whats the pros and cons of the 2 point bridge on most new strats, vs the classic bridge held in with 6 screws?

i purchased a strat ( awaiting delivery) with a two point bridge but thinking now, that as i wanted to get away from tuning issues with floating bridges ( i have a terrible time with my floyd rose ibanez) that the 2 point bridge in a fender strat would cause the same issues. should i cancel the order lickity split?

The 2 points doesn't have any issues, neither the good Floys Roses, aka the original one and the Schaller, I think that most of the Ibanez bridges are bad, IMO, of course.

I like this design more than the original one because the saddles are tought to be used with palm muting, therefore they're very smooth and confortable, while the original one with the worms and the sheetmetal wasn't meant to be touched while you were playing.

Of course, the American Standard tremolo allows more dive bomb than the vintage unit, and it doesn't tarnish.

well the trem on my ibanez is actually a schaller floyd rose, one of the best floyd rose bridges going. i replaced the ibanez one after about a month of bad tuning.

but i still blocked off the schaller so i could change strings easily and downtune and all that.

on my bro's yamaha pacaficia, which has a classic style bridge, string changing is a synch, pretty much like a fixed bridge guitar. is string changing on the 2 point bridge like that on the floyd rose, wehre all the rest of the strings go out of tune if you break one and you have to take ages tuning when you replace the strings ( i.e on floyd rose, you have to tune in the first string, tune in the 2nd string, then the 1st again. tune in the 3rd then the 2nd again, then the 1st again etc etc. its a lot of work)

well the trem on my ibanez is actually a schaller floyd rose, one of the best floyd rose bridges going. i replaced the ibanez one after about a month of bad tuning.

but i still blocked off the schaller so i could change strings easily and downtune and all that.

on my bro's yamaha pacaficia, which has a classic style bridge, string changing is a synch, pretty much like a fixed bridge guitar. is string changing on the 2 point bridge like that on the floyd rose, wehre all the rest of the strings go out of tune if you break one and you have to take ages tuning when you replace the strings ( i.e on floyd rose, you have to tune in the first string, tune in the 2nd string, then the 1st again. tune in the 3rd then the 2nd again, then the 1st again etc etc. its a lot of work)

well the trem on my ibanez is actually a schaller floyd rose, one of the best floyd rose bridges going. i replaced the ibanez one after about a month of bad tuning.

but i still blocked off the schaller so i could change strings easily and downtune and all that.

on my bro's yamaha pacaficia, which has a classic style bridge, string changing is a synch, pretty much like a fixed bridge guitar. is string changing on the 2 point bridge like that on the floyd rose, wehre all the rest of the strings go out of tune if you break one and you have to take ages tuning when you replace the strings ( i.e on floyd rose, you have to tune in the first string, tune in the 2nd string, then the 1st again. tune in the 3rd then the 2nd again, then the 1st again etc etc. its a lot of work)

I personally prefer the two-point over the 6 screw vintage style. They're heftier, and tend to have less friction than the 6 screw. This argument is no doubt debatable. I've heard the 6 have a better tone, and so on. I blocked off my tremolo unit because 1)i never used the tremolo arm, 2) more important for me, I tend to hit open strings, then play a lead over it, and when I would do a bend, it caused the open note to go flat while ringing out.
I could have just gone to a hardtail configuration, butt thought, "I never know what I'm going to want to do down the line".

1)Then I think the tuning problem derives by a improper set up of the Schaller, I've a Schaller Floyd Rose on my Jackson Soloist and I tune the gutiar...once a month, perhaps.

2)This means that your friend didn't set up the vintage unit as floating, but it's sitted on the body, since it can't move up. Anyway, if you want to do the same with the Floyd Rose, in the 80s Fender developed the tremsetter for the plus series, it's a device that replaces the third spring of the tremolo and blocks the tremolo in a zero position, even if a string breaks. You can still move the bridge up and down.

Here you can fidn useful informations on the tremsetter:

http://audiozone.dk/index-filer/Tremsetter.htm

The 2 point will allow you to dig a little deeper when you use the trem arm .. however, 6 screws means your block is more 'flush' to the body, getting more tone from the body wood, etc ...

1)Fender in the service manual indicates the same height from the body for both units, don't make me find the correct value...

2)The argument of "more tone from the body wood" woudl work if we are talking about a acoustic instrument, but a electric guitar doesn't work that way, the pickup doesn't read anything about this "transfer", or elsewhere all the guitars with tremolo bridge would have no sustain at all...

2)The argument of "more tone from the body wood" woudl work if we are talking about a acoustic instrument, but a electric guitar doesn't work that way, the pickup doesn't read anything about this "transfer", or elsewhere all the guitars with tremolo bridge would have no sustain at all...[/quote]

I have to disagree here. I think the primary tone has in some ways more to do with the tone you're going to get than the pickups. Or you'd be able to stick pickups on a body made out of plywood. If it didn't, there'd be no reason for them to build semi'hollows, and every guitar would be made of the same wood. That's why strats made from ash have a brighter tone than ones made from alder. The same as maple fretboards and rosewood. The pickups are getting their signal from the vibrations, not just from the strings themselves, but from how they resonate throughout the whole guitar. I was told from a guy who know more about guitars and other stringed instruments than I could ever hope to, and he told me when I go shopping for an electric, the first and most important thing to look for was how it sounds and resonates when I play it unplugged, the rest can be tweeked and adjusted later, but you can't do that much about the primary tone save tightening the screws, and removing paint and finish in some spots, like the neck pocket.

Is there an advantage....depends on who you talk to. Some people like the 2 point modern trem...some the vintage 6 hole.

THe only advantge to me with the 2 point trem is that it sets up to float easier. If you're a player who likes to bend up with your trem, then this may be for you.

I like the vintage bridge for tuning stability. I do not set it up to float, and I have zero tuning problems with my vintage trems.

I take the advice of Bill Callaham, who makes the best vintage strat parts in the world. I put 4 or 5 springs on the trem, and tighten them down until the back of the bridge rests on the body of the guitar. Then play some big bends, and some double stop bends. If the back of the bride raises off the body...tighten the trem claw some more. Do this until you get no lift doing double stops. Now, you will still be able to down trem and use the bar for vibrato.

I find this give the strat a, well, "stratier" tone vs the 2 point american trem. I've owned both, played both, and have decied for my ears and my taste that I'll always use the 6 point vintage brige.

Obviosly Leo Fender didn't feel this way, because when he went to G&L he perfected another version of the 2 point. And if you like that....great. Lots of guys do, and they get great tone.

If you found a strat that just played like an angel, souned perfect in every aspect, but had a 6 point vintage trem...would you pass her up? I sure wouldn't. Same is true for a guitar with a vintage trem. I just prefer the vintage trem.

No right answer, no wrong answer. Whichever you like is fine.

That's also why you tend to see alot of strat players with the rear tremolo cover always removed, it opens the tone a bit.

Surely I would replace these cheap sheetmetal saddles, they're terrible for playing, unless you like to play on screws.

The other Strat I have is a '57 commemorative edition, with vintage trem, surely I'm experienced with that and I'm supposed to leave it original, but I thought about it replacing the saddles with something smoother.

A discussion from another board...

One of the small/tiny aspects that contribute to the overall sound of a guitar is the pu mounting.
It's kinda simple. String movement transmit through bridge and saddle makes body vibrations which transmits to the pu.
How much the body transmit to the pu depends on the transmisson/mounting.

Morten, no offense, but a pickup doesn't work this way. At all. The pickup is a electro-magnetic generator that transform a mechanical vibration into a oscillating current through a perturbation of the magnetic field created by the inductance of the PU itself. The PU doesn't read any sound, just the variation of the magnetic field created by the vibration of the string, that must be made of a magnetic league, usually a nickel steel alloy, if the PU vibrates, for instance, like e archtop guitar, you have the famous Larsen effect, aka feedback, the solidbody guitar was invented to avoid that. The finish, wood and construction of the gutiar indirectly influence the sound because the vibration of the strings is reflected by these (in particular, the fretboard and the part of the body directly under the strings, and this reflection of the sound influence the vibration of the string, therefore the variation of the magnetic field.

Ok, end of the engineering rant.

hey
im upgrading my 2005 aerodyne strat
its an updated strat body with vintage parts
when i bought it i didnt know much but now im putting in new hardware

ive already put in seymour duncan hotrails

i have also bought sperzel locking tuners for it but have yet to put them in, or would the fender/schaller locking tuners have been a better buy for better sutstain/tone/and tuning stability???

im also planning on putting in the lsr roller nut and plan to put in a hipshot tremsetter and the greasebucket tone circuit set up

the main question i have though is: is it possible to take out the vintage '62 reissue 6 pin bridge and replace it with the american standard 2 pin bridge???
or would i just have to set the vintage bridge up to pivot it the outer two screws and buy replacement string saddles, designed like those on the american standard strat, from graph tech???

also, would there be any benefit in replacing the tremolo block with any different type or size of block for increased sustain and tone???