Ten Easy Tone Options
Short of finding a boat-load of time and money to shop around for the perfect mandolin(s), there are ways you can inexpensively change (usually improve, sometimes just vary) the tone on your instrument. Here's my list of suggestions, in no particular order.
0. First things first. Setup
Neck Relief: Under full string tension, press an outside string down at the first and 15th frets and look at the gap between the string and the 7th and 8th frets. Ideally this will be nearly zero, maybe up to .003” (using a feeler gauge). Tighten the truss rod if the gap is too big, loosen if too small, 1/8 turn at a time under full tension. Check the outside g and e strings. Sometimes they are different, if so sometimes you can make it work and sometimes that needs fixing first. Mandolins like straighter necks, this ideal is different for larger instruments like octave mandos, guitars, and banjos.
Action at the nut: press the string between frets 2 and 3 and check the gap over fret 1. If it’s tiny, ie. a piece of paper just about slides through, that’s good. If there is no gap you may have an open string buzz. If it’s more than a piece of paper, that slot may need to be filed down. Do this for each string.
Action at the 12th fret: under string tension measure the distance between the 12th fret and the string. I measure mine in 64th’s of an inch and aim for 2.5-3.5 64ths on the G strings (the thickness of a dime is a good scale) to 2-2.5 64ths (a dime slightly touching) on the e strings. The adjustment is made at the bridge.
Any out of level frets will reveal themselves at this stage. I will not go into fret dressing or spot levelling here. Take it to your luthier.
1. Picking location
My ideal picking location is right around frets 20 to 22, which is why I stop all my fretboards there. Check where your hand naturally lands for picking and play around with it. The closer to the 12th fret you'll find fuller and mellower tone (more fundamental heavy) and closer to the bridge you'll find brighter and even harsher tone (more upper partials). Don't be scared to move around to fit the mood!
On my personal mandolin, and on most actually, this is the region where I get the best tone.
2. Pick shape
The shape of the pick matters. It should complement the angle at which your hand engages the strings. Two elements go into pick shape: the point(s) and the bevel.
My philosophy is that you will get the best and most consistent tone when your pick strikes the strings parallel, or flat, to them and its path is through the strings not plucking at them. If your arm approaches the strings at an angle from the top (maybe when standing you wear it low) or if the instrument is at a 45 degree angle while you are sitting, a bevel is likely going to approach the strings the most parallel. If, however, you wear the mandolin high or the instrument is more horizontal on your lap when you play, you may get better attack from an unbevelled pick. Wrist angle plays are part in this too. Play around with it! You'll find interesting tones!
Tip shape is your first control over treble. Pointy and thin picks make brighter tone because more higher partials are excited by them. Pointy tips will also make fast picking more accurate as they can grab the string very quickly, which also makes tremolo more difficult. Rounder tips and thicker picks lead to darker, rounder tone. They tend to roll over the string making fast picking trickier but also making tremolo easier.
A gaggle of picks
Row 1: Tone Slabs Darth, Blue Chip, Pro Plec, Wegen,
Row 2: Acrylic DIY, golden gate unbevelled, primetone rounded/beveled, primetone triangle beveled, iii glow in the dark
Row3: buffalo horn, D’Addario Casein, buffalo horn, hippo tusk
2. Pick material
Generally, denser picks will give brighter tone and less dense picks will be more focused. There are limits though and often one will be surprised! Hardness of material matters too. I made some picks out of Hippo tusk (it is legal, unlike other tusk material) and found it entirely glassy in tone, too much for me. If you must know my favorite pick of all time it is the Toneslabs FS Darth 1.5mm, neutral bevel. Found here. For picks to have around the house, in a case, and not too sad if lost at a festival are ProPlec triangle, 1.5mm.
3. Sting Material
Phosphor bronze- in my opinion the most versatile, you can get a wide range of tone from these
80/20 Bronze- tends to be brighter and brassier
Stainless Steel- very bright, too much for my taste
Flat-Wounds- slightly more focused and less bright— a go-to for jazz and can be great for recording because you don't get the finger squeaks. I have been impressed at the volume and growl of some flat-wounds on some instruments. I think they are worth a try for anyone who is string curious.
Nickel/Monel- seem to sound like broken-in phosphor bronze strings right out the gate, but hold that tone longer before becoming dead and difficult to tune. A good option for instruments that are naturally very bright, or if you don't want to change strings as much but don't like the brightness of coated strings.
Coated- Keep their brightness longer. Elixer is no longer making mandolin strings so my main experience lately is with with D'Addario (full disclosure: I'm a D'Addario dealer), and their XT and XS both extend the life of the new string sound. I've been very impressed with the D’Addario XT on my own personal mandolin.
4. String Gauge
**Caution, some instruments are not meant to be strung with heavy or even medium strings-- for instance bowl backs. Vintage Gibsons, also, should be strung with .011's (medium) or lighter. Contact your builder about changing to heavier gauges before trying.
If your instrument can handle it you may find more volume and guts from heavier gauge strings. Be prepared to toughen up your calluses though because they can feel rougher at first. Changing gauges may require moving the bridge for intonation and/or changing the bridge height. If you aren't comfortable with doing that get your local luthier to handle it and let them know you are changing gauges.
5. String spacing (nut and bridge)
While not specifically tone related, your ability to fret and pick cleanly can be addressed with changes to the spacing of the strings-- both between the pairs and between the courses. It seems most builders lately use consistent spacing between courses and slightly wider within the pairs on the bass side vs. the treble side. I prefer 1/8" spacing on center between all pairs of strings, then spread evenly between the courses, 1/16" in from the edges of the nut. I've found skinnier spacing between pairs hurts my fingertips more. Nut width can vary from 1" to 1.25", so that plays a major part in the feel and reachability with the fretting fingers. Sometimes a fretboard feels narrow, when really the string spacing is narrow and there may be room to stretch it out some more (or bring it in if too spread out).
Spacing at the bridge is typically 1.5" from outside string to outside string and mimics whatever ratios exist at the nut. You may find different spacings at the bridge make picking, and especially cross-picking, easier or harder. Tremolo tends to be easier with slightly wider spacing between pairs. While I firmly believe that you can get used to almost anything, it's not uncommon to have a definite preference for particular spacings at the nut and bridge.
7. Bridge
Bridge material and shape impacts tone. Lighter bridges tend to open up the tone, not just in brightness but also in airiness and faster attack. Heavier bridges will slow that attack down and cause tone to feel more focused, closer, maybe even constrained.
Foot spacing on the bridge plays a role too. A full fit bridge will tend to even out the balance low-to-high and blend chords better, sometimes choking the volume in trade for that warmer more pleasing tone. A two footed bridge will introduce an element of separation or articulation to notes in a chord. The wider the feet are the more this airiness and separation appears. Some tops are so thin you cannot space your bridge feet too far without indenting and deforming the top. In this case less spacing is also a structural consideration. Fit of the bridge is important— making sure it sits on the arch at 90 degrees, maybe 1 or 2 degrees leaning toward the tailpiece.
Bridge height- lowering may help you play cleaner, raising may help increase volume... test it out!
8. DeDamping
Allowing the back to resonate freely will impact the tone of the instrument. Some folks can hold the instrument in a way where their body does not damp the back, but not everyone can do that comfortably. Accessories like the Tonegard can help with keeping the back resonating. Similarly, sometimes an arm rest for the picking forearm or pickguard can help keep unwanted damping or extraneous sounds to a minimum.
9. Tailpiece?
Arguments persist about whether cast tailpieces will improve the tone of an instrument. I have found no consensus and have no opinion on that matter from a tone perspective. Cast tailpieces (I will include the esteemed and machined James tailpieces in this group) are an excellent idea for longevity and, in some cases, ease of changing strings. That is reason enough to replace your stamped tailpiece whose hooks will likely work-harden and break off in time. Stamped hooks are also a common source of string pinching and breakage.
Something to note when seeing comparisons of tone of cast vs stamped tailpieces: there is a bit of time involved in destringing, changing tailpieces, and retuning which can impact a person's memory and even can alter the fit or location of the bridge, all of which will impact the perception of change. Even de-tensioning strings and tuning back up without making any other changes can make the instrument sound different. These tailpiece comparisons should be taken anecdotally and for that specific instrument.
10. Practice
Focus on tone as you practice. Play around with your pick grip, wrist and arm angle, position and everything and you’ll find all sorts of interesting tones and techniques to produce them!