Bridges for bigsbys: Which do you prefer?

Darryl Hattenhauer · Sep 22, 2009

tele4tone mentioned in another thread that the standard rocking aluminum bigsby bridge really changes the tone. He and I must have a similar ear (I hope his isn't as big as mine). I'm a bigsby fan. Along with single-coils, they are the latest technological improvement to a geezer like me. For my bigsbys, I've tried every bridge there is. Bridges of all types. Except Lloyd.

A bridge with a wood base sounds way different to me. Also bigsby with a fixed bridge sounds different. When I'm playing, I prefer fixed bridge for rock, aluminum for rockabilly and CW, wood for jazz, and anything at all for blues. I can't play a bigsby with a melita.

However, I don't think I could hear any difference on recordings by real players.

Walter Broes · Sep 22, 2009

I have Gibson ABR-1 type (usually Gotoh's) on my Bigsby guitars - best compromise between sound, intonation, and guitar returning to pitch I've found.

I have the vague idea in my head I would like a Bigsby type compensated bridge made out of stainless steel, but that might be a big dissappointment in practice, I just don't know, and I'm not handy enough to make one myself, and not rich enough to have someone build one for me.

Brad Little · Sep 22, 2009

I'd be interested in what others use with the Bigsby. I'm in the process of "hot-rodding" my X_170, got a gold Guildsby, but think I should replace the wooden bridge for vibrato use. I'm thinking about either a Tune-o-matic type or a Bigsby Rocker Bridge. Any input appreciated.
Brad

guildzilla · Sep 22, 2009

If I have a guitar fetish :roll: , it's for the tailpieces. Love the Guild harps. Love the Bigsby units in all their permutations. Also dig the Kahler trems, especially the Pro model.

I got a tip from my luthier a couple years back to use graphite from a sharpened pencil in the slots of the bridge for smoother string movement and less string wear with a Bigsby. Does seem beneficial to me at least on metal saddles.

Brad, one factor to consider is that an ABR-1 style adjustable bridge will enable you to use a larger variety of string sets (gauges) on your X-170. If you bought a standard Bigsby bridge, you'll have to use a wound G all the time to have accurate intonation.

Brad Little · Sep 22, 2009

guildzilla said:
Brad, one factor to consider is that an ABR-1 style adjustable bridge will enable you to use a larger variety of string sets (gauges) on your X-170. If you bought a standard Bigsby bridge, you'll have to use a wound G all the time to have accurate intonation.

I don't think I've ever used an unwound "G." Maybe a long time ago on a solid body electric, but even when my only electric was a Telecaster, I used a wound "G," so that wouldn't be a problem. Still, I've always liked the T-O-M bridges.
Brad

gusto · Sep 22, 2009

i have never had much luck with TOM style bridges on my archtops. I have had problems with tone being lost in the moving parts of the saddles. I tried using clear nail polish to hold the saddles in place but they always come free and buzz. When the buzz i lose tone transfer to the bridge. Sounds crazy i know but. Anyway, i've always liked the sound of aluminum to me it brings out more treble in the guitar, on my gretsch i have a Tru-Arc bridge that is also corrected for the neck radius. I give this two big thumbs up, you can get aluminum, stainless, brass which all give different tones.

Walter Broes · Sep 22, 2009

gusto said:
i have never had much luck with TOM style bridges on my archtops. I have had problems with tone being lost in the moving parts of the saddles. I tried using clear nail polish to hold the saddles in place but they always come free and buzz. When the buzz i lose tone transfer to the bridge. Sounds crazy i know but.

Doesn't sound crazy at all, and I've had that happen too - I've had Gotoh bridges that just weren't working right and none of the usual fixes would work, replacements usually did.
TOM's can be a real pain, I agree. When you get to work right, they're pretty nice though.

I love the whole idea of the Tru-arc bar bridges (really "traditional" Gretsch bar bridges in different kinds of metal and different radïi), but I cannot get a bar bridge to intonate on a 24 3/4 scale guitar with the strings I use. (11 - 49 with a plain 18 G)

rhcole · Sep 22, 2009

I wonder why you don't like a Melita bridge with a Bigsby? I have one on a Country Club with no issues at all. I also have another Gretsch with a True-arc type of fixed intonation bridge. It's smooth as silk.

I thought of putting a Bigsby on my X-170, but had issues getting a bridge with the right height. I didn't want to keep the wooden bridge, didn't make sense to me for a Bigsby guitar. But, I already have two nice Gretsches with Bigsbys, decided to leave well enough alone. I have yet to find a tune-o-matic type bridge that is a direct replacement for the Guild, they are all too high.

billydlight · Sep 22, 2009

Bigsby compensated. However its got to be a new old stock one. The new ones just don't sound as good. I never have intonation probs with my unwound .18 G.. of course I may not have enough talent to hear it 8)

Brad Little · Sep 22, 2009

gusto said:
i have never had much luck with TOM style bridges on my archtops.

I had one on my late 40s Epi Zephyr Deluxe Regent with no problems that I remember. Of course my memory might be lacking, after all it was 35 or more years ago and my partner played it more than I did (I stuck with my F-212). Anyhow, worth testing different bridges now that I can afford it more than back then.
Brad

mad dog · Sep 23, 2009

If the bridge is wooden base, it's a toss-up between a TOM sort and a Gretsch "bar" bridge. Tonally speaking, based on my one experience with the bar bridge, I'm impressed. It was a Gretsch round up, came stock with the Bigsby compensated aluminum bridge on a rosewood base. I didn't like the sound in stock form. On the harsh side. The Gretsch brass bar bridge (not the rocking bar) was far superior. Warmer, somehow united different chord notes in a very pleasing way, more sustain. The Tru-arc bridges start where the old Gretsch ones leave off, offering difference widths, string spacings and even radius as needed. (the originals are one radius, one width, one string spacing only.)

But I've had good luck with tunomatic type fixed bridges too with Bigsbys. The set up is crucial. Start with a well fashioned graphite nut. Then nut sauce where it's needed.

jp · Sep 23, 2009

My T-100D is the first guitar I've had with a Bigsby, and I have the aluminum rocker bridge. I promised myself I'd give it some time, but generally I've found that it's a little too ringy for my taste. Unamplified, the section of strings between the bridge and the tailpiece always seem to be chiming harmonics, like a sitar's incidental strings. This is kind of cool in some instances, but in general it's starting to bug me. I think I'm going to have to try a wooden base-mounted T.O.M. or roller bridge.

While checking out a local Guild for another BBer, I saw an interesting modification to an vintage Guild archtop bridge. I'm still mulling over whether this is worth it or not. I guess it would depend on the efficiency of the luthier. Nonetheless it's a unique idea. For a Bigsby, maybe aluminum, TUSC, or graphite inserts may sound and function well.

Darryl Hattenhauer · Sep 23, 2009

Walter,

On a hollow body, what kind of base do you use for the tune-o-matic?

A steel bridge sounds like a good idea. Since the Tru-Arc is available that way, I wonder why it's not an option with Bigsby..

GZ,

You can also blow graphite into rotomatics to make them turn more smoothly.

If I have a guitar fetish , it's for the tailpieces.

Gee, Zee. I think we all like tailpieces.

Brad,

even when my only electric was a Telecaster, I used a wound "G,"

I got so used to wound thirds as a kid that when I got my first solidbody at age 40, I used wound thirds because I just couldn't get used to a plain third.

(go for the) Gusto,

i've always liked the sound of aluminum to me it brings out more treble in the guitar,

That's why I like them, too. The twang is the thang.

rh "King" cole,
I should have said that the problem isn't the melita; it's that I'm not good enough to play one. Because I play steel, when I try to play a melita I want to start doing steel guitar right-hand string blocking, and then I want to do left-hand bar sliding.

Billy,

Did you use unwound thirds on all of the cuts on the "Messed Up Grill" album?

Mad dog,
Have you compared a brass Tru Arc to a steel one?

jp,
Those inserts are popular on banjo bridges to reduce the grating tone of the treble.

billydlight · Sep 23, 2009

Hey as a matter of fact I used the exact same guitar and amp on every cut on that record. Unwound G with a non compensated G Vintage Bigsby bridge. I'll be shipping out your copy tomorrow! Thanks

db62 · Sep 24, 2009

Compton Compensated Custom Bridges have won numerous raves from the Gretsch hollowbody community. Here are a few links to check out:

http://www.gretsch-talk.com/forum/c.../7385-compton-compensated-custom-bridges.html

http://www.comptonbridges.com/

Darryl Hattenhauer · Sep 24, 2009

It turns out that Walter's idea is a good one.

I read through the site, and I think I could stick with my usual set of 11-49 with an 18 wound third.

Walter Broes · Sep 24, 2009

Meh...when you look at the Compton bridges closely, they're a straight line too - no compensation!

billydlight · Sep 24, 2009

Yeah I did'nt get that either. It's straight. Like if you angled a straight bridge.

Re a wound G: Kaint play chuck berry with a wound G :wink:

Darryl Hattenhauer · Sep 27, 2009

Re a wound G: Kaint play chuck berry with a wound G

I'm so used to a wound G that it will seem odd not to have one, but I'll try it.

parker_knoll · Oct 5, 2009

i've got a new project creating a new harmonic-tastic twangmaster. i have a 1966 SF III with the best sound but the playability is awful. it probably needs a neck reset or something, as i've tried all sorts of other stuff to make it better. I bought a 1960 (!) SFIII which was beautifully playable but i couldn't get on with those dearmond pickups. The sound from my '66 is full of harmonics and jangles and stuff that PRS players would hate but sounds so vibey to my ears.

so now i'm adapting a new guitar to see if i can make something similar but with good playability. i'll try one of those compton bridges but if anyone can locate a bigsby bridge compensated for unwound G please let me know - wonder why they don't make them.

Bridges for bigsbys: Which do you prefer?

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