Also, if there's an undersaddle pickup element directly beneath the saddle that too could interfere with the transmission of acoustic energy as well. If not then vibration is not being efficiently transferred to the bridge plate beneath and thus on to the top as a whole. At the very least, you should check to see that the underside of the saddle is completely flush with the bottom of the saddle slot. I prefer bone to tusq or corian because it gives a "warmer" tone that's less "brittle". Your choice of saddle material also comes into play. Raising the action (either by installing a new and higher saddle or using some sort of shim) will also add to the break angle. IME, having the holes for the bridge pins slotted will increase that angle and a higher saddle will give the strings more freedom to vibrate. Lower action with also decrease sustain because of lower tension and a shallower break angle across the surface of the saddle and between the pins and the saddle. A guitar set up for fingerstyle will have lower action which will make fingerpicking and fretting seem easier and allow your fingers to dictate the clarity of attack, but if you try to play it more aggressively with a pick the strings will literally slap against the frets. Closer to the neck and it's the opposite: more sustain, less articulation.Ĥ: get your guitar set up. Too close to the bridge and you trade sustain for articulation. If you relax your fingers too much the pick will get floppy and almost mute the strings so what you'll hear is more of the pick brushing against the strings than the actual plucking action. Instead, use your wrist when flatpicking and your elbow when strumming. Hold the pick firmly between your fingers and try to keep the pick perpendicular to the soundboard, but don't move the pick itself with your fingers. 88mm, 1mm an above is ideal) but if there's a lot of "click" to your attack, either try a nylon material and "choke" the pick by exposing a smaller amount of the pick from between your fingers.ģ: alter your technique. Coated strings will take the edge off the attack but they pretty much sound like a played-in set of uncoated strings IME.Ģ: Use a thicker pick (at least. Some people like that because they can articulate individual notes with a flat pick but then when strumming moderately to aggressively the guitar seems to "break up." I've found that with any guitar, a certain amount of "tweaking" to several of the issues I've described above are required:ġ: Use a thicker string, either light-mediums or medium gauge (.013-.054) This will drive the top harder. In my experience, the Taylor GA can sound nearly as full as a dread but I've heard complaints that they are on the "bright" side. the "clack" of the pick against the strings? Does it have to do with a lack of sustain, especially in the bass register?Ģ: What strings and picks are you using? Are they ultra light or light gauge? Are you using a hard plasticky pick or a softer nylon-type pick?ģ: What type of flatpicking technique do you use? Do you prefer to anchor the heel of your palm on the saddle and pick more toward the bridge than directly over the sound hole? Are you holding your pick firmly and perpendicular to the soundboard or are you just letting it brush the strings at an angle?Ĥ: How is the guitar set up? Is the action low or high? Is there any buzzing when played aggressively? 1: Describe "bright." Does it have to do with the initial attack, i.e.
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