Advantages of a Wilkinson 2-point bridge over a Fender one


New member
Hi, first post on the forums.
I was just wondering, what's better about the wilkinson 2 point trem? I know that it has adjustable string spacing, but is that it?
Thanks in advance.
Heavier, looks cooler, too.... I don't actually hardly ever use a tremolo when playing, but by design it's superior to the std. 6 hole tremolo unit. Were you asking in comparison to something specific?
The Wilkinson has the advantage of having a slightly bigger tone block than the standard US Fender trems. Also, it has a drop-in trem arm, which is tightened in place by a soft insert in the collar. This means you can have the am swinging free/loose,  so tight is won't move, or pretty much anywhere in between.

..So, if I get you right it's kind of like a Callaham upgraded Fender bridge without the fancy trem arm thingy, right?
Callahams vintage trem unit is indeed 6 hole. They offer a range of upgraded components for the 2 hole Fender bridges to "improve" the performance.
What's better, a Wilkinson 2 point bridge or a "Callaham improved" Fender 2 point bridge? is another question. Are you building from scratch or considering modifying an existing guitar?
I think the big argument you'll find is whether more, or less, mass in the bridge itself is "good" for tone - the Wilkinson looks a bit heavier. In the 70's more mass everywhere was always considered to be better, hence all the brass bridges, Alembics, solid granite guitars and so forth. I am personally guessing that light is better - Jeff Beck is using the Fender two-point, Andy Timmons uses a "Wilkinson/Gotoh VSVG Tremolo" which is their lighter "vintage" style, Julien Kasper uses a D'Pergo vintage style, Eric Johnson & SRV were vintage Fender all the way. There's a guy named Mike DeTemple who sells superlight titanium inertia blocks for $225 cause he says they sound better, there are other people who sell ten-ton brass & steel blocks cause they say they sound better.
My feeling is that a heavier, steelier bridge might give you more highs and sustain, and a lighter bridge may allow proportionately more wood into the tone, hence a warmer sound. Heavier in general seems to work best in high-gain situations, all those 80's solid-maple B.C. RIch & Charvel hair-metal guitars.... There are so very many variables - string gauges, number of springs - 4 set loose, 3 set tight. Heavy metal? Ventures? Fusak? Barry Manilow covers? Gaak...

I'm building a Warmoth seven-string with one of these:,Product.asp
It seems to be conventional weight, two-point mounting. For added confusion, here's just the two-pivot-point Allparts page:,Category.asp

I am not an expert whammyhead, I've avoided them for thirty years... but now I want one, darn you Jeff Beck and "Nadia". My guesses are just based on the kind of equipment used by the whammyhead guitarists whom I really admire - Kasper, Beck, Timmons, Johnson. Gee Whiz? Not a locking Floyd among them?!? :icon_biggrin:

When Beck debuted this tune on tour (91?) all the L.A. guitar royalty came out to see him at the L.A. Forum - Eddie Van Halen, Paul Gilbert, Steve Vai, Lukather, Lynch etc. They all agreed you'd have to be nuts to dare try this on stage - nobody has those chops..... at 1:28 he does an amazing little whammy run, if you think he got lucky he repeats it exactly at 3:15. All you need is an Fender American standard whammy bridge and an LSR roller nut and you too can play the lick at 1:49! Sure you can! :help: