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Discussion in 'Telecaster Discussion Forum' started by junkman510, Jun 13, 2018.
Thanks for the sarcasm...
Yep the Gotoh modern is a classic.
It balances the unwound strings and removes their plinkinnes and still twangs like crazy in the wound strings.
After years of playing and advocating 3 saddle bridges I am now firmly in the Gotoh camp.
When I started trying to play as clean as possible, I discovered this subtle difference. Leo was a mad genius and did it right the first time.
But seriously, I'd like to know how you arrived at that conclusion. The "mechanical contact" part, in particular, intrigues me. Having six strings on three saddles means you have a total of nine screws in contact with the bridge plate. Six individual saddles give you a total of eighteen.
Now, if individual saddles, despite their greater physical contact with the plate, somehow redirect part of the strings' force away from the bridge plate and body, I'm very interested in learning how, and how much.
and so........ it begins again
will the circle
If my question has already been satisfactorily answered somewhere else, will you please direct me to that thread?
It is not the area of contact but the increased downward pressure of two strings on one bridge piece. Having just two points of contact with two strings doubling the pressure is a much more solid mechanical connection. But some people like even less pressure, like on a LP you can adjust the tail piece and some players even wrap the strings over the top of the tail piece (Duane Allman) to get less downward pressure on the bridge. Of course, this is just my opinion....
no ooops required.
my only point is that this is discussed routinely here, and will be again and again and again and again
its like the great debate among tele players
there is no answer. Some like 6, some like 3, some like both.
I understand that part, but that pressure on the saddles is always transmitted down to the bridge plate, regardless of the contact area, isn't it? If a set of six strings tuned to pitch somehow applies less total downward pressure to a six-saddle bridge than to a 3-saddle bridge, I would like to understand how, and how much less.
EDIT: OK, I think I'm getting it... pressure vs. total downward force. But I'd really like to know how much of a difference there is in pressure between the two types of saddles, and how much difference that difference makes.
To me it comes down to less moving parts. Same concept with Compton or True-Arc bridges on Gretches. Simple is better. For years my basic Tele has a 3 saddle compensated steel barrel. I decided I needed another Tele so I picked up one with a rosewood neck and brass saddles. I'm not hearing enough difference between the 2 to justify owning 2!
The difference is soooo subjective. It is the totality of the parts of the guitar that makes each guitar different. I have played may ****ty sounding/playing Teles that used a three barrel bridge. The ones that I love playing just happens to have that particular bridge. Talking the minutiae of Tele guitars is why I love these posts.
Don't justify. Just enjoy.
Anybody tried changing the composition of the height adjustment screws? It would seem that that would make some difference too, since they are the transducer-like coupler of vibrations from the saddle to the body.
You are lucky to find two that work for you. I find it very hard to find one that I love.
Never thought of that... hmmm. Finding ones that don't corrode from my sweat world be great.
Totally agree (although I have not used compensated saddles). I do a mean fingerpicking rendition of, "Paint it Black" that combines the sitar with the rhythm and nothing but the tele can get away with that very well. I love the sound of the brass saddles and the intonation problem goes very well with my raspy blues playing and sloppy slide work. I do want to try those compensated Gotoh brass saddles, but very wary of losing some of what makes the tele a tele.
Stop teasing me.
What is your take on this 3 barrel bridge set up? The guitar came this way from the factory and it sounds very Tele.
Anyone try Callaham bent strat style saddles on their tele? I have a squier affinity tele and have callaham saddles left over, thinking about putting them on since they fit.
And since it's a squier I refretted I can shim the neck and the saddles will be higher, which gives them a different break angle, which changes the sound. Even Fender says this on their how to adjust truss rods video. Acoustic repairmen know this too. So I would look at it as there is also the break angle in factor too. As for downward pressure, I've heard that and wouldn't doubt it.