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A piezo on the head has nothing to do with the string vibrating between the nut and the fretting finger. It picks up the vibration of the neck induced by the vibrating portion of the string between the fret and the bridge. That's how clip-on tuners work, picking up the vibrations in the body and neck. You can actually get the same vibrations from anywhere on the guitar, but the head is the most convenient place to stick the tuner. I've used the bridge, the f holes, the pickguard, and other locations, but the head works best overall. The string between the fretting finger and the nut doesn't usually vibrate because the finger mutes it, and even if it didn't, the vibration would be induced by the vibrating neck, if the finger perfectly fretted the string in both directions. But for practical purposes, I don't believe it happens at all.
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05-13-2018 10:55 PM
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Paleolithic era:
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I thought Paleolithic meant rocks not metal?
Then again I sort of know the “lithic” part to mean rocks, but maybe the “paleo” part means the absurd dillusional fascination with brass that coincided with my luthio-lithic professional youth.
Incidentally:
Brass doesn’t really wear nut files all that quickly. Sure it is harder than bone. But it is the rough forming of the brass nut that is the pain, not the slots per se. My fingers still hurt from cranking out brass nuts for pale children at Berklee (all now wearing Monica Lewinski berets in their comparative dotage, most likely) decades ago.
I have made many hundreds of brass nuts, mostly in the ass-hat-brass-nut era.
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Strings do indeed vibrate VERY slightly sometimes back between the fretted note and the nut - much as they can sometimes between the bridge and tailpiece.
But this is almost NEVER actually noticed by a player. And when it is noticed, it is noticed as a tiny buzz against the frets if the guitar in question has very little relief and a correctly low-cut nut.
It is almost impossible to experience such vibrations as part of the audible sound from the guitar.
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The Fathead thing Neatomic posted is arguably designed to alter/eliminate sympathetic resonances in the neck that can cause so-called “wolf notes” or general losses in sustain via neck vibration. It can indeed also alter “tone”, but to a lesser extent than going from light to heavy tuners on a mahogany neck does.
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All in my opinion. Except the part about a dotard wearing a Monica Lewinski beret.
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OK that was the “old” days, so my experiences regarding brass components and the craze would be “Paleo-luthic”, and not Luthio-lithic.
It is just that Luthio-lithic sounds funnier.
Actually Pat Martino endorsed picks made of stone in the early 80’s. They called them Min’d Picks. Get it? “Mind” like Pat is smart, and “Mined” from rocks? Clever.
So that would be “luthio-lithic”
And also the most abrasive grinding clicky god-awful picks ever.
EDIT: Total respect to Pat Martino and the remarkable challenge he dealt with back around 1980. Maybe 6 years later I had a far less extensive (if intensely concussive) problem with only temporary (yet total) effects vs. his. But I can definitely relate to the fundamental issues. So respect to Pat. Terrible picks though.Last edited by ptchristopher3; 05-14-2018 at 07:08 PM.
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The stone picks by Dugain, by comparison, are not at all abrasive...or clicky.
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Hi Green’,
Originally Posted by Greentone
Indeed sorry to suggest that any sort of pick at all is not suitable for many players. I just recall several people trying the “Min’d” pick with unfortunate (in their opinion and mine) result.
If there is one thing that is under-discussed here (as much as “Gibson” is over-discussed, well nearly anyway) it is picks. The staggering difference it can make in playability and sound renders most other discussion points picayune at best.
And what is perfect for one player is a disaster for another, and of course vice-versa.
I will need to try a Dugain stone. I need all the help I can get.
Thanks.
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I've tried stone, wood, metal, bone, horn, and god knows all the plastic variations of picks. I keep trying them, and they keep ending up in the pick box with the other rejects. I keep going back to Blue Chip.
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My latest fascination is a “micks picks” felt with fiberglass (I think) sandwiched between the felt then a UV cured urethane over the sharpened tip. Originally Posted by sgosnell
No, seriously. It is better than it sounds. Well it would have to be.
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no reason it has to be all or nothing...picks give different shadings..use the appropriate pick for the appropriate job..there's really no such thing as a bad pick material..only the wrong use of it...
brian may uses a uk sixpence coin..& billy gibbons used a mexican centavo
one of my fave picks was made by a guy in fla out of seashell...been using it for over 15 years...
big fan of the clayton exotics as well
Steve Clayton USA - Exotic Guitar Picks
never enough different picks in the arsenal...
cheers
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It wouldn't have to be, unless someone wanted to sell them. Then it would have to be a lot better than the description sounds.
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I was always more of a rock guy than a metal guy. Originally Posted by ptchristopher3
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In my impetuous youth, under the spell of Pat Martino, I decided I needed an L5S and a Min'd pick. The L5S was beyond my humble budget, but my local music store had some picks. I bought a fist full and bonded with one in particular that was the perfect size, shape and weight for me. I used it exclusively for my electric gigging needs for years until one fateful day during practice when it slipped from my fingers a fell in slow motion to my drummer's basement's cold and unforgiving ceramic-tiled floor and shattered into pieces, along with a piece of my heart. I now have a couple hundred chunks of several types of plastic, bone, wood, horn, and whatnot in a lovely Art Deco bowl/vase Mrs. k got me for that very use. The plectrum rabbit hole is very, very deep.
For the past few years, I've been playing fingerstyle, flesh only. I suppose it's a species of mourning.
The L5S still eludes me.
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while it isn't exactly what is being discussed here, if you check out tru arc bridgeworks, you can hear sound samples of various alloys, including brass and Stainless Steel. may give you an idea of how they differ and what to expect, in a general way.
personally, I somehow became a stainless guy, myself. I feel it gives a flat, overall boost. which comes off as brightness, coming from muddy mystery meat pot metal parts. but I get plenty of deep, piano type lows from those guitars now.
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Thank your lucky stars for that, k-man. Originally Posted by citizenk74
Colossally stupid POS boat anchors.
IMO, of course.
Of course, there's always this one:
1979 Ibanez Solid Brass Ibanez Artist 2622 Guitar One of a | Reverb
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Seventy-six pounds!?!? My ego doesn't even weigh that much on my most delusional days. Originally Posted by Hammertone
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76 pounds would work well as a boat anchor. I'm not so sure about as a guitar.
I had a chance to buy an L5S (or maybe an L6S, hard to recall) in a pawnshop once, but I passed because one of the tuners was badly bent. I've since regretted not buying it. But it didn't seem like that great a deal at the time, even with perfect tuners. I've spent a lot of time in pawnshops over the years, looking for great guitar deals, and I've never found a single one.
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Originally Posted by citizenk74
cheers
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