I set up a Gibson with a non-compensated wraparound bridge and its almost perfectly intonated. WTH!

[Patton]

I've had a 2011 Melody Maker Explorer for a number of years now (got it in a trade for a MIK SG copy, won that one!). I didn't care for the hot pickup, so I put a Dimarzio medium output DP155 F-spaced in a while ago (these Gibson guitars strangely need F-spaced). Love the sound but assumed, from much internet banter, that the cheap non-compensated angled bridge was a weak link and "had" to be replaced. Everybody does it with those, right?

So, I picked up a Wilkenson bridge, non-adjustable individual strings except for the moveable D/G section and put on new GHS 10-52 TNT boomers. I like those heavy low strings/light upper string sets in a number of my guitars. Plus, they seem to work well with guitars that are one pickup in the bridge position, such as this one. Tried over the last year to get this adjusted well and failed at every turn. Last attempt recently resulted in a sitar like high E string sound. Plus, using the stock Gibson bridge posts, the Wilkenson had way too much forward "lean" to it. I am not about to try to pull the inserts and use the ones that came with the bridge. So, I broke down and said, "screw this!".

I yanked the bridge and strings, put the original bridge on and put on a set of 10-46 strings. I only put on both E strings (easier to set gross intonation) and after that adjusted height and added the other strings. I was curious how off the other four strings were and was shocked. Two were right on and two were, at most, one or two cents off. WTH!! Two days later with broken in strings it's the same.

It sounds excellent and in tune up the neck, so I'm inclined to think the tuner isn't an issue. So, did I get extremely lucky or what?

 

[Red Ryder]

No you didn't get lucky. You don't have to have an adjustable or compensated bridge to get proper intonation. Gibson has used wrap around bridges for a long time, they have it figured out. How many adjustable bridges do you see on acoustic guitars? Here is my 12 string with non-adjustable bridge I machined from aircraft grade aluminum.

 

[Patton]

Adjustable on acoustics almost never (60’s Fender are the exception). But most acoustics normally have a forward “notch” on the bridge for the G and B. I was just surprised that a straight, but angled, bar could almost perfectly intonate all six strings.

 

[middy]

Adjustable on acoustics almost never (60’s Fender are the exception). But most acoustics normally have a forward “notch” on the bridge for the G and B. I was just surprised that a straight, but angled, bar could almost perfectly intonate all six strings.

If you think about it, the tele 3 saddle bridge isn't any better than a correctly angled straight bridge. Both are close enough.

 

[middy]

No you didn't get lucky. You don't have to have an adjustable or compensated bridge to get proper intonation. Gibson has used wrap around bridges for a long time, they have it figured out. How many adjustable bridges do you see on acoustic guitars? Here is my 12 string with non-adjustable bridge I machined from aircraft grade aluminum. View attachment 1090994

Cool axe!

 

[Red Ryder]

Cool axe!

Thank you. Walnut with bois d arc fretboard, pickguard pickup trim and plate for the volume pot. Woods were cut and milled here on the farm.

 

[1 21 gigawatts]

It is simple math. A bridge without individually adjustable saddles can intonate perfectly if you are within the parameters that it was designed for. If you use a non-standard string gauge, you might run into issues.

 

[Patton]

I would tend to agree but wasn't the main reason Leo decided the Stratocaster needed each individual string adjustable was because the Tele was not "fully" intonatable on each string? Gibson obviously felt for the lesser LP JR's that the single angled bridge was fine.

 

[Short on cash]

I have several wrap a rounds and have no problems.

 

[NoTeleBob]

I would tend to agree but wasn't the main reason Leo decided the Stratocaster needed each individual string adjustable was because the Tele was not "fully" intonatable on each string? Gibson obviously felt for the lesser LP JR's that the single angled bridge was fine.

Yep. Those came on the budget guitars - which now sell for big money, because "guitarists".

It good when it works out like that. I still prefer the intonatable type of wrap-around. Like everything else, you have to get into the specifics of the designs to find the one that works for you.

As for the tilt problem, I see it with all tailpieces and studs unless you happen to get lucky. The clearances of the studs to the bridge as well as the studs into the bushings are much too loose to hang 100# or more of string tension on them and expect them to stay straight.

I use the locking type of posts to lock them down and it takes out 95% of it, but there's still a little there from the stud threads in the bushings leaning a little. Nature of the beast. It could be corrected, but everyone wants to stay with standards from the1950's.

 

[bender66]

Complaining about wraptails is just whinging. Of course some can be off, but all of mine are spot on or close enough for me. Even my non compensated on my DC Jr.

 

[Patton]

It’s crazy that there is a big market for adjusting bridges on the angled Gibson style bridges. I bought into it mostly because I’ve been a Fender guy from the get go (my dad’s influence).

On the 60’s style straight bridges I kind of see the point there.

 

[1 21 gigawatts]

Juniors are my favorite guitars, and perfect intonation just isn't something that keeps me up at night. That said, the three wrap tail guitars that I own all intonate fine.

 

[Swirling Snow]

Ted McCarty invented the Tune-O-Matic bridge for Gibson in the '50s. When PRS gave a chance to do it again, he made a stoptail.

There is something to be said for all the saddles to be connected. Ask Segovia. In fact, a large part of a classical orchestra agrees it's worth the intonation problems for the resonance.

 

[middy]

Ted McCarty invented the Tune-O-Matic bridge for Gibson in the '50s. When PRS gave a chance to do it again, he made a stoptail.

There is something to be said for all the saddles to be connected. Ask Segovia. In fact, a large part of a classical orchestra agrees it's worth the intonation problems for the resonance.

Well, for a violin player, the intonation is in the fingers...

 

[Happy Enchilada]

I have that same Wilkinson bridge on my Indonesian Hamer Special. It works great! Putting it on another import guitar in a week or so. Love stuff that's simple and effective!

 

[Mr. St. Paul]

I got a MojoAxe 'lightning bolt' wraparound tailpiece for my 1963 Melody Maker. The original has the notch for the G string closest to the nut, which is correct for a wound 3rd. The replacement intonates almost perfectly. And just as important, doesn't look out of place on a 60-year old guitar.

 

[Patton]

I have that same Wilkinson bridge on my Indonesian Hamer Special. It works great! Putting it on another import guitar in a week or so. Love stuff that's simple and effective!

I like that a lot! I'm a big P-90 lover. In fact, here's the home that my Wilkinson ended up on:

Works a lot better on this Gibson. Probably because these LP Jr's were set up with the bridge posts straight, as opposed to my MM Explorer which is set up 50's style angled, as shown below.

 

[Happy Enchilada]

Patton: Love that red Junior!
I picked this up recently:

Indonesian Hamer Junior. Swapped the stock pickup out for a Lollar "standard wind" and it's a beast!
Got it for $300 with HSC. Best deal I'll ever get.
And Hamer actually puts a Tunamatic on it that works!

 

[Peegoo]

I've encountered more plain wrap bridges that sufficiently intonate than those that don't. "Sufficiently," is the key concept, I think.

The classic Gibson-style bar (round top, no compensation) seems to work pretty well despite how crude it is. I suspect it may be due to the rounded top that provides a sort of progressive intonation that incrementally shifts toward the nut as the strings are fretted up the neck.

There is something subtle but tangible in the tone when comparing bridge types. I have a '58 Junior that had the stock bar bridge on it; I swapped a really nice intonatable harmonica style wrap bridge on it, and while the intonation did achieve perfection, the..."ballzy" tone was gone. I thought I was imagining it, so I put the stock bridge back on and there is a difference.

Rock and roll is not about perfection. It's feel and attitude.