warwickhunt

I've had Yamaha PA gear in the past and while it was rarely 'the best' it certainly lived up to price point... Yamahe / Alto / Headrush. I may need to visit PMT or similar.

The downside of soliciting answers is that those who own your type of bass will give you an unrealistically high figure, those wanting a steal will give you are knock down price. You'd think the average of the 2 sets of prices would be about right... rarely happens, those with money in their pockets are the only 'true' indicators of value and that is likely to be ebay prices!

Interested in this as I'm playing in a loud rock covers band and wanting to go IEM with an interim period of using a good floor monitor for my vocal and bass. I presently use a Mackie srm350 for just vocals but would a QSC K series active cab or possibly even a ALTO 312 or Headrush FRFR do a better job?

TBH you regurgitate the same patter (other manufacturers do/don't do this / you wouldn't understand et al) which I'm frankly getting nothing new or informative from... I'm actually going to have to unfollow my own thread, which is something I've never had to do before!

You are correct, I did start this thread. I started the thread as I saw your design on social media and it was being 'advertised' as having significant improvements over existing designs. However, IMHO it creates more problems over existing designs than it solves... hence the title of the thread. As I've already said I'm degree educated and it took me about 5 minutes to read your tech spec and then do a quick Google research and I established that your choice of material for the bridge will likely look very nice (especially if anodized) and will resist sweat corrosion but otherwise, it really has little benefit over many alternatives. No, my comment about you not being a diplomat/salesman is related to the fact that you called someone a 'd i c k h e a d' for no reason other than they are querying your product. Sadly not the best business attitude to have.

I can decode/translate if you like but I think we both know that we have no right to question our betters... but that's enough cow poop for now.

Are you being derisory about products made in Asia? I'm guessing you think that Hipshot are superior because they are made where... would it surprise you to learn it is Asia! Incidentally, I've owned basses with Hipshot bridges and I've noted no discernible improvement 'as a result of the bridge design' over the other basses that I own(ed), which leads us full circle to the point that your bridge design offers no discernible improvement over other manufacturers. As for other manufacturers not providing 'evidence', which seems to be your fall-back comment; other manufacturers aren't making unsubstantiated claims, they simply fit or supply bridges and leave it for us to decide if there is any improvement.

I've a lot of love for the Schaller but have you checked out the Sandberg design? Many of the principles of Schaller inc roller saddle but it also has quick release string retention.

Hmmm I think you are being overly sensitive or misreading the thrust of this thread. Not one comment (that I am aware of) has been directed at you; all comments are centred on the claims that you have made as a designer and your product. However, not being aware of 'Peaches' or JJ... that's another matter! LOL

OK I'll confess I'm not an engineer (I do however have a good educational background inc a 1st class honours degree in education and at 16 years old I disassembled a car engine + gearbox and rebuilt them so VERY basic bridge mechanics I can handle) BUT I do know that when you 'design' a product it should be addressing any short comings in previous designs; your bridge design offers no discernible advantage (in fact at least 2 disadvantages) over other bridge designs. You also can't use the argument that you don't do something very often so you don't need to address the matter. 'IF' your design offered an advantage over say the Sandberg design (my present favourite), I could accept that strings uncoupling in seconds might be with foregoing.

What... because I question your design's misgivings (IMHO pulling strings through a bridge is an awful design principle and tweaking string spacing is an advantage), then you profess that I know better than you! Rather than give a reasoned response to my comments on your design you expect people to just agree with you out of sympathy and not speak out? As far as business acumen goes you may need to step up to the mark as I'm hardly the worst obstacle to any success!

Sorry I'm puzzled. What do you mean 'it isn't just the design'? You think that all current bridge designs (other than your own I assume) are based on Leo Fender's 'first P bass bridge'? A bridge has a few functions and the ability to intonate and adjust height are paramount, your bridge does it no better than some! The design of your bridge proliferates one of my pet hates; you need to drag the whole string back through the bridge to take it out/off. Several bridge designs manage this far better inc Sandberg and Warwick (in different ways).

I'll reiterate. I don't believe this is a better design than other manufacturers have produced. It is 'different' but I see no improvement over the bridges on any of my basses... OK other than the Danelectro which is a 60 year old design. Some of my basses have far greater adjustability including the ability to alter the string spacing.

Warwick, Bolin (designed by Ned Steinberger), Sandberg, G&L, Musicman, Nordstrand, Schack, Fender, Maruszczyk, Godin, Taylor, Yamaha, Aria, Squier, Danelectro... I think that is my present set of basses but I may have missed one. Oddly enough not one of them is perfect.

Leo Fender got it wrong... why should we go easier on anyone else?

The early Streamers were more hand-finished and 'curvier'. Updates and CNC machining etc have certainly altered it but it is personal preference as to whether it is worse/better... worse imho.

That whole 'tube' to increase contact area and thus increase sustain... WTF. The ball end seats at the end of a tube, ergo the very base/start of the string won't be in direct contact with the tube unless the tube is the 'exact' diameter of the string. You'll gradually get contact with the string till you have full contact/pressure at the start of the tube... the break angle the same as any bridge saddle. Saying all of that I'd love to see the science that will show that this system has significantly more sustain than say a body through stringing. I'm also puzzled as to the 3cm of travel for that bar/tube if you need to wind it right back for the E string intonation and than you want to raise the action; is there room in the housing? Essentially the cam to change string height doesn't travel up/down, it just rotates. Surely the tube can not rotate around the barrel to the same degree when it is fully wound in, as it will when wound out!

Saw this on a FB post and it made me smile!

When you say "they both have the G saddle as the furthest forward", do you mean the G string is longer or shorter than the E string on those basses (length being between the nut and the saddle break angle)? Furthest forward could be read to mean either.

Nordstrand Acinonyx? Quite distinctive and quirky but quality parts and the necks are lovely.

Some 80's / early 90's Warwicks are like this. I always go a touch at a time and never assume it is going to be righty tighty.

I decided today that I'd fettle my old Godin fretless as I've not played it for a while due to the fact I had a few issues with it: 1. overpowering E string. 2. treble side slightly high at bridge. 3. bad static/crackle when adjusting the sliders. 4. intermittent fault on the output. Whipped the bridge/piezo out and someone has previously fitted a nasty shim... removed and that fixed 1 & 2. Took out the preamp / EQ and cleaned the slider tracks with anti-static spray and a cotton bud (very dirty)... fixed 3. Took off the output plate/jack and hey presto a chunk of tin foil trapped in between the contacts! No idea how that got in there or why but it isn't in any more. Glad I dived in and did that as the bass plays and sounds lovely. Moral of the story; don't put off till tomorrow!