Will be doing some upgrades on my Floyd Rose.

[Watershed]

I have a Warmoth flat top soloist and I used the 37mm brass block.

It was definitely the right size, and it just fits.  With a recessed coverplate on that guitar, I don't think a 37mm will fit.  The L would not have fit either.
I don't use a coverplate anyway, but a 42mm would have stuck out too much.

To make it easier, I bought my Floyd from Warmoth, and it had "37" stamped on the block.

Anyway, it's definitely worth every penny and a noticeable (as in scientific analysis is not necessary) tone improvement.  When you hold the two blocks in your hand, you'll really see the difference in mass.

James

 

[Death by Uberschall]

I have a Warmoth flat top soloist and I used the 37mm brass block.

It was definitely the right size, and it just fits.  With a recessed coverplate on that guitar, I don't think a 37mm will fit.  The L would not have fit either.
I don't use a coverplate anyway, but a 42mm would have stuck out too much.

To make it easier, I bought my Floyd from Warmoth, and it had "37" stamped on the block.

Anyway, it's definitely worth every penny and a noticeable (as in scientific analysis is not necessary) tone improvement.  When you hold the two blocks in your hand, you'll really see the difference in mass.

James

I'm looking to order one of these for my carved top soloist. Is your guitar mahogany or korina? What pups are you running? What rear world effects did you see tone wise? Would it muddy up an already warm tone wood? What was the issue with the L shape? Wouldn't be able to pull up with it?

 

[Watershed]

Is your guitar mahogany or korina?
Black Korina

What pups are you running?
EMG 89/S/81 (neck to bridge) w/EXP and SPC

What real world effects did you see tone wise?
The guitar was louder acoustically and you could feel the increased vibration.  I find Floyd guitars can tend to sound thin.  I grew up with Gibson's for the most part, and eventually graduated to a PRS.  I'm more used to that mahogany/fixed bridge setup and feel.  The block (and in all fairness the Hipshot Tremsetter) brought the overall feel and sound closer to what I am more used to.  "Thicker" tone I guess.  Tone adjectives are very subjective.

Would it muddy up an already warm tone wood?
I don't think so, but I see your point.  In my case I have a wenge/ebony neck on this guitar.  The ebony really adds some brightness and clarity to the overall picture. I have also found that EMG's retain their definition pretty well.  In my case, I don't think it is muddy, although the neck pickup has plenty of bass, and with a "loose" enough amp, I could see there being flub.  Basically I think all the block does, is allow more of the string's energy to stay in the string.  Seems like less tone is being absorbed by the bridge.

What was the issue with the L shape? Wouldn't be able to pull up with it?
Yes, if you look at the picture (specifically the bottom half of the block), you can see where the "L" would interfere with the route in a pull up situation.

Hope that helps,
James

 

[Wyliee]

Not to derail this thread but I have a question for the Floyd guys.  I put a Floyd on my VW 'just for something different.'  I don't do a lot of trem work and have been looking at the Tremol-no and Tremsetter.  I've seen both installed on guitars in this thread.

What are your experiences with both systems and do you have an overall preference?  The Tremol-no requires less drilling, but I'm concerned about accidentally hitting the switches.

Thanks!

 

[Watershed]

I'll chime in on the tremsetter.

Normally, with a floating bridge, the springs in the back of the guitar counteract the pulling force of the strings.  You adjust the tremolo springs to some sort of equilibrium, and in the case of a Floyd, it "floats".  The issue is that the trem doesn't necessarily always go back to the same position when you beat on it.  Another issue, especially for people who rest their hand on the bridge, is that this action (pick hand, for you lefties) can make the strings go sharp.  Vai came up with a do-hickey that covered the bridge, so that one would rest their hand on that, rather than the bridge.

The tremsetter rearranges things in such a manner that IT (for the most part), rather than the strings, is the counterforce to the tremolo springs.  It really does change the feel of the trem quite a bit.  I should mention that you can adjust the amount of effect that the tremsetter will have.  It's just that if you adjusted it to have little to no effect, it negates the purpose of having it in the first place.  I'm used to a tune-o-matic, so I'm probably a bit more heavy handed than the average Floyd player.

My impressions were:
1.  The trem action felt all together tighter.
2.  The 'ol Brad Gillis flick the trem arm to get the flutter trick is just not going to happen.  I can see where a diehard Floyd guy may hate it.  I'm not though...
3.  At all times, you can still pull up or push down on the bar, but you feel where the tremsetter is set to be centered. 
4.  Fine delicate nuances of the bar are pretty well reduced because of impression #3.
5.  It takes a good deal of messing with to get setup right.  In fact, I may even set it up to have a bit less effect, because right now, it's set pretty tight.

The tremol-no, and I don't have one, just my impression, seems to either block the trem so that pullups aren't happening, or can be disengaged so as to do nothing.  It's much more simple.  So, you Brad Gillis fans can have you cake and eat it too.

James