Ok I think this is point to ponder. If you have watched Frudua Way or Carl Verheyen settings or any other similar videos that teaches to set the trem. for best use esp. on tuning stability you might have some questions.

Anyway basically I am curious about setting the spring claws at an angle. BUT is angling the claw necessary? Any alternative to that? When the claws and plate are set at an angle wouldn't the imbalance damage the wooden thread in the claw drill hole? And if its safe at what angle to the side of the spring cavity should we set it to be? AND how do we gauge the balance of the string tension = spring tension? that doesn't sound easy. I got them balanced by coincidence but there's a catch.

I was setting my tremolo action on a Floyd Rose Trem so I moved the claw a bit at a time but simultaneously parallel to the side of the spring cavity but not at an angle. Obviously we check with our guitar tuners as we do this. At a particular point the Floyd Trem didn't need its locking nut lol! the pitch stayed tuned regardless of bends and whammy abuse. BUT at that point I wasn't comfortable with the trem action. In the case of my vintage trem I want it barely above the deck, any suggestions?

There must be a proper order in approaching this process so much as to set both trem action and string/spring tension in our favour. I like my vintage trem barely above the deck coz I want to do push downs vibrato comfortably without knocking the strings with my knuckles or bringing the arm way above the bass strings. Care to illustrate details?

I wonder why Fender doesn't set their spring claw at an angle out of the box. Never really tried angling the spring claws does it really work better? Any comments?

Aldeen the angle of the claw and consequent increase in one side of the the spring tension won't damage the body wood. It counteracts string tension. Force will always look for the easiest way to dissipate. Acting against the string tension is the way in this case. One side of your strings is higher tension than the other, that needs to be counteracted for the trem to push down at the same rate across the strings.
Carl Veheyens method of playing Ami11, sliding it down a fret to Ab mi11, then balancing your trem to match that even sounding chord slide, is the best method I've ever seen. You have to make sure that each side of that tremplate is moving the same amount to have any chance of a return to zero pitch.



Adjust claw distance away or nearer the rear wall of the trem cavity route. Try using higher tension springs too. The silver ones are much higher tension. They make the arm harder to work though.



The proper order, or rather best way I've found to set my trem is the Veheyen method. I find it faultless. It does take months to do though.

Banging your knuckles on the strings is nothing more than a technique issue, sorry to say mate. Or you could try bending the trem arm to a shallower angle giving you more room between the arm and strings.

My strats did come with the claw angled, as did my Jackson Dinky and RR3.

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Carl Veheyens method of playing Ami11, sliding it down a fret to Ab mi11, then balancing your trem to match that even sounding chord slide, is the best method I've ever seen. You have to make sure that each side of that tremplate is moving the same amount to have any chance of a return to zero pitch.


Thanks for the reply, you have clarified some issues but I don't quite get the above. I am hobbyist not that good at identifying sounds and very new to the mechanics of the guitar coz didn't have to bother with my Ibanez double locking system.

Anyway about Verheyen's method does it mean that I have to register the slide down (A minor Flat 11) sound in my mind and then adjust the claw decreasing the tension to match that sound?

Oh yeah if you have time please visit Accessories I have a topic on Fender Bullet End Strings.

Peace

Without reading your question in Accessories, I can tell you I think Bullets are the absolute best strings for strat trems.
No I don't get any excessive breakage or tuning issues.

As for the Veheyen method, your aiming to get the Ami11 to pitch down 1 fret as accurately as possible. You don't want the bass or treble side dipping down more than the other. You want the tremmed version to match the fretted slide down as accurately as you possibly can. You only have your ears to rely on. I resort to doing it late at night when everything is deadly quiet.

It is really tricky and like I said takes ages (I spend months on a new guitar) getting it to balance just so. Consequently I don't change string gauges.

Off to read your other question now.

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