Harmonic Suppressor

[swain]

Anyone used any kind of harmonic suppressor? Can you relate direct experiences of your own regarding 1) what specific problem did the suppressor address? 2) did the suppressor fix the problem?

Thanks

swain

[Rroyd]

Are you referring to the rubber grommets placed between the pairs of strings between the bridge and the tailpiece on many mandolins, or the leather lace woven through the strings on others? The purpose is to stop unwanted sympathetic vibrations by that portion of the strings, but it sounds like you are inquiring about something more sophisticated, unless someone has chosen to patent the idea by giving it a fancy name.

[swain]

Yes, no, and don't know of a patent.

Do you have any direct experience with any?

[Shelagh Moore]

As Rroyd said the purpose is to suppress unwanted harmonics and overtones which can sometimes occur from the strings between the bridge and tailpiece. I use the rubber grommets myself on both my mandolins and I do find I get a cleaner tone using them.

[Mandobart]

I also use cheap rubber grommets from the hardware store for my mandos. I noticed on one of my octaves the strings between the bridge and tailpiece were vibrating, so I put on grommets since that's what I've seen on some other mandos. The grommets go on each pair of strings, one per pair. I went ahead and added them to all my mandos "just in case". I'm sure leather or rubber strips, wood nymphs or the heel of your hand would all work just as well.

[EdHanrahan]

For an exaggerated example of what folks are trying to avoid, mute the the strings with your fretting hand and then strum between the bridge and tailpiece. Some of that sound is still there when you're playing normally.

A more realistic example: Strum a chord loudly and immediately mute the strings; the sound that rings on is from below the tailpiece. It may not seem like much, but THEN mute BEHIND the tailpiece and you may be surprised at how much sound there was.

If you still think it's not a big deal, you could be right!

[foldedpath]

I know many folks here think this should be standard practice to use those rubber dampers or a leather strip behind the bridge, but it's worth mentioning that not all of us do it.

On both my mandolin and OM, I've compared the sound with a leather strip damping the strings behind the bridge, vs. free strings. There's something missing in the tone that I want to hear, with the strings damped. But then I play mostly Irish/Scottish/Contra Dance music these days, and I'm looking for all the resonance I can get. I can always damp more with my hand if I need to. If I played Bluegrass and spent much of my time chopping chords, I might feel differently. Just don't take it as some kind of standard advice that works for everyone. Try it and see if it works for you.

[Geoff B]

you can also use velcro (hook and loop) attached to pieces of wood and sandwich the strings between it. Works great and adds some aesthetic continuity (similar to the wood nymph) that grommets and leather don't. But I've used black electric tape before with good results. It's easy enough to try, you can decide if you like it or not!

[tburcham]

I simply use a strip of Velcro (male and female) with the strings sandwiched between. You can get a 10 ft strip of Velcro for less than $4 at your local Wally-mart. Make sure you get the strip that doesn't have adhesive tape on one side, e.g., sew-able strips.

[swain]

Thanks for the answers, I probably should have posted this in one of the player/information forums rather than the builders forum. Weber is the only builder I know of who would admit the need for something like the Wood Nymph..

[mandroid]

you can lay the right hand on the strings past the bridge and make it stop ringing , too .

[VernBrekke]

Actually, the "Wood Nymph" was the result of a conversation I had with one of our players. He had been recording in a studio setting with sensitive mic's and the harmonics had been a problem. I thought that the nymph would be a fun accessory and abit more elegant than the duct tape that he had been using.

Vern Brekke
Sound To Earth, Ltd.

[John McGann]

you can lay the right hand on the strings past the bridge and make it stop ringing , too .

Not so much when you are chopping on a fast bluegrass tune, or playing melodies, though

[Phil Goodson]

Am I the only one who thinks that a piece of dark brown leather bootlace threaded through the strings is a very elegant option?

[pops1]

I use a piece of deer leather right on the tailpiece, it's out of sight and does the job.

[mculliton123]

I've used both the grommets and the boot lace and both work great. also, not all mic's will pick up those harmonics. I find that if i rest my wrist on the strings i'll force it out of tune... maybe i'm pressing too hard???

mc

[Tavy]

I've used both the grommets and the boot lace and both work great. also, not all mic's will pick up those harmonics. I find that if i rest my wrist on the strings i'll force it out of tune... maybe i'm pressing too hard???

LOL, I would think so - just rest don't press - remember your right arm should be relaxed when playing

Yet another alternative is to weave a strip of piano felt through the strings - as long as you don't mind a brightly colored damper!

John.

[Rick Turner]

It's worth noting that on some of the Howe Orme instruments, the distance from bridge to the butt of the instrument where the strings bend over and attach to the tailpiece is almost exactly 1/3 of the scale length, putting the after-length tuning at close to a perfect 4th plus an octave above the open string pitch. Coincidence? Accident? I don't think so.

So how about a tailpiece that allows intonating the afterlength of each string to take advantage of sympathetic vibrations? Make lemonade from those lemons...

[Tavy]

It's worth noting that on some of the Howe Orme instruments, the distance from bridge to the butt of the instrument where the strings bend over and attach to the tailpiece is almost exactly 1/3 of the scale length, putting the after-length tuning at close to a perfect 4th plus an octave above the open string pitch. Coincidence? Accident? I don't think so.

So how about a tailpiece that allows intonating the afterlength of each string to take advantage of sympathetic vibrations? Make lemonade from those lemons...

I remember folks discussing that on the cittern ning a while back. I don't know if anything ever came of it though...

John.