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Gibson, Please Bring Back "Harmonica" Bridges.


Gemini75

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No, they are the really wide, shaped like a harmonica, ones. I always thought they looked funny because I'm so used to seeing the thin bridges. I used to see those on used guitars in shops in the early 80's and wondered what the deal was with them.

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Considering that Gibsons are not only fine instruments, but collector items as well, it's important to try to match the guitar with components from the correct era. There are advantages and disadvantages to this wider-style bridge. It allows more room to move the individual saddles for intonation. But if you like a steep-break string angle from the bridge to the tailpiece, the string may touch the back of the bridge. (NOTE: Historically, there was supposed to be a steep string-break, achieved by lowering the tailpiece, but this can cause problems, ESPECIALLY with '57 Classic pickups, for some reason.) My new 2013 SG Standard sounded like crap with the tailpiece set low (crappy sound, no sustain), and the strings were NOT touching the back of the tailpiece. Once I raised the tailpiece, so the break wasn't so steep, the problems went away. Incidentally, I read that on the internet by someone else who had the same pickups and same problem. If you use the recommended string gauges on your SG (.010-.046), the smaller Tun-O-Matic bridge should work fine.

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My ca. 1973 L6-S (the model later called Custom) and my 1978 SG Standard do have this bridge. It was described as "long travel tune-o-matic bridge" in the 1970s and offers an intonation adjustment range that virtually suits all strings available without ever reaching the upper or lower limit. There also is no need to revert bridges as with other tune-o-matics.

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  • 2 years later...

The harmonica bridges were the best Tune-O-Matics ever. They had enough travel to match any string's compensation at any string action. Moreover, the 1970's S-Gs (spelled with a hyphen then) had the deeper neck set I prefer.

 

Here are my 1978 S-G Standard and my ca. 1973 L6-S, later called L6-S Custom. The S-G features the Super Humbucking tarback pickups, the L6-S the special-design tarbacks. The are perhaps the best humbuckers ever made. They have rather low DC resistances, thus little losses, a moderate inductance and a quite high magnetic flux. They generate hot levels, still have lots of treble, and their string pull is moderate nonetheless. Sadly the stock 100 kOhms tone pots of the S-G choked their fantastic tone. It took me some years to find out, and I switched to 500 kOhms then.

 

IMG_0555_zps60jhbvlw.jpg

 

IMG_1100_zpsqi4zl7r5.jpg

 

The late Bill Lawrence truly was a genius. I guess the wrong pots weren't his idea. He knew very well what he did. Sadly Gibson is not alone with disdaining his legacy. Fender discontinued the SCN (Samarium Cobalt Noiseless) pickups about three years ago. In the late 1990's they have been Bill's latest big step forward in pickup design and in my opinion are the best Fender pickups ever.

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Some people revere '70s Gibson (and Fender) guitars, and others scorn them. As usual, the truth lies somewhere in between

the two extremes. During those days, both of our favorite guitar companies had been taken over by soul-less corporations for the

purpose of profit. Fender was owned by CBS, and Gibson was owned by a weird conglomerate named "Norlin."

 

The Harmonica Bridge was a Gibson "innovation' which was

invented to address one of the problems of those days: Light gauge strings.

 

In the fifties, when the Tele and the Les Paul and the ES-335 and the Strat were invented, there were only a few brands of strings

and only one gauge... heavy. So when you listen (if you listen) to music of those days, remember it was all done with like 13s.

Some players made their own light gauge strings by using banjo strings on the two higher ones and then moving each string over

one and throwing away the low E. *laughs That worked fine, actually, and some of the Sixties music was made with lighter

gauge strings than fifties style.

 

But the SG was equipped with either the tuna-matic or the wrap-over bridge from the (discontinued) Les Paul design, So players

who wanted to use lighter gauge strings would run out of travel on a tuna-matic, and not be able to intonate them properly.

Users of the wrapover bridge also had intonation issues with lighter strings. I don't think Fender guitars ever had this problem.

 

Towards the end of the sixties, about the time of the Gibson take-over by Norlin, Earnie Ball began marketing strings aimed at players

who wanted more choices. Other makers quickly followed suit, and by the start of the 70s guitarists were slapping on strings way different

from what the guitars were designed for. And complaining bitterly to Gibson about lack of intonation. Presto! The Harmonica Bridge.

 

This piece of gear did what the players wanted, intonated properly with lighter strings. But Gibson bashing then was like it is now,

except no internet. So lots of guitarists have never forgotten their hatred for the "new and improved" SGs of the 70s. Norlin Gibson also

made a number of other much more dubious (even pointless) innovations, and the SGs of the early 70s achieved a notoriety as the low

point of Gibson's design slump.

 

But let's remember that a lot of great music was made on them. Later 70s SGs have been recently rehabilitated in the public's fickle opinions

and now are sometimes reverenced on internet sites... people now bash the new ones. *shrugs

The 70s Gibsons are the nearest thing to a 'Vintage' guitar that most players will ever lay eyes on, or be able to afford.

 

Pete Townshend even went to Kalamazoo in the early 70s, trying to get Gibson to make his SG specials the way they used

to, but he got nowhere, and told them he wasn't ordering any new ones, and went around buying up all the old ones he could find.

 

Many 70s Gibsons have been mercilessly butchered, because Mod Fever was sweeping the country, and people noticed that Eric Clapton

had removed the covers from his pickups, so everyone had to copy that. Aftermarket pickups were coming into vogue, and people had to rip

out their tar-backs and install the flavor of the week. People tore off the harmonica bridges because they didn't like the look, and then

wondered why they had trouble with intonation. *laughs ...People had to install heavy Grover Rotomatics 'to get more sustain" and then

wondered why their guitars were neck diving.

 

But the real reason why Gibson doesn't re-issue the Harmonica bridge is because the studs are not in the same place, so they are NOT interchangable.

Norlin guitars studs are drilled straight across, and Gibson's tuna-matic is offset slightly. Nobody wants to rock the boat IMHO, because that

would be a can of worms.

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Well, they were certainly "adjustable" over a wide range. BUT...to me, they're an eyesore! [unsure][tongue]

 

If a bridge is set correctly, in the first place, you don't need a very wide adjustment pattern, more than

the current "Nashville"...IMHO.

 

 

CB

 

I also agree CB. They looked pretty awful [blink]

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I'm in this camp. Never liked the look of them.

I also agree CB. They looked pretty awful [blink]

The beauty is in the ear of the listener, and long before of the player. The "harmonica" bridges are simply perfect.

 

ABR-1 and Nashville Tune-O-Matics are very compromised for string sets with a plain G3rd. <_< My experiences with my arsenal and the guitars owned by pals say that any Fender with six adjustable saddles works better.

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  • 2 weeks later...

Well, they were certainly "adjustable" over a wide range. BUT...to me, they're an eyesore! [unsure][tongue]

 

 

CB

 

 

I'm in this camp. Never liked the look of them.

 

I agree with you guys. They're.... interesting-looking. But the thinner modern ones give a more sleek appearance. These "harmonica" bridges are a bit horsey, and overwhelm the face of the guitar. Like an additional humbucker set in a weird spot.

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  • 2 weeks later...

I have an old original Schaller "harmonica" bridge that I was selling on eBay, but I bought an old beater '71 SG Standard that has a replacement TOM, so I will use the Schaller on that someday.

 

If you want a better and slightly wider - more adjustment - bridge than the Gibson TOM, buy a GOTOH. Solid, no loose parts, wider travel and IMO a bit more sustain...about $35. I have them on most of my Gibson and Epiphone guitars.

 

They are a noticeable improvement.

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