3 Point bridge question

[cheyenne]

Is there a proper, specific method of setting up the three point bridge on Gibson, Epiphone basses? How much thought do you experienced players put into things like the angle the strings break over the saddles ect.....or am I just overthinking things here?

[planetgaffnet]

Well what I like to do is take the damn thing off and put on a Supertone. 

[cheyenne]

I had a Supertone, and didn't like how it looked., and really couldn't tell any difference in tone or sustain.

[Blackbird]

I had a Supertone, and didn't like how it looked., and really couldn't tell any difference in tone or sustain.

Put me in the group too. 

[uwe]

The tonal difference is slight and not worth the change if you are fine with setting up a three point unlike many of my challenged brethren here. The Supertone adds a bit more sustain on a bass that already has endless sustain. Unless most of your bass playing consists of letting upper register notes ring out while the band ploughs on, it's irrelevant.

With a three point it's pretty much like with a first date: Don't do anything too radical even if it seems convenient and no-one is watching. Don't over-slant or over-tilt, streng verboten. I tend to have the single stud erected elevated somewhat higher than the back studs. Whether that is compelling for saddle pressure is debatable (unless it tips forward extremely), I just think it mostly looks neater and feels better to my palm.

Let's take an example, E buzzes, the other three are alright. Raise the upper back stud a little. If that doesn't do away with the buzzing, then don't continue raising the upper back stud, but rather the middle one. That of course raises D and G a little too, you can then either live with that or lower the lower back stud a little to compensate. Just keep some sort of balance between all three studs. For fine tuning, I'm not above swapping saddles (Gibson's alignment of these doesn't always make sense for every set-up) or getting the file out to deepen a saddle notch. I'm in good company, some members here use saws to gain better upper fretboard access, so I've heard on a no-name basis.

But what do I know, klutz I am I just broke off one of the soldering wires of my EB-0F fuzz tone when changing the batteries (which are under constant drain even when the thing is put on off). Alas, my luthier needs to make a living too. My soldering skills are crap. And I don't even know where the wire has to go as the soldering joints broke on both ends. Verdammte Scheiße.

[Dave W]

The tonal difference is slight and not worth the change if you are fine with setting up a three point unlike many of my challenged brethren here. The Supertone adds a bit more sustain on a bass that already has endless sustain. Unless most of your bass playing consists of letting upper register notes ring out while the band ploughs on, it's irrelevant.

With a three point it's pretty much like with a first date: Don't do anything too radical even if it seems convenient and no-one is watching. Don't over-slant or over-tilt, streng verboten. I tend to have the single stud erected elevated somewhat higher than the back studs. Whether that is compelling for saddle pressure is debatable (unless it tips forward extremely), I just think it mostly looks neater and feels better to my palm.

Let's take an example, E buzzes, the other three are alright. Raise the upper back stud a little. If that doesn't do away with the buzzing, then don't continue raising the upper back stud, but rather the middle one. That of course raises D and G a little too, you can then either live with that or lower the lower back stud a little to compensate. Just keep some sort of balance between all three studs. For fine tuning, I'm not above swapping saddles (Gibson's alignment of these doesn't always make sense for every set-up) or getting the file out to deepen a saddle notch. I'm in good company, some members here use saws to gain better upper fretboard access, so I've heard on a no-name basis.

But what do I know, klutz I am I just broke off one of the soldering wires of my EB-0F fuzz tone when changing the batteries (which are under constant drain even when the thing is put on off). Alas, my luthier needs to make a living too. My soldering skills are crap. And I don't even know where the wire has to go as the soldering joints broke on both ends. Verdammte Scheiße.

People buy a Supertone for added sustain (which is overrated anyway)? I would have guessed it's for ease of setup and adjustment. And your description of 3 point setup demonstrates why.

[planetgaffnet]

Uwe has put it better than I can (sorry, I've just drunk half a bottle of very nice red on an empty stomach).  I put Supertones on mine simply because the stock 3-pointer really doesn't give me anywhere near the degree of adjustment that I desire and the saddles hurt my hand when I'm playing like a crazy person.  I couldn't really give a rats ass to how it looks to be honest...it does a better job than the 3-pointer.

...and following a crazy week at work and with the clock showing 9.10pm, I think it's time for bed.  Pooped.

Night.
P

[lowend1]

I opted for the Supertone 2 because I hated the Evertilt on my '72 EB-3. I will likely go the same route with my '68 EB-0. I have no animosity towards the three-point.

[uwe]

But Herr Dave always says that the Evertilt is a finely cafted (and designed!) piece of American hardware! All you need with it is to imagine an additional string holder. Try telling that my EB-0 Slothead. 




"People buy a Supertone for added sustain (which is overrated anyway)? I would have guessed it's for ease of setup and adjustment. And your description of 3 point setup demonstrates why."

But Dave, it's called Supertone, not Eazy Seddup!

[Blackbird]

I totally understand the more precise adjustment if you want to get on a per string level...but the tone/sustain thing sounds like a talkbass tale that gets passed on over and over like a doobie at Woodstock.  I'd bet my 'Bird that a new bridge would do nothing noticeable when I play..how much sustain does a bass player even need....LOL..

[uwe]

I do! That is why neck thru basses are among my favourites, it even feels different. I get all the attack I need with my pick and due to the fact that I tend to be ahead of the beat anyway. I love it when a high E (D string, 14th fret) or very high E (G string,  21st fret) just "stands" and, yes, that doesn't sound the same on a P Bass to me (even if you bend up the available D# to an E).

You can just wallow in that sustain ... 

[Blackbird]

I do! That is why neck thru basses are among my favourites, it even feels different. I get all the attack I need with my pick and due to the fact that I tend to be ahead of the beat anyway. I love it when a high E (D string, 14th fret) or very high E (G string,  21st fret) just "stands" and, yes, that doesn't sound the same on a P Bass to me (even if you bend up the available D# to an E).

You can just wallow in that sustain ... 

True - that's why I too use a pick and neck thru birds...but a bridge won't add to what I get now..I should have been clearer...who needs even MORE than what I can get now 

[cheyenne]

The tonal difference is slight and not worth the change if you are fine with setting up a three point unlike many of my challenged brethren here. The Supertone adds a bit more sustain on a bass that already has endless sustain. Unless most of your bass playing consists of letting upper register notes ring out while the band ploughs on, it's irrelevant.

With a three point it's pretty much like with a first date: Don't do anything too radical even if it seems convenient and no-one is watching. Don't over-slant or over-tilt, streng verboten. I tend to have the single stud erected elevated somewhat higher than the back studs. Whether that is compelling for saddle pressure is debatable (unless it tips forward extremely), I just think it mostly looks neater and feels better to my palm.

Let's take an example, E buzzes, the other three are alright. Raise the upper back stud a little. If that doesn't do away with the buzzing, then don't continue raising the upper back stud, but rather the middle one. That of course raises D and G a little too, you can then either live with that or lower the lower back stud a little to compensate. Just keep some sort of balance between all three studs. For fine tuning, I'm not above swapping saddles (Gibson's alignment of these doesn't always make sense for every set-up) or getting the file out to deepen a saddle notch. I'm in good company, some members here use saws to gain better upper fretboard access, so I've heard on a no-name basis.

But what do I know, klutz I am I just broke off one of the soldering wires of my EB-0F fuzz tone when changing the batteries (which are under constant drain even when the thing is put on off). Alas, my luthier needs to make a living too. My soldering skills are crap. And I don't even know where the wire has to go as the soldering joints broke on both ends. Verdammte Scheiße.

This is what I'm talking about... I've been playing bass for 35 years, and believe It or not,,never really encountered the 3 point bridge much. (pretty much a Rickenbacker / Fender player),,,I bought an Epiphone Tbird Classic on a whim, and really fell in love with the tone and quality of this bass. After reading a thousand reviews on the 3 point bridge being a bad design, I immediately purchased a Supertone replacement. I installed it and really couldn't get along with it. I felt it big and clunky, and couldn't really tell a difference in tone or sustain. ( sorry Hipshot, but I call them like I see them,,, thanks for the effort here.....). The original although a little dated , seems very useable and adjustable,, but I feel I'm a little behind on maybe the specific tweaks and tricks that make the 3 point just fine. A lot like a Rickenbacker,,, people who don't like them, usually don't know how to adjust them. I appreciate the tips and help getting me up to speed.

[lowend1]

I do! That is why neck thru basses are among my favourites, it even feels different. I get all the attack I need with my pick and due to the fact that I tend to be ahead of the beat anyway. I love it when a high E (D string, 14th fret) or very high E (G string,  21st fret) just "stands" and, yes, that doesn't sound the same on a P Bass to me (even if you bend up the available D# to an E).

You can just wallow in that sustain ... 

Ain't that the truth. Running a tube amp with some grind makes it all the more glorious. My sound for years was the Bicentennial through a '71 V4B and flatback SVT cab. Positively evil.

[lowend1]

I've found that setting up a three point is less arduous when the bass has a properly slotted nut and some skilled fret leveling. Epis, in particular, benefit from a few tweaks in that department.