Beautifully enhances tone and sustain for guitar, bass, ukulele and mandolin.

Controls headstock resonances for cleaner overtones, more warmth, lots more sustain, deeper bass and suppressed wolf tones.

UPC: 20.01.01 Catalog Number: 20.01.01



  • Delivers seriously better tone and sustain; suppresses wolf tones.
  • Fits acoustic guitar, electric guitar, electric bass, contrabass, cello, ukulele, banjo, mandolin.
  • Simply clamp the GoldFinger to your headstock and leave it.
  • You won’t just hear the difference, you will feel the difference.


Material: Brass rings longer and louder than steel or aluminum.

Design: Pro players tested prototypes for two years to hone the best sounding shape and weight.

Headstock Contact: Listening panel tests prove Mapleshade’s three-point-contact design greatly improves tone.

  1. For guitars, banjos, mandolins and ukuleles, position the GoldFinger anywhere on the
    headstock. The thumbscrew should be on the back side of the headstock. Make sure the GoldFinger doesn’t touch the strings and doesn’t interfere with the tuners.
  2. As a starting point, we recommend placing the GoldFinger as close to the nut as possible. But we definitely encourage you to experiment with other positions on the headstock to hear whether you can improve your tone even more.
  3. Before tightening the thumbscrew, slide the GoldFinger far enough onto the headstock so that all three of the tiny brass contact pads are touching the top surface of the headstock. If only one or two are touching, the GoldFinger will not quite deliver its full tone potential.
  4. Tighten the thumbscrew just enough to keep the GoldFinger from slipping. Beyond that, any unnecessary further tightening will start deadening the beautiful overtones revealed by the Goldfinger.
  5. For basses and cellos, attach the GoldFinger to one of the walls of the pegbox and follow instructions 2), 3) and 4).


How can the little GoldFinger improve an instrument’s tone so much?

When thinking about getting superb tone from stringed instruments, everyone naturally homes in on the quality, shape and thickness of the wood used for the body, the material of the bridge, the type of strings, the pickups for electric instruments, etc. All the focus is on the lower half of the instrument.

But headstock resonances have a far bigger effect than almost anyone imagines. That holds true for the tone of a guitar, mandolin, banjo, contrabass or any other stringed instrument, as our meticulous listening experiments prove beyond the shadow of a doubt. Attach a small piece of anything as highly damping as lead or rubber or plasticene to the headstock of your instrument and you will be amazed at how dead and lifeless it sounds. But attach a small piece of non-damping metal and you’ll get an improvement in tone.

How can this be? The physics are simple. When you pluck or bow a string, you are pumping energy into the string to make it resonate. Half that resonant energy travels as vibrations down the string towards the tailstock and half travels up the string towards the headstock. The physics of strings says you can’t have more energy traveling in one direction than the other. What happens to that energy? At the tailstock end, the vibrations flow into the body via the bridge and whatever anchors the bottom end of the strings. The body resonates in response and reflects those resonances or vibrations back into the strings. That’s why the body and the bridge have such a big effect on how good your instrument sounds.

But remember, exactly the same amount of vibrational energy is also flowing up the strings into the headstock via the nut and the tuners that anchor the upper end of the string. So, just like at the bottom end, those vibrations flow into the headstock, causing it to resonate and reflect those resonances back into the strings. In other words, it is impossible for the headstock not to have about as big an effect on tone as the body of the instrument. That means anything you do that changes the resonances of the headstock has a very audible effect on tone, whether for better or worse.

A typical electric guitar’s maple headstock weighs about 3 to 3 ½ ounces; the maple or rosewood headstock of a steel string acoustic guitar weighs around 15% more. Interestingly and not accidentally, the GoldFinger weighs about the same as the headstock. Obviously, attaching it will have a very large effect on the resonances of the headstock.

What makes the GoldFinger sound so much better than any old small steel C-clamp?

Mapleshade Studio’s 30 years of pioneering vibration control research and listening experiments have established that four factors dictate success in improving sound: material, mass, shape and contact area.

A. Material: Over the years we have tested by ear almost 50 different materials for transmitting and controlling vibration including standard and high hardness steels, titanium, aluminum alloys, ceramics, carbon fiber and brass. Brass came out by far the best sounding, more uncolored and clearer than any other material. Not all brass alloys sound the same, so we tested half a dozen to come up with the optimum alloy that we use.

B. Mass and Shape: Our beta-test guitarists—playing a variety of electric and acoustic guitars—tested over two dozen prototypes of varying shapes, thicknesses, lengths and weights to arrive at the best-sounding configuration. Interestingly, we found that deviating from the optimum weight by only 1/8th of an ounce proved to be an audible degradation. We went on to test our final optimized design on banjos, mandolins, ukuleles, electric basses and contrabasses. To our surprise, we found the GoldFinger did even more for the tone of the banjo than for the guitar. And the largest effect was on ukuleles, greatly enhancing their sustain, attack and loudness. Equally surprising, the GoldFinger delivered as large a tonal improvement on a huge instrument like a full-size contrabass as on a guitar.

C. Contact Area: The area of contact between the GoldFinger and the headstock is of crucial importance. Without exception, transferring or draining vibration via small contact areas—preferably sharp points—sounds clearer and more resonant than transferring the same vibration across larger flat-to-flat contact areas. The reason is simple: with flat-to-flat contact, reflections and “micro-rattles” (because the two flat surfaces can never mate perfectly) muddy the sound; with point-to-flat contact, the high unit pressure eliminates reflections and micro-rattles. Thus, the GoldFnger has three tiny flattened points of contact with the front of the headstock and, on the back side, a single small circular contact area which is the clamping screw’s flat and polished end.

What improvements in tone will you hear?

The first and most noticeable changes you will hear are punchier, cleaner attacks plus longer sustains. With a little more playing and listening, you will become aware that overtones sound clearer and have richer harmonic detail. Once you have played your way up and down the fingerboard a few times, you will become aware that your instrument’s wolf tones are significantly suppressed, and the dead spots have almost disappeared. And, of course, as you fine tune the best position of the GoldFinger on the headstock and adjust the tension on the clamping screw to be just light enough, all these good effects will be strengthened even further.

Our Money Back Guarantee

Please read the instructions and use our products as directed prior to return since this is critical for optimal results. If you cannot hear, see or feel the difference after trying our products as per the instructions you may return it within 30 days to the place of purchase for a refund. The returned item must be undamaged and unmarred with all original packaging and instructions intact and included.

To return an item:

1. Please contact your original place of purchase for returns or for a shipping address if sending the item by mail or parcel service. You will need to have a copy of your sales receipt. Please include a note giving the reasons for the return.

2.  Please pack the product to be returned with great care. The product must be returned undamaged and unmarred with all original packaging and instructions intact in like-new condition.  Be sure to include a copy of your receipt and your name, address, e-mail and phone number for processing of the refund.

3. We encourage customers to send the return using a trackable shipping method.  It is your responsibility to ensure the returned item arrives to your authorized dealer undamaged.  MMSG will not accept responsibility for returned items that are lost or damaged during shipping.  Once received, your return will be processed your authorized dealer will issue your refund promptly.  


We are very proud of the engineering and manufacturing quality of our remarkable products. Therefore, Mapleshade Music & Studio Gear, LLC warrants for a period of One (1) Year from the date of purchase when purchased from an authorized reseller. We will replace, without charge, any product that proves to be defective in materials or workmanship if it is returned to the original authorized reseller with the original receipt.

The warranty does not cover defects that are the result of an accident, misuse, contact with solvent chemicals or malfunction caused by other audio equipment. We are not responsible for damage that is caused by user abuse or by the product being used for what is not intended (for example do not use an instrument cable as a speaker cable; it will overheat and possibly damage your amplifier.).

The warranty excludes all incidental or consequential damages.

To activate our warranty, the product must be returned (with the original receipt) at the purchaser’s expense to the original authorized reseller or place of purchase.

You will receive a replacement as soon as it is confirmed there are defects in materials or workmanship.

Warranty Exceptions

The One (1) Year warranty does not apply to any Mapleshade Music & Studio Gear, LLC product that has been self-repaired or altered in any way. The warranty excludes any external damage and/or normal wear and tear to the product


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    For questions and technical support, please contact:

    Richard Casey
    ‭(845) 241-3103‬