Strat players. Floating or decked?

[Eagle]

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.

This video is utter garbage. The colour of his guitar has as much to do with it working as his method.

 

[Eagle]

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.

You mean a tone on the G?

 

[FuzzyAce]

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.

I had to dial it in to get those semitones. It didn't happen by coincidence. It meant setting the springs and angle at the right spot.

 

[Eagle]

Look up the Trans trem patent if you don’t understand how it works. But the difference is the ability to alter the distance between the fulcrum and the anchor point in this case without affecting the intonation or the action.

 

[FuzzyAce]

This video is utter garbage. The colour of his guitar has as much to do with it working as his method.

It's just a vid.
He's not claiming anything other than his way of setup.

 

[Eagle]

I had to dial it in to get those semitones. It didn't happen by coincidence. It meant setting the springs and angle at the right spot.

Bs . Explain the physics because it just wrong.
You can’t alter one in isolation on a Strat without changing the action or intonation. If you set one and the others are in bingo but you can change the angle all you like and as long as the g is three semitones the other two will not change.

 

[FuzzyAce]

Bs . Explain the physics because it just wrong.
You can’t alter one in isolation on a Strat without changing the action or intonation. If you set one and the others are in bingo but you can change the angle all you like and as long as the g is three semitones the other two will not change.

It's the tension plus semitone arrangement that is solid in that setup. With an angled claw I rarely ran into tuning issues.
Go argue with someone else, it worked fabulously for me.

 

[Eagle]

It's just a vid.
He's not claiming anything other than his way of setup.

It’s a vid that says he has no understanding of what he is talking about. As I have stated it can work by coincidence but that method has NOTHING to do with it. Set your intonation and action then set the spring tension to get three semitones on the g . If claw straight. Now if the other two are in great. If not nothing in that set up changes it at all .

 

[Sascha Franck]

You mean a tone on the G?

No, two semitones up on both D and B strings simultaneously.

 

[Eagle]

It's the tension plus semitone arrangement that is solid in that setup. With an angled claw I rarely ran into tuning issues.
Go argue with someone else, it worked fabulously for me.

Coincidentally. All Strats are close but nothing you did has anything do it besides setting one string up pull.

 

[Eagle]

No, two semitones up on both D and B strings simultaneously.

I’ve never measured that.

 

[FuzzyAce]

Coincidentally. All Strats are close but nothing you did has anything do it besides setting one string up pull.

So it works. Thanks for confirming.

 

[Eagle]

So it works. Thanks for confirming.

No it doesn’t because it was there on your guitar already. The set up is flat earth utter BS.

 

[FuzzyAce]

No it doesn’t because it was there on your guitar already. The set up is flat earth utter BS.

If setting the claw at an angle works perfectly well (better for me), why does the claw have to be straight?

 

[Sascha Franck]

I’ve never measured that.

It works great for some faux pedal steel things and coincidentally also always seems to be the best plate positioning.

 

[Eagle]

It works great for some faux pedal steel things and coincidentally also always seems to be the best plate positioning.

I will try it.

 

[mbenigni]

Schaller Tremstop. The best of both worlds in one. Instant switch from wild floating freedom to rock solid hardtail.


View attachment 44514
View attachment 44515

I forgot these existed!

 

[Eagle]

If setting the claw at an angle works perfectly well (better for me), why does the claw have to be straight?

I am interested in what you think that does? Explain the physics?
Also how the tension reduces in the strings when you press down the bar and the effect on stability. And what all the tension from the bar is on one side has ?You should have a reason for these if you think an angle on the claw has an effect on relative pitch.

 

[Eagle]

I forgot these existed!

Everyone tries to.

 

[FuzzyAce]

I am interested in what you think that does? Explain the physics?
Also how the tension reduces in the strings when you press down the bar and the effect on stability. And what all the tension from the bar is on one side has ?You should have a reason for these if you think an angle on the claw has an effect on relative pitch.

I'm more concerned with tension and tuning stability. Does spring tension matter or not? If so, at what point does it stop mattering. If there's one size that fits all, i'm all ears.