[The ToneRite - Real World Testing and Results]

Well...I just got one myself. I'm using on a guitar resting in a guitar stand, the Tone Rite placed right above the bridge, kind of sitting on the top of it so the rubber feet contact the guitar top in between the strings. I had a little trouble getting it to stay, so I used an ace bandage wrapped just tight enough so there is even contact. That worked well. The original post in thread, several pages ago, gives other tips in case you haven't looked back.

 

Enjoy. If John Arnold says (regarding the Tone Rite) "it does something" I'm inclined to believe there is something there as opposed to no effect whatsoever. I read that on another unofficial forum. Shhh...

 

Thanks! So far I'm having troubles making the unit stay put too, also my high e string is not touching the unit when it's close to the bridge, the solution so far has been to stick a piece of eraser between them e and b string. Seems to work. Now I'm looking for that low and high sweet spots mentioned by OP. I am however a bit skeptical towards running the TR on max simply because of the noise it generates. I live in an apartment and plan on continuing doing so, so I might run it louder during day time and low during night.

 

Also, i just got back from a two week trip so my guitar hasn't been played for a while and after using the unit for only a few hours I can honestly say my j45 seems to have woken up a bit..

[The ToneRite - Real World Testing and Results]

Just got a TR after my girlfriend visited stateside. I haven't really started treatment yet as I am trying to figure out the optimal placement to get all strings buzzing, but I am looking forward to experimenting and maybe hear what all the fuzz is about. Any tips on placement, frequency, as well as stand vs case are more than welcome!

[Strings - Nut - Saddle - Pins - They are essential to TONE!]

I bought a set of Sunbeams for my Martin Jumbo and really liked the sound. I liked their rap on why they had a lot of sustain which they did. So I went and found a 10 set pack at a substantially reduced price on eBay. BUYER BEWARE! The high E, B and G strings on all the packs had significant lumpy oxidation (rust) on them. I cleaned them up as best as I could while installing and using each set. I didn't want to just throw them all away. They actually sounded okay but I could always feel the spots. It was hard to tell if the sound of the string had been effected. Now after several years I still have a pack or two left. I'll never buy like that again.

 

I just bought some D'Addario 12-53s that I will try next. Interesting that the DRs are 12-54 but the D'Addarios are 12-53. Also interesting is that the last time we hear our old strings, they are just that; old and played out, so the new strings we install always sound better. I'm always skeptical when folks say, "sound better," "more sustain," "more balanced" etc. It's all so subjective. I wish a serious scientist would do some actual objective studies and show us "artists" what an oscilloscope shows we are really hearing. Anyone out there hear of such a study? B)

 

I've received several packs of strings with spots of oxidation on em, but I iusually just message the seller and get a replacement set. One time I even got my replacements directly from DR (and I live in Norway) so I can't really complain. When I had my OM I used to buy packs of dadario EJ strings and never had any issues with them what so ever.

 

In regards to subjectivity and the perception of sound I think you are right. Be it fine vine, placebo treatments and possibly also guitar string, our mind has a tendency to colour our perceptions. Im thinking a future study would have to study several guitars, shapes and tonewoods, so if anyone wants to do it you could justify buying a bunch of guitars in the name of science

[Strings - Nut - Saddle - Pins - They are essential to TONE!]

Tested a set of DR RARE the other day, thought I put my experience of there.

To my ear they made my J45 so unbalanced it's not even funny! Lows dominated pretty much everything, whilst high end lost it's shimmer completely. Had them on for three days until I couldn't take it no more. Put on a set of JP200L's now and my guitar is significantly more balanced.

Anyone else got experience with the RARE strings? Given how much I love the sunbeams I was really disappointed.

[Strings - Nut - Saddle - Pins - They are essential to TONE!]

Anyone heard of using antler? Would that be pretty much the same as bone?

My luthier sometimes uses moose antlers but he said they are a bit softer than cow bone so he prefers cow on acoustics to get the top to vibrate as much as possible

[Strings - Nut - Saddle - Pins - They are essential to TONE!]

I bought some bone and ebony pins on eBay, figured it was cheap enough to experiment and no big deal if the didn't fit my j45 standard. They both fit although I think the ebony ones fit the best. They seem to lock the strings in place, as opposed the bone ones that are kinda just there. With bone I have to push them down while tuning up a fresh set of strings or else they pop out. After experimenting a lot I've concluded I prefer the ebony ones especially with sunbeams on. More woody sounding and it feels like I hear more of the guitar and less of the strings if that makes sense. As I said earlier the colosi saddle definetly appeared to have brought more volume out of the guitar, but then again I removed the under saddle pickup so it might be a combination of things. Curious of how a new bone nut would affect the sound of open strings.

[Strings - Nut - Saddle - Pins - They are essential to TONE!]

After fitting my J45 standard with a bone saddle from Bob Colosi I was like ”meh”. - It brought some modest clarity and definition I had not experienced with tusq but nothing really ground breaking. To be honest I was kinda surprised because I’ve had good experiences swapping to bone on other guitars. Then I put on some new JP 200Ls and ebony pins…

 

I am pretty sure the old dull strings ”camouflaged” some of the tonal improvements from Bobs beautifully crafted saddle, because now my J45 sounds like nothing I’ve ever heard from it before! I’m not even exaggerating, the volume is WAY higher, the string separations is vastly improved and it really has that brilliant vintage j45 “spikyness” to it. Fingerpicked it still gets real mellow and sweet, but when digging in with a pick this thing is a BEAST. I am completely stunned.

 

Now, I know what some of you are gonna say and you are of course right; NEW STRINGS make a huge difference. Also, the change from bone pins to ebony may have affected the tone. However, I have experimented a lot with these kinds of variables and I have never experienced advancement this significant before. I’m guessing Bob’s saddle was the missing piece of the puzzle?

 

I am in awe.

 

Chris

[INTRODUCE YOURSELF]

Hey guys, I'm a proud j45 owner who's been stalking this forum for about a year now. Figured I might as well join up so I can actually contribute to this collective for a change!

 

Chris