Separate names with a comma.
Discussion in 'Telecaster Discussion Forum' started by Twang Deluxe, Jul 11, 2018.
You're right!!!!!! I really should change my name
You can go old school and put two nickels under the three saddles so it supports the all strings but the two E strings. Then lower the saddle posts. You keep the twang of the three saddles with the sustain of extra metal. Try to use older nickels from the '40s/'50s etc. that are heavier.
The thickest bridge I've ever seen or used is the Hipshot. They make all styles, expensive but a very well made bridge. Check out their website.
Thank you! That's a good idea!
Funny in my case going with a thinner plate improved my Tele's performance in every aspect.
I think it may have even a bit more sustain.
Although I don't think it because of the plate, saddles, spacer under the butterfly string tree and going from 9's up to 10's made the difference for me. With all those changes I was also able to get a tad higher action (stock was super-low), wich improves sound quality and sustain. Or at least in this case it did.
And all this with one of the cheaper examples of vintage style bridge.
I must admit I wasn't sure about this bridge until I tried it.
My 48 Proto Piney has 3 buffalo nickles. My first 1-9/16" body build and I brain farted on the neck pocket depth. It is one of those builds that sounds so good I never deepened the pocket and just kept the nickles for over a decade now. Good enough for Roy, good enough for me.
That all makes sense though for my own guitars I just use a hard wood if I want a crisp attack, clear ringing tone and hard grand piano toned bass strings. Like swamp ash.
The only thing I can use alder for is a slightly softer attack and mellower tone.
Basswood just never sounds right to me no matter what hardware I use or how I tweak the amp.
Don't forget- soft attack, you can't get it back.
But now I'm thinking I might try a nice thick steel plate on my '85 PP to see if that will get back the attack!
Imitating Harvey Keitel as Mr Wolf/PulpFiction saying "I'm an oak man myself". I'm a pine guy myself.
I started putting on drop tops of Birch, Walnut and White Ash, which makes for tighter snappier response. Like Boris, I don't find the need for the sustain, nor like it particularly. I seem to lean more towards Honk and Pop, and probably why I like pine [in my minds ear].
My favs are my DIY pines. Although my avatar Tele I made on Poplar, and I like it's response and less sustain it exhibits. Perhaps a product of the muting of the poplar in the substrate of the cloth and goo. Because I have had a few Peavey Poplars in days past that sustained more, my only other Poplar experience. Yada
All mentioned DIYs are thin Vintage Genuine Fender Plates, what I decided long ago was my druther. Being I mate them tight and flat, I think [in my minds ear] the saddles make more of a difference on my builds.
I am thinking too much mass beyond a point will diminish rather than embellish. Start smaller and work up perhaps.
Surprisingly, the Squier Classic Vibe tele bridges are thicker than the classic Fender bridges. Nickel plated too. Very nice - and inexpensive.
The composition and weight of the USA 5 cent piece hasn't changed since 1883.
With the exception of the second half of 1942 to the end of 1945, during which time the Mint used an alloy of silver, copper and manganese. But it wasn't measurably heavier, I didn't find. Old timers call them "warnicks". US and Canada both quit using nickel in 5 cent pieces during this phase of the war.
Heavily used 5 cent pieces would work better, 'cause they're worn flat and make better contact with the plate. And, numismatists have no real use for them.
But the tone got lost when they started putting less __________ [fill in most expensive metal in alloy]
Astray design, thick metal, individual saddles, brass saddles. Keeps the basic elements of an old-style bridge, but gives you a heavier more solid chunk of metal and the benefits of individual saddles.
I'd be super careful, recommending this to others for a guitar with a Fender width neck.
These saddles force the widest possible string array at the bridge and demand that the strings be spaced quite far apart, down the neck to the nut. If the array at the nut is over 1 + 3/8ths, if the neck isn't dead straight or is crooked in the pocket; if the ends of the fretwire are relieved, you could find either or both E strings playing right off the fret ends.
The USA G + L necks (and even the Indonesian ones, somewhat) are wider than are the Fender template necks. That's why it works OK on them. Just keep each individual saddle congruent with the plane of the bridge plate.
I have never experienced this issue with this bridge.
G&L have a 1-5/8" nut and 1-3/4" width available as an option, as well as the standard 1-11/16". They use this bridge with all profiles.
On my previous build I used the wilkinson bridge by sung-il or whatever it was... it's ok in a "meh" sort of way, but a bit shoddy in workmanship. I had to level the bottom, and the mounting holes are kind of rough.
These bridges seem pretty nice -- vintage Gotoh from the warmoth site... I may try this one for my next build.
+1... they’re significantly thicker and have more sustain to my ear. I have his bridges on several teles and strats and they are fantastic.
Also take a look at Rutters
I had a brass bridge from Armadillo. Built like a tank. Careful which material you pick... brass (what I had) darkens the tone significantly. That’s either good or bad depending on how much you want a darker tone
It is nicely finished. The whole assembly with brass saddles is about $20 USD from Darren Riley and others.