The Tone-Gard is designed to isolate the back of a mandolin, or similar instrument, from your body, producing more volume and deepening the tone.
You can test the concept right now without a Tone-Gard. Play your instrument normally, while facing a wall about a foot or two away, allowing the sound to bounce back directly. After you are used to the sound, hold the mandolin by the neck so that the back of the instrument is a couple of inches away from your body. Now try playing a couple of chops. Go back and forth, against and away from your body, and you will notice a difference. You will hear a difference just hitting one chop and letting it ring while holding against you, then away.
An additional benefit is protecting the back of the instrument from wear, dings, and scratches. You can and should leave the Gard on the instrument all the time, not take it on and off. It fits in almost all cases, including Calton.
Many prominent mandolinists — including David Grisman, Ricky Skaggs, John Reischman, Chris Hillman, Roland White, Radim Zenkl, Andy Statman, Mike Marshall, Dana Rath, Tom Rozum, Eric Thompson, Emory Lester, and many others — use and recommend the Tone-Gard™ to get the best sound.
Standard Tone-Gards™ are now made of laser-cut steel with a ceramic powder-coat. They have more pads, which are directly glued on to prevent loss. Vintage, Rigel, and custom Gards are hand-made from mild steel, sprayed with a durable high-gloss paint, and have older-style pads. All surfaces that come in contact with the instrument have rubber and leather pads where needed to protect the instrument’s finish. The only maintenance is occasionally to apply a little instrument wax or Pledge™ or similar product on the rubber-pads to prevent deterioration. The rubber pads can also be easily replaced if necessary.
Quote from David Grisman:
“I’ve been using Tony Pires’ ToneGard for well over a year now and I think it’s a wonderful thing…. My impression is that by keeping the back of the mandolin from touching one’s chest, the instrument is free to resonate more. I notice more highs, more lows, and more volume, which is always nice to have in a live situation. I also use it in recording and find positive results there as well. In fact the only time I don’t use it is when I forget to put it on…. Thanks to Tony Pires for a true mando-improvement.”
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Tags: A-Style, f-style, mandolin, tone-gard