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China ?


E-minor7

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EM - try calling Stan at Mandolin Brother in Staten Island NYC. (Mandoweb.com)

 

I'm actually scanning the scenery in this period – there's no acute hurry.

 

One just left eBay last week or so.

 

Definitely want one, but for the right price, , , and in good shape.

 

Will investigate Mandolin Brothers.

 

 

 

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Just wondering - Has anybody here a ceramic saddle for sale ?

 

For adjustable bridge.

There have been a couple of attempts in recent years to duplicate these (at a price well below the originals sell for on eBay). I don't recall the details, but you can probably find them on beatgearcavern.com.

 

-- Bob R

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Yeah, Tusq makes them, , , , in tusq.

 

Have a few, but they don't do the job.

 

I'm pretty sure you'll find little difference between tusq and ceramic, but I'm not sure I know what you're missing in the tone or what you're hoping to get to when you say they don't do the job. I think the adapted thin bone saddle set in a cutout from a stock bridge as you've seen discussed here will best counterract the adj's big thick saddle, tusq or china.

 

Interested to know what, if any, change in tone you achieve when you put in the ceramic. That saddle was always the first to go in the parts drawer when I encountered an adj. Then I'd pick up a stock rosewood saddle on Ebay, trace out the ceramic or wood saddle shape onto the part of the bridge with the slot. Cut, shape, and sand for a not quite snug fit and then set in a thin bone saddle.

 

Maybe I need a project.

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I also am attracted to the ceramic saddle.

 

Had one on a '65 B-25, along with the plastic bridge. Loved the tone, but had an ebony bridge & bone saddle installed for reasons related to structural stability. It goes against the grain, but I actually had a slight preference for the tone with the ceramic saddle & plastic bridge.

 

Played that guitar for 20+ years & traded it for a very nice J100-Xtra in 2001, but missed the old B-25.

 

Scratched that itch last year by picking up a '66 Epi Cortez. This one has a structurally intact plastic bridge, along with a rosewood insert on the adjustable saddle.

 

Luckily, I saved all the parts that came off the B-25, so one of these days I'll get around to installing that ceramic saddle (in order to scratch another itch!).

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I'm pretty sure you'll find little difference between tusq and ceramic, but I'm not sure I know what you're missing in the tone or what you're hoping to get to when you say they don't do the job.

 

Allow me to say that I'm a bit of a specialist on the topic. I have those saddle-inserts in 5 materials plus a bone/wood combo.

 

Only one missing is the 60's metal/bone(plast?) version.

 

I have talked a lot about these combonents and exchanged experiences with a few members – of who one even celebrated the plastic bridge.

 

I have researched the saddle-material behind the Angie-intro and Donovan's crisp sounds, James Taylor's golden age and much/many more.

 

And for a long time wondered how little attention the Board paid to the theme too.

 

Went back to the ceramic on the '63 SJ in the spring and find one of the genuine Gibson-voices hidden in this porcelain. It shall not be underrated.

 

The secret Tusq-material might be a good even transmitter of vibration, but ceramic is something else. It's almost a little amplifier. There is a 'cling' to the high ceramic notes and a clear softness to the bass, which is very attractive. The reason I call for another c-saddle is another guitar. I simply want to try it on a second 6-string and wouldn't want to remove the one on the SJ.

 

So in short : Don't equate these different saddles. See them as a palette of possibilities to find flavors and sonic identity.

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