Compton Compensated Bridge

[RichCI]

Not sure that price as necessarily the main reason the fact is that even with individual adjustable bridges you cannot get playable perfect intonation. Note the enphasis on the playable which is not the same as adjust a string to open and 12fret

sameness.

 

The main point I was trying to make is that Gibson has been putting bridges with fixed intonation for decades and I haven't heard any complaints. For that matter, some players prefer those wraparound bridges like on the Juniors so I don't know why there would be more concern for the Compton bridge in that regard. IMO, the fewer moving parts in between the strings and the bridge is going to add up to better energy transfer; whether that's good or bad is up to the individual as I really like the sound of a Strat with a trem bridge even though I don't use the trem itself.

 

I do suspect that Gibson first started using single piece, fixed intonation bridges as a cost savings move though as the Juniors were considered to be student model guitars and keeping the price as low as possible must certainly have been a concern.

[Quietly]

The main point I was trying to make is that Gibson has been putting bridges with fixed intonation for decades and I haven't heard any complaints. For that matter' date=' some players prefer those wraparound bridges like on the Juniors so I don't know why there would be more concern for the Compton bridge in that regard. IMO, the fewer moving parts in between the strings and the bridge is going to add up to better energy transfer; whether that's good or bad is up to the individual as I really like the sound of a Strat with a trem bridge even though I don't use the trem itself.

 

I do suspect that Gibson first started using single piece, fixed intonation bridges as a cost savings move though as the Juniors were considered to be student model guitars and keeping the price as low as possible must certainly have been a concern.[/quote']

 

 

Yes you could be right my point was that some very expensive guitars do not have individual adjustable bridge saddles. PRS use the straight across approach on their McCarty although the new version has a slant on the first three strings and then another slant on the 4th, 5th and 6th string but certainly no individual adjustable saddles and that guitar retails at considerably more than an LP Standard. I only mention it because those that think or believe that you cannot have good intonation without individual saddle adjustment are really overstating the case.

[80LPC]

This is interesting, but fundamentally flawed. The need to adjust intonation comes from 2 things - string gauge, and string height.

 

Let's say we believe we will always use the same string brand and gauge. Now let's say we will never want to change the string height (action) at any point... Pretty unlikey perhaps ? Whenever you change string height, the intonation needs to be readjusted of course.

 

Now if we really wanted to use the same strings, and the same string height, we could indeed have a bridge made which would be useful. My concern with this bridge is that the maker does not ask for string height...

 

There is another problem related to frequency of string changes. Fit a new set of strings. Stretch them, and set the intonation. Now, after a couple of weeks use, check the intonation again - it will be slightly out. Adjustable saddles can accommodate the player who changes his strings every day, or the player who changes them after weeks or months of use.

 

This bridge is a nicely engineered piece of work, but presumes too much. It compromises intonation because string height has not been taken into account. After all, some people like a super low action, while some prefer higher - and it makes a big difference to intonation.

 

I think there's a lot to be said for a solid foundation from which a string can vibrate - I am just not convinced that this is the answer for everyone.

 

Besides - tinkering with guitars is half the fun...

[Quietly]

This is interesting' date=' but fundamentally flawed. The need to adjust intonation comes from 2 things - string gauge, and string height.

 

Let's say we believe we will always use the same string brand and gauge. Now let's say we will never want to change the string height (action) at any point... Pretty unlikey perhaps ? Whenever you change string height, the intonation needs to be readjusted of course.

 

Now if we really wanted to use the same strings, and the same string height, we could indeed have a bridge made which would be useful. My concern with this bridge is that the maker does not ask for string height...

 

There is another problem related to frequency of string changes. Fit a new set of strings. Stretch them, and set the intonation. Now, after a couple of weeks use, check the intonation again - it will be slightly out. Adjustable saddles can accommodate the player who changes his strings every day, or the player who changes them after weeks or months of use.

 

This bridge is a nicely engineered piece of work, but presumes too much. It compromises intonation because string height has not been taken into account. After all, some people like a super low action, while some prefer higher - and it makes a big difference to intonation.

 

I think there's a lot to be said for a solid foundation from which a string can vibrate - I am just not convinced that this is the answer for everyone.

 

Besides - tinkering with guitars is half the fun...

 

Not argueing with you at all but some of your points are also fundamentaly flawed. Stretching strings and then they will be out has nothing to do with intonation its called being out of tune, you just tune it up, not change any intonation. Of course its not the answer for everyone anymore than a Gibson guitar is the answer for everyone. I have installed a brass one on a Gretsch and now the titanium one on a Gibson.I was skeptical about the Gibson because the Gretsch was a floating bridge so you do have a degree of adjustment. However it works perfectly as indeed solid bar bridges have been doing for many years and as pointed out also used by Gibson. How many players do you know who change their string size every day? Come on folks some of the arguement or negatives you post up are not exactly realistic. High and low action makes a big difference to the intonation? Really. Intonation is based on the distance from the nut to the bridge or the point of contact from the bridge to the point of contact from the nut. Do you honestly believe that adjusting the height of the bridge changes or effects the intonation enough that you need to reset the intonation? You will have to tune it up and I suspect many of you are confusing tuning with intonation and they are not the same thing at all. By the sounds of it some of you are adjusting or perhaps fiddling is a better word with your saddles every other day when once your intonation is set you really shouldn't have to ever touch it again. With the exception of changing your string size and changing string size is something that most guitarist seldom do.

 

Again I am not posting this to sell anything, nor do I have any interest be it commercial or otherwise. I tried a new bridge, the change in sound was amazing. The intonation is perfect, after fitting I had to lower the bridge height and because the radius is a perfect 12" I could get a much lower action so much lower I had to lower the bridge pup. I have been playing guitar for 50 years and believe me if this bridge didn't work I wouldn't be posting this at all.

 

Now if it interests you the only way to find out is to try it. You doubt that it works fine I doubted that as well but for me and many others it did and does. The bridge presumes nothing at all, the presumptions appear to be coming from those who have never used it and that is perfectly logical but it does have one very easy remedy. Forget it and ignore as in this is not for me or sounds logical to me I will give one a try.

 

All the best and have a great weekend.

[80LPC]

It's not unusual for a pro to have new strings before every show...

 

The precise point of intonation will change as the string ages. This is due to corrosion / build up of oxide, and the fact that rather than maintain a straight line, the string actually takes on a slight 'wave' pattern that conforms to every gap between the frets. This is seen particularly with players who tap the strings.

 

If the string height is altered, the intonation needs to be adjusted because the string is being pushed a different amount to the fret surface. This changes string tension and hence the pitch. This is all pretty basic stuff of course...

 

An adjustable bridge 'compensates' for this change in tension. Change the string gauge or fancy a different setup ? Chances are there is enough travel in the saddles to give you the correct intonation. From time to time you might see a bridge with an unusually large amount of saddle travel. In the '70s, many Gibsons were fitted withe the Schaller 'long travel', which guaranteed perfect intonation regardless of the most extreme setup (nowt so queer as folks eh?)

 

Your bridge has compensation, but it is fixed - in other words it has been pre-adjusted for that particular string gauge and some theoretical string height - because you didn't supply this information (or rather, you weren't asked for it).

 

One of my electrics has a solid bar as a bridge with no adjustment for intonation. It sounds good, and I accept the limitations as part of it's vintage charm.

[Quietly]

It's not unusual for a pro to have new strings before every show...

 

The precise point of intonation will change as the string ages. This is due to corrosion / build up of oxide' date=' and the fact that rather than maintain a straight line, the string actually takes on a slight 'wave' pattern that conforms to every gap between the frets. This is seen with particularly with players who tap the strings.

 

If the string height is altered, the intonation needs to be adjusted because the string is being pushed a different amount to the fret surface. This changes string tension and hence the pitch. This is all pretty basic stuff of course...

 

An adjustable bridge 'compensates' for this change in tension. Change the string gauge or fancy a different setup ? Chances are there is enough travel in the saddles to give you the correct intonation. From time to time you might see a bridge with an unusually large amount of saddle travel. In the '70s, many Gibsons were fitted withe the Schaller 'long travel', which guaranteed perfect intonation regardless of the most extreme setup (nowt so queer as folks eh?)

 

Your bridge has compensation, but it is fixed - in other words it has been pre-adjusted for that particular string gauge and some theoretical string height - because you didn't supply this information (or rather, you weren't asked for it).

 

One of my electrics has a solid bar as a bridge with no adjustment for intonation. It sounds good, and I accept the limitations as part of it's vintage charm. [/quote']

 

 

I agree just to get off this thread, no hard feelings but I am talking reallity about facts while you are jumping from changing strings daily to strings changing thickness with age, boy oh boy you really make hard work of it.

 

All the best, have a great weekend and certainly no hard feelings.

[Riffster]

The bridge looks space age-y.

 

Having said that, I am sure the bridge is machined to super tight tolerances and without saddles you get so much string contact and transmission of sound on to the guitar.

 

Hey, if one day you decide it does not work for you all you have to do is put the TOM back on.

[yoda]

Compton Compensated Custom Bridges are made from solid Stainless Steel, Copper, Brass and Aluminum.

 

I copy/pasted that from their website, where do you see titanium on the list of materials?

[80LPC]

I agree just to get off this thread' date=' no hard feelings but I am talking reallity about facts while you are jumping from changing strings daily to strings changing thickness with age, boy oh boy you really make hard work of it.

 

All the best, have a great weekend and certainly no hard feelings.[/quote']

 

Quietly, never agree just to get off a thread.

 

Apologies if I didn't explain things clearly enough.

[milod]

I guess I'm one of those who have used lots of different sorts of bridge thingies over the years. <grin>

 

I've swapped some archtop bridges for tm types many times. Some were wood, a few were metal of various sorts. I've been happier with some sort of tm, but whatever. The real archtop guys, some of 'em, think I'm nuts for going that way (dumping rosewood or ebony for any metal) and for using light strings anyway.

 

I've a more or less roller tm sort of bridge on my 35-yo Guild SG-type that I use extremely light strings on.

 

My conclusion "1" is that there are different sounds from different bridge materials, but that old Guild bridge seems about as nice as anything I've ever used overall in terms of aid for the thing to stay in tune regardless how I mistreat strings. I also have no problems with the sound of any of my current tm type bridges, two of which go to stop bars, one of which goes to a trapeze.

 

Conclusion "2" is that in real playing situations, I think technique and setup may have as much or more to do with intonation than a bridge (assuming strings aren't hanging up on a bridge or nut while tuning), especially with lighter strings.

 

Frankly I don't feel any big need to change what I've got now. I dunno what I'd do if somebody gave me a really nice archtop with a wooden bridge. I think if there were no significant problems with intonation for whatever reason, I'd just try to get the thing set up for the kinda strings I like and otherwise play away as it came to me.

 

m