Strat players. Floating or decked?

[SillyOctpuss]

I've got a wudtone on my strat. It doesn't look vintage but it works very well.

 

[Eagle]

No it doesn't sound like a vintage Strat trem but it does sound very good. For the vintage vibe I use the Callaham trem.

The Callaham is actually a Gotoh top plate and saddles . I think it’s a bit bright compared to real vintage Fender. If you put raw vintage saddles on a Callaham it is a lot more like an actual vintage Strat. Good bridge though.

 

[Frankencat]

I have never heard that before. I think they are made here in the US by Callaham. Nothing wrong with Gotoh stuff but it just doesn't seem like something Bill would be ok with.

 

[Eagle]

I've got a wudtone on my strat. It doesn't look vintage but it works very well.

Good design on the pivot.

 

[SillyOctpuss]

I like the Raw Vintage and also the Callaham springs.

I'm going to get some callaham ones, I just had a look and the raw vintage are £25 for a set of 5.

 

[SillyOctpuss]

Good design on the pivot.

It's incredibly smooth to use. I keep thinking about buying one for my prs because I think my prs knife edge is damaged slightly on the G string.

 

[Eagle]

I have never heard that before. I think they are made here in the US by Callaham.

Nope the screws top plate saddles and claw are Gotoh made. The block is USA.

 

[Sascha Franck]

Silent springs have a detrimental effect on tone acoustically, you may or may not hear it plugged in

I didn't notice any negative effects on tone after switching to silent springs. But I'm not much of a corksniffer anyway.

 

[Eagle]

Half of Hipshot products are Korean too.

 

[Eagle]

I didn't notice any negative effects on tone after switching to silent springs. But I'm not much of a corksniffer anyway.

Acoustically you can tell but not really plugged in to anything more than a clean dry tube amp with low part count. I didn’t used to no notice these things but I have a few pro players that can hear anything that I change so over the years you start to notice stuff that you previously didn’t.

 

[Frankencat]

Nope the screws top plate saddles and claw are Gotoh made. The block is USA.

I don't think that's correct but I will check with them.

 

[James Freeman]

Fixed.
Take a nice boat trip and kindly dispose of the whammy bar in the ocean.

 

[Sascha Franck]

Acoustically you can tell but not really plugged in to anything more than a clean dry tube amp with low part count. I didn’t used to no notice these things but I have a few pro players that can hear anything that I change so over the years you start to notice stuff that you previously didn’t.

Sure. But then, it's a trade anyway. The non-silent strings have always been horrible on the Anderson due to it's semi-hollow nature. Palm mutes were pretty horrible, so I always dampened the springs with some foam and finally learned about silent springs. Case closed for me.

 

[Eagle]

Sure. But then, it's a trade anyway. The non-silent strings have always been horrible on the Anderson due to it's semi-hollow nature. Palm mutes were pretty horrible, so I always dampened the springs with some foam and finally learned about silent springs. Case closed for me.

It’s always whatever you are happy with is the right choice but I check out all the options because of what I do.

 

[Eagle]

I don't think that's correct but I will check with them.

I don’t know if they will admit it but look closely at the two . They have all the exact same manufacturing marks and absolutely micrometer identical sizes. No other manufacturer has this. The way gotoh bend the baseplate is unique and identical on the two . Gotoh have made OEM products for ever.

 

[FuzzyAce]

Carl Verhayen set up = pure troll physics but sometimes a guitar by coincidence can hit those intervals but nothing to do with the pure flat earth garbage Carl says about it. Angled claw?.

Interesting. The very first time I tried his process, the way he adjusts to get the desired semitones when pulling up, it worked like a charm when I dialed it in. For years up to that point never had a floating trem been so consistent and in tune than this one, for my needs. It's not snake oil or flat earth, it's a simple set up method that works very well. Doesn't mean it's right for everyone though. And Carl's not exactly a hack either, he's an all-star player.

 

[mbenigni]

It's a great excuse to just buy another guitar, to always have one with a floating trem.

Floating is so much better that it’s a great excuse to just buy another guitar and float them both.

And then play way too many unison bends on them, just to prove the point.

 

[Sascha Franck]

The very first time I tried his process, the way he adjusts to get the desired semitones when pulling up, it worked like a charm when I dialed it in

Two semitones up before the trem plate is touching wood with both D- and B-strings in tune relative to each other is working on all (traditional) trem-equipped guitars I ever owned. And it's also what I use to adjust the systems, I actually want this to be the maximum up-bend range. Will likely have a lot to do with the string gauge, but it defenitely works for me with 11-48/49/50s and 10-46s.
But I was using this way before I even heard of it being referenced as the "Carl Verheyen method" already.

 

[FuzzyAce]

Two semitones up before the trem plate is touching wood with both D- and B-strings in tune relative to each other is working on all (traditional) trem-equipped guitars I ever owned. And it's also what I use to adjust the systems, I actually want this to be the maximum up-bend range. Will likely have a lot to do with the string gauge, but it defenitely works for me with 11-48/49/50s and 10-46s.
But I was using this way before I even heard of it being referenced as the "Carl Verheyen method" already.

Yeah, he just got his name attached to it since he explained it in a vid. Nothing totally special about it other than getting those semitones up he speaks of in G,B,E. Again, up to that point nothing floating worked for me as well as setting it up this way.
Adding this vid for context. There's probably another vid where he does the whole process too.

 

[Eagle]

Interesting. The very first time I tried his process, the way he adjusts to get the desired semitones when pulling up, it worked like a charm when I dialed it in. For years up to that point never had a floating trem been so consistent and in tune than this one, for my needs. It's not snake oil or flat earth, it's a simple set up method that works very well. Doesn't mean it's right for everyone though. And Carl's not exactly a hack either, he's an all-star player.

I know and have met Carl . The angle is utterly ridiculous because you can’t translate the differential tension through the solid block . The strings all lose tension at different rates not related to the angle ( if it wasn’t bs) and the down pressure on the bar is 100% on one side ( if it wasn’t bs) .
The only way you can alter the differential pitch drop between the strings is change the distance between the fulcrum and the witness point on the saddle. You have only two options on a regular trem to do this . The action and the intonation. The amount of up pull you get is obviously controlled by the hight off the body of the bridge plate .
In the CV set up he sets the G to three semitones. You can easily do this but the relative position of the E and B is fixed . On some guitars this may well be the tone on the B and semitone on the E but if it isn’t you can’T do anything about it without altering the action or the intonation. The set up sometimes works by coincidence but it’s got nothing to do with his method and the angle on the claw is bs.