![]() On a wraparound perhaps the downward force is achieved through the "rotational force" - or is it like having a big fan on a sailing boat and expecting it to go? Thinking about the comparison between an acoustic bridge and a wraparound, yes I can see how the acoustic is a little bit more like a TOM. However what I think I'm getting at most is with a wraparound there is only one point of contact with the body, whereas a TOM bridge has two points of contact I agree there is some incorrectness about my statements, but there is always some amount of downward pressure on the saddles (there has to be) Looking around at images of wraparound bridges, some have more some have less. To tell you the truth after thinking about all this my head is hurting. You are able to adjust the string behind the bridge and the purpose for this has something to do with what I'm talking about (although I think some people get confused about its purpose) There is this guitar by Gibson, The Howard Roberts Fusion. So a wraparound bridge has a double-whammy effect on intonation Which might be desirable while playing but it also comes into effect when simply just pressing the string to fretboard - and this will have an effect on intonation. With no string behind the bridge to flex, there is greater increase in pitch when bending a string. But does adjustability compromise any benefits? (come to think of it, Teles and hard-tail Strats would be much the same)Īs for intonation, the PRS I saw had quite a simple bridge with minimal adjustability but I know there are plenty of bridges out there to choose from now that seem to have plenty of adjustability. But what I'm thinking is with this type of bridge there is no loss of string vibration into the wood, after all this is what acoustic bridges are like. Yes that's something that occurred to me and is it something to be concerned about? Maybe, maybe not. I'm not fully convinced that I really want a twisting force on the bridge.
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