have the biggest impact in how the guitar sounds. I know many here will get miffed by this, but there are so many here that are concerned with, and geek out on the seemingly smallest details on their guitars. Sure, I guess these things could make a difference, but let's be real. If you want your guitar to sound it's best, learn how to play them. Now, I'm not saying this to accuse anyone of not being able to play their instruments, I'm just saying I found that my time was better spend learning technique, theory, practicing, etc. Once I got into that groove I started worrying and being less concerned about bridge pin material, swapping tuners, Tusq vs. bone, etc. Wasting time over the super small details (like bridge pin material) and shipping the big things like practicing and playing the instrument are going to have diminishing return. Last edited by Vinnie Boombatz; 06-05-2018 at 11:26 AM. |
#11
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Quote:
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Guild F47R (New Hartford) Yamaha LS16 Yamaha FG3 Red Label Eastman OM1 Ibanez M-340 Japan Simon & Patrick SP12 Harmony mandolin |
#12
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I've tried a bunch of materials, but any differences in tone are generally subtle at best, and usually quickly forgotten once you stop listening so close & are actually playing again, IMHO.
I think most luthiers agree that it's the mass that makes any difference & not the material properties itself. I like natural materials over plastics, but the AA pins mentioned above & the pins Stew Mac sells under the Waverly brand name are both made from Galalith, which is harder than cheapo ones that come on most guitars. |
#13
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Marketing. Tradition maybe. It's a tasteful way to class up a pretty scarcely appointed instrument but they don't do anything to add to the overall characteristic sound of the guitar. I think shiny plastic pins would look out of place with that guitar, but for whatever reason the plastic pins on my D-35 and Gibson AJ look just fine.
Last edited by Vinnie Boombatz; 06-05-2018 at 11:51 AM. |
#14
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Quote:
Now if people looked at the inside of their guitar with a mirror, I bet there would be some shock at the condition of some bridge plates. Cracks and ball recession do happen. Wish they oriented the grain the correct way, and backed up the holes when drilling them so the pins could do their job better. I like plate mates and think guitars should come with them from the factory.
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90s Martin D-28 (Algae guitar) 1979 Alvarez CY 115, #226 of 600 1977 Giannini Craviola 12 String 1997 Martin CEO-1R 1970s C.F. Mountain OOO-18 1968 Standel/Harptone E6-N 1969-70 Harptone Maple Lark L6-NC (Katrina guitar) Supreme A-12 Voyage-Air VAOM-06 Esteban Antonio Brown Model |
#15
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For superior tone enhancement I only use bridge pins made from the beak of one of these guys...
Just KIDDING! |