This 6 vs. 2 point tremolo talk..
- Thread starter Mattias Svensson
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line6man
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I've said this many times before, but I'll say it again: Six-point trems are utterly useless to me, because they are completely unstable! Set them up to float, and a heavy shake of the bar shifts the whole bridge around on the screws. I don't care what sort of "vintage correctness" arguments you might come up with; the bridge performs poorly. I would much rather sacrifice the vintage correctness and "suffer" the tonal changes to have a bridge that is stable and usable than to remain stuck in 1954 with Leo's first designs.
If you want a vintage Strat, go buy a 1950s Fender. Otherwise, build a Warmoth that looks, feels and sounds like a Strat should (And mind you, there is a LOT of variation in the playability and tonality of various Strats, and no one can truly pin down just what defines the Strat.), but give it much needed modern appointments to improve upon the design. Unless you are trapped in a 1954 mentality, things like stable trems, locking tuners or SS frets are highly desirable. I don't understand why so many players shun them. The guitar world has progressed considerably since Leo's day, and yet some people look at it like that is a bad thing.
If you want a vintage Strat, go buy a 1950s Fender. Otherwise, build a Warmoth that looks, feels and sounds like a Strat should (And mind you, there is a LOT of variation in the playability and tonality of various Strats, and no one can truly pin down just what defines the Strat.), but give it much needed modern appointments to improve upon the design. Unless you are trapped in a 1954 mentality, things like stable trems, locking tuners or SS frets are highly desirable. I don't understand why so many players shun them. The guitar world has progressed considerably since Leo's day, and yet some people look at it like that is a bad thing.
Damn, I can't believe how many people can ramble off with scientific jargon to try and back up their argument against a concept that they can only theorized about. The pivot point on a vintage style trem isn't the screw holes when you press the bar. It is the beveled edge underneath the plate in front of the holes. The trem will move up along the backside of the screws which compounds the tension differential of the springs and this is why the angle of the claw is most definately a factor. The springs will not only pull back on the block but there is downward pulling as well. This is what changes the plane of the bridge thus creating the difference in string tension comparatively.
bagman67
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AutoBat said:hyperion said:
I'd say this tends to reinforce the point that innovation for its own sake won't necessarily sell more violins. Them's some wacky fiddles to be sure. Some of them may even overcome various shortcomings of traditional violin design. But folks expect a fiddle to look like [what they grew up being taught was] a fiddle, and those one's don't. Result: sales to a wide audience are foreclosed by that audience's prejudices.
I've got 1 of each. My comparison is a little unfair though. I have a new Squire Bullet with a 6 screw, and a '91Plus Deluxe with a 2 point, which also came with a Hipshot Tremsetter installed. Yeah, guess which one I like. Tone wise, like people are saying, is more about the block and saddles. From there preference is just how they feel to you. 6 screws always seem too stiff to me.
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