"Power Pins" anyone?

[Mike Kolb]

OK, so I'm always a little naturally suspicious of anything that changes the physics of the guitar as we know it.

Recently there's been a decent advertising splash in the guitar mags for "Power Pins" manufactured by Bigrock Engineering, that describe a new way to anchor strings to the bridge.  A big benefit is said to be the protection of the bridgeplate.

In one of their print ads, one benefit is touted as being "decreased string angle" at the saddle, which supposedly helps something?  Interesting that particular "benefit" is missing from the website.  http://www.f1pick.com/bridgeplate.html

Maybe they'd be an alternative to help salvage a really chewed-up bridge plate? ... then again...

I have no dog in the fight... don't own any, never seen 'em in action, nothing.  But I'm curious if anyone here on the board has used them and, if so, what the thoughts might be.   

[Allen Chance]

Ok , Thanks Ned.

[Mike Kolb]

Whoops... sorry about opening Pandora's box here, but a lively discussion is great:)  The few comments regarding a decrease in string angle somehow translating into "better action" still confounds me.

Perhaps there is a perceived softening of the pressure needed for the fingers to depress a string, but (to take it to it's extreme) that means that  no  string angle at all will be the ultimate in requiring next-to-no finger resistance... but that's at the cost of destroying the entire mechanism driving the fingerboard. 

My experience has consistently been that anything that "flattens-out" the string angle will always equal less bridge pressure, and that translates to decreased volume and poorer tone.  And FF raises the ancillary issue of having to keep the UST's pressure-happy in the process... a great point. 

Next time I'm flush (ha!) maybe I'll spring for a set of Power Pins and keep 'em handy for when that one guitar arrives that could use a little less string angle... and they do show-up every now and again.

In the meantime they seem like a well-intentioned (and a rather handsome) product that falls into the category of a solution in search of a problem.

I applaud Allen's forthright arrival here and intelligent discussion...  that's what this forum is all about!  Kudos!

[Peter Poyser]

Quote: "My first question is"

 

There are a whole bunch of different types and ways of creating Holographic Images, but broadly we can divide these into three main types. Reflected, Transmission and Hybrid.

Perhaps the most common you will be familiar with, is used as Protective Security Device, some are Embossed, others have a Mirror behind them that Reflects Light, shone actually from the other side, but in all cases we could think of their being "two phases" involved in both Recording and Playback of the Image created, this is the important fact to bear in mind.

 

 

In the instance you are referring to.

A Laser Light is used in a process known as "Holographic Interferometry". 

The Intense Light you refer to, is simply the Centralised Light Source of the Laser.

The Instrument is "Recorded" at Rest, whilst no Sound is to be heard or Vibrations present at all.

Then the Instrument is "Recorded" after a Vibration has been Transmitted to the Instrument Body at a Particular Frequency.

The Different Waves of Pattern appear as Dark Areas on what otherwise would be, an Image Flooded with A Clear and Powerful Laser Light. Aligned to the First.

These Dark Areas, thus "Interfere" and allow precision imaging and measurement for a range of Engineering Purposes. The Fringes of these Images reveal the Vector Displacement.

 

 

My purpose in sharing the Image.

Was actually, simply to Demonstrate.

That there are Better, more Dramatic ways.

To get your point across to Potential Consumers.

In the field of Audio. Graphs in particular can be extremely misleading.

They usually tell, but a singular part of the story. They regularly leave out the most vitally important data, crucial to a genuine appreciation of how Equipment will Sound.

So you usually need much more information that is normally provided, to make a properly informed decision, and vitally; you require an immense amount of knowledge and experience, to be able to properly interpret, what the information you do have, will actually turn out to mean in practise.

 

 

Obviously, there's no substitute for listening.

But for the reason outlined above, and because Inherent Knowledge is necessary to properly understand what a Graph is, or is not, telling you.

My view is that for ordinary people, that might become customers, showing them in a Dramatically Compelling Way. Demonstrating your point in a manner  that will Draw Them In, and they will find Interesting. Is a Better, More Effective Way, to put your point across, than viewing a Mystifying Graph.

Probably, much of my innate reprehension towards Graphs, comes from the indubitable fact that were you to examine the Specification Graphs for most of the Finest, most Incredibly Expensive Studio Recording Microphones on the Planet. You would immediately conclude from the Data, that they were only fit for the Dustbin.

Yet some of the Worst Sounding, Cheapest, Poorest Examples of Microphones, are with mind numbing regularity, furnished with the Most Impressive of Specification Sheets.

Clearly, there is far more to all this than meets the Eye.

 

 

So I always use my Ear.

 

 

Whilst on the subject of Ears.

You may be interested to know that a close relative of mine is the Professor which led the team who developed the Model of The Human Ear, Medical Research relies upon, along with Surgeons, Audiologists and Designers of Studio Audio Equipment, both Hardware and Software.

To enable that Research, E.M.I. Research and Development at Hayes Middlesex, Designed a Unique, One Off Set of Reference Speakers, which were then Manufactured especially by KEF. We have these Reference Speakers in our Family now, along with many others. I collect Speakers as a Hobby, rather as I collect Musical Instruments.

 

 

The relevant point is.

If you are Designing Products to be appreciated by the Human Ear.

Whatever they might be, it helps quite a lot, to have the best possible grasp of what an Ideally Functioning Human Ear Is!

Rupert Neve was a tremendous assistance to the Group I was in years ago when I began in Music, and is indubitably the most Notable Figure in Recording History.

Strangely although he has Designed the Best Sounding Recording Consoles ever made, the Best Pre-Amps, and Equalisers. He has no Formal Training in Electronics whatever.

 

 

Like me, he works by Ear.

http://www.rupertneve.com/company/honors/

 

 

Sony Oxford Recording Consoles were Designed here by Paul Frindle, who lectures on occasions...

http://createdigitalmusic.com/2010/01/interview-sound-legend-paul-f...

 

 

Here.

http://oxford.sae.edu/en-gb/course/7523/BABSc_(Hons)_Audio_Producti...

 

 

The Peter Gabriel owned Solid State Logic, the Premium Maker of Large Format Broadcast and Recording Studio Consoles are also Designed and Manufactured here, just a few miles from my Home.

His close friend Kate Bush has a Recording Studio close to my own, which is in the Countryside on a Family Estate. 

Steve Gad and Tony Levin are amongst the more recent Session Musicians about.

http://www.solid-state-logic.com/music/c200%20hd/

 

 

By now you can appreciate, that I see more than my fair share of Graphs.

I think there is a More Compelling Way to make your Point.

That was my only reason for posting the Image.

 

 

One of the ways I like to test the Resonant Frequency and responsiveness of Guitars is to Speak Directly into the Soundhole.

This from experience, tells me a lots about the Hallmark Tonal Characteristics of the Instrument, but I am also determining its "Speed of Response".

By Singing into it, if you could go low enough, it would be possible to accurately determine the Instruments Resonant Frequency, without Technical Equipment.

The Acoustical Body of a Guitar could be thought of as a Low Frequency Helmholz Resonator. It Amplifies, Extends Bass and Smoothens the Resonant Response, and Reduces, Flattens and Smooth's Resonant Peaks. The Bass Extension in Particular is Enhanced Thereby.

 

Perhaps you have a Speaker with a Bass Port?

Originally, Torres created a Conical Brass Tube like device , that fitted inside his Guitars, perhaps somewhat akin to your Speakers Bass Port to Extend the Bass Response of the Instrument. Which again is like another form of Helmholz Resonator. But eventually, he thought better of it.

If you think about this, you will realise that when we Amplify an Acoustic Guitar or an Electric Guitar with a Hollow Body, it is Low Frequency Resonances, that cause the Feedback Problems often encountered.

Basically, because the The Guitar acts as a Helmholz Resonator. This is why placing a Cover over the Soundhole of the Instrument, reduces or prevents the problem.

It no longer conforms to the Helmholz principles. Blowing into a Bottle, is a form of Helmholz Resonator.

So understandably the Soundhole is a Crucial Aspect of the Design.

Which can affect the Sound Greatly.

P

[Peter Poyser]

Quote: "I actually know quiet a lot of flat pickers that run lighter gauges of strings now." 

 

 

I know no quiet Flatpickers myself.

My experience had been, that they are all a very Noisy Bunch of Musicians.

The Real Issue here, is the Mass of the String Required, to Drive the Guitar Top to Greatest Effect.

It is the case, particularly where Flat Pickers are concerned, that there is a general consensus that Medium Gauge Strings do this Best.

C.F. Martin fit Medium Gauge Strings to their Guitars as Standard. Taylor do too. The reason is, this Gauge Elicits the Fullest Tone, and is the Optimal Demonstrator of the Widest Capabilities of the Instrument.

 

 

Let's be Crystal Clear.

These Companies are in Business, Purely to Sell Guitars.

They want to Demonstrate to Potential Customers, the Instrument at its Very Best.

C.F. Martin, the Largest Manufacturer of Acoustic Guitars in America, and the most Popular with Flat Pickers, have concluded that Medium Gauge Strings are the Optimal All Round Choice.

 

 

Otherwise.

If you honestly believe to the contrary.

To convince one, it would be necessary to provide a genuinely compelling reason.

Why the Manufacturers would fit anything less than the Absolute Optimal Solution, in an scenario where there is no difference in Cost, Irrespective of their String Gauge Choice Fitted.

 

 

This preference was confirmed in a Recent Thread on The Martin Board concerning the Optimal String Gauge for that Type of Guitar.

I would place it as there being around 85% of respondents in favour of Medium Gauge Strings as the Optimal Choice as opposed to Lighter Gauges.

 

 

Having written that however.

Most of these Folk will be playing purely Acoustically.

Some will be Balancing the Volume of their Instrument with Banjo's and Mandolins.

Understandably, they will require a greater Volume of Tone Projection from their Instrument, than others might.

 

 

Personally, in the main.

I use my Guitars mainly in a Recording Situation.

And find that Light Gauge Strings give me a Better Balance of Tone for Recording.

Harmonics, Ring Out Clearer, and the Tonal Balance of the Instrument makes for a Better Recorded Instrument for the Widest Range of Musical Styles.

 

 

To my Ears.

 

 

Playability.

Is another Important Factor.

I often move quickly from Instrument to Instrument.

So prefer not to have very extreme differences between String Gauges.

 

 

As for the Sensitivity of Lighter Gauges.

Different Players will chose Light Gauges for entirely different reasons.

Some, simply find Medium Gauges too hard on their Fingers. Others find  that their Playing Style requires it.

In the first instance, often this is because although from new with the Action Low, their Guitar will Perform Well with Medium Gauge.

But Solid Wood Instruments don't always stay like that, certain Brands in particular seem affected more than others in this respect, and at certain times of the year, may seem relatively unplayable by direct comparison and that confirmed with precise measurement.

Maybe it's because I am on an Island, but certain Brands are especially susceptible, in my experience.

 

 

You may be interested to learn.

That on some of the very High End Stradivarius Instruments.

Players elect to have a Summer Bridge and a Winter Bridge to allow for these Seasonal Variations.

Most Guitars aren't that bad, but lamentably for some it is the case, that over time the effect of forward bow in the neck. Settlement Movement affecting the Neck Set Angle. And Humidity Changes to the Acoustical Body, along with a Degree of Belly or Bridge Rotation  have the overall effect or making Lighter Strings, a highly desirable alternative to costly adjustment.

 

 

As for String Sensitivity in Performance.

For me, many of these Criteria, are really a matter of where you decide to make the Trade Off.

Different People will make them at Different Places. String Gauge and Playability, String Gauge and Volume of Tone.

Its invariably the case that people think of Volume and Tone, as two separate Criteria.  This is because of the Knobs on their T.V. or Hi -Fi.

If you Study Conducting, Musical Form and Performance, you will find that "Volume of Tone" is the correct terminology, to use regarding Performance with a Musical Instrument.

How Softly or Loudly you Play, Greatly Affects, the Tonal Characteristics of the Instrument. Now we all know this instinctively, yet few of us have Formally Studied and Consciously Perceive this Essential Musical Ingredient with the Profoundly Deep Insight and Perspicaciousness it deserves..

But a Conductor, responsible for the Interpretation of the Music, and a Whole Ensembles Volume and Tone, has to be aware of all this both for Virtuoso Soloists and Tutti Ensembles.  

I'm a great believer in Musical Orchestration that Engages the Listener, then Releases Them.

It's like Breathing In and Out.

 

 

Today Highly Compressed and Severely Limited Music, robs the Dimension of Natural Dynamic from Musical Performance.

The Consequent "Sausage of Sound" at an entirely Consistent Level, although impressive at first.

Ultimately can only fatigue the Ear and Tire the Brain.

 

You may find this Interesting.

http://www.youtube.com/watch?v=3Gmex_4hreQ

http://www.cdmasteringservices.com/dynamicdeath.htm

 

 

But as I was saying, many of these Criteria, are really a matter of where you decide to make the Trade Off.

Different People will make them at Different Places. String Gauge and Playability, String Gauge and Volume of Tone. For me, the Critical factor of compromise is Action Height and Tonal Projection.

 

 

String Gauge Plays into this.

Generally, I have Slightly Different Gauges fitted to Particular Guitars, mainly because I will Play the Instrument, in a different way.

Heavier Strings give more Output and Tone, and sometimes I like to "Fight with String Tension" as this facilitates certain Styles of Playing.

Heavier Strings are better for certain Styles of Playing, but Lighter String better for others. I have found it best to avoid the Extremes in String Gauges, where many besetting problems lay.

So for me, whatever the Instrument, however the Heavy or Light the Gauge, they are pretty close, in a relative manner, so moving from Instrument to Instrument, is very smooth and is more easily managed.

 

 

All over the Guitar are Trade Off's!

From Scale Length, which has a bearing on String Mass equally as String Gauge.

In Playability relative to Neck Shape, Scale Length, String Gauge, Height of Action etc.

In Tonality where Scale Length and String Gauge determine String Mass, along with Height of Action where "Room to Vibrate" equates to Volume of Tone Projection.

The Size and Shape of the Body of the Instrument. The Choice of Wood and Thickness and Stiffness of the Top, its Ability to Freely Vibrate, The Material of the Back and Sides.

The Design, Size, Shaping and Scalloping of the Bracing. The Size and Material of the Bridge and its Accompanying Plate beneath. I see all these Differing Design Parameters on the Various Types of Guitars as essentially, different choices, Different Points of Trade Off between the vitally important ingredients that contribute to the Character of the Instrument.

 

 

Great Designers have to deal with this all the time.

Think of a Car, most consumers want High Mileage Per Gallon of Fuel.

Yet they also want a 0 to 60 Rate of Acceleration that is Impressively High in Performance.

Can you see? These two factors are Directly and Diametrically Opposed to one another, yet Good Design resolves Both Requirements.

Drivers want Vehicular Emissions to be Extremely Low for Legal Requirement and Environmental Reasons. Yet they like Powerful  Engines that Cruise with Elegance and Grace.

Yet again, many Drivers want a Vehicle that is Small on the Outside and Easy to Manipulate in Tight Corners. Ladies especially appreciate one that is Easy to Park, yet people want loads of Room inside their Vehicle to Transport whatever they wish.

They want the Kerbweight of their Vehicle to be Low so that it Accelerates Faster, but Burns Less Fuel and is Better for the Environment. But want the Vehicle to be Strong and Safe, though Heaven Forefend,  should they ever Encounter a Collision.

 

All these Differing Desirable Factors directly compete against one another. And Different Individuals will make Different Choices about Where and What Features they Wish to Compromise.

Good Designers have to Create Solutions that Satisfactorily Resolve these Dilemma's for the Customer.

 

Good Luthiers.

Do the Same for Guitarists.

 

P

[Allen Chance]

Tim Mueller tested a set of the POWER PINS and posted a new topic POWER PINS, if anyone is interested, you can see his opinions. Thanks for all the great information you guys have posted.

[Mike Kolb]

Wow... I still fail to see how flattening the angle of string break over the bridge can do anything positive.... let alone all the glowing reports that Tim gives.  

My jury is still out, but I plan on purchasing a set (at full retail) after the holidays and conducting my own trials.  To be continued....

[Allen Chance]

If you are interested in trying a set, we have them reduced to $49.95 right now, and of course , full moneyback guarantee and shipping both ways if you dont like them. Would be very interested in your results. 

[Robbie Collins]

They look like they'd be very fast with that streamlined shape!