I wonder if it is possible to get more bass out of my mando. #For example, if I were to try a different bridge or tailpiece, or even strings? #I know that it is possible to make the sound more midrangey with a tailpiece; putting the original stamped metal one back on gave me more bass. #I understand that most of it is inherent in the instrument but I'd like to get whatever bass it has to come out more. #Any suggestions?
Thanks.
Too Many Strings
How old is your mando? When mine opened up I noticed the bass response increased the most.
The Breke bridge helped my instrument too, but others on the board have had different experiences with them.
Good luck.
It's a little over a year old. It's already opened up quite a bit but what I mainly notice is stronger mids and sweeter treble.
Too Many Strings
Merely out of curiosity; what kind is it??
Wye Knot
You might try a rosewood bridge instead of ebony. Or just a rosewood bridge top on your existing bridge feet if it happens to fit. Sometimes they do.
MWM
Mark in West Michigan
If your action is to low this can cause more of a tinny sound, also try med phosph. strings. also try playing teh mando in different spots I find if the mando is played up near the finger ext. it gives a woodier tone also try playing with a heavy pick that is rounded and not with the pointed edge. just a few ideas
Rose mandos and the tone they produce
Sometimes a heavy bridge can stifle volume and bass response; you could try a new bridge that is lighter. Depending on the topwood and other things, sometimes heavier strings and higher bridge height (meaning higher action too) will accentuate the bass. Also, make sure when you are playing that the back is free to vibrate; resting the back against your body will kill the low frequency production (many people like using the tone-gards to alleviate this).
I inadvertently improved the tone, volume, and bass on my mando while fitting (in a very amateur way) my bridge. It was kind of like a bad haircut. I kept taking off a little more...little more...oh! too much! By the time I got it to fit flush all the way across, I'd sanded it down to where there's not an arched gap in the middle. It fits flush all the way across. I think most of the tonal difference has to do with the decreased mass and better fit though and not the additional contact with the top. I could be wrong. Whatever it is, I like it. A LOT more bass than I used to get.
My Breke bridge is fitted like Guitdolin's. It is in full contact with the top. I remember an artical in Mandolin Magazine by Ken Cartwright that discusses fitting the bridge this way.
I'd be curious to know what some of the builders think of fitting bridges this way.
Actually I prefer to fit bridges so there is very little material on the feet and flat all the way across the bottom. Flat meaning that there is no arch or opening under the center of the bridge base. It is a very time consuming job taking me about two hours, but the pay off is worth it. The reason Gibson originally went away from the one piece full contact bridge to the adjustable, was among other things, a time saver. I think the better mouse trap equivalent is the Brekke bridge. But, like the Monteleone, it's not for everyone or every instrument. However, on instruments from the Pacific rim and others under $1500, it's perfect.
Cartwright's Music & Repair Shop
"I repair what others sell"
Stayton, Oregon
Opening up
I don't know how many of you out there have electric guitar amps, and a key board. You tie a strip of sheet, or some other cloth... (that ugly tie you got for Christmas!) around the neck, and to a hanger rod, in the closet, farthest away from where you plan on being for the next twelve hours.
You plug the synth in, and setup a square wave tone, the guitar amp needs to have a decent speaker.. heh.. anyhow, start with the note that corresponds to the lowest tuned string on the particular instrument. hold that note, and turn up the amp unti the instrument starts to feedback, in sympathy. When you hear them *clatter* on the fretboard BACK OFF JUST A TOUCH. You can leave a heavy knife, or a pet rock on the key.
WARNING: ONLY TURN THE AMP UP TO THE POINT WHERE THE STRINGS ON THE INSTRUMENT ARE DRIVEN, BUT NOT RATTLING ON THE FRETBOARD. This condition CAN and DOES cause damage to your instrument.
Close the door, and go away for an hour, then next note, chromatically, 11 times, end with the octave, and tune the instrument to pitch each time you change notes.
WARNING: MAKE SURE YOU HEED THE WARNING
M
Posting Permissions
Reply With Quote
Bookmarks