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How high are the bridges on your Vintage bursts?

VintageWoodWorkshop

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Nov 12, 2002
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was there a specific angle Gibson looked to achieve with the neck set in the 50's LP's? It seems that the most of the pics I see here and in other threads shows a lower bridge produced I'm assuming by a shallower neck/body angle.

I'm interested because because my 87 standard has a higher bridge at 3/4" to the top of the abr-1 (measured like Wilko above) and the neck/body angle is not nearly as flat in appearance as the vintage LPs I see. As you guys know this mainly affects the break angle from bridge to tailpiece. Mine seems pretty severe with the tailpiece screwed all the way down but sounds and feels great. I haven't taken the time yet to raise up the tailpiece incremently to find the best angle or sweet spot if it exists...
 
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Wilko

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They were about 2 degrees until the late 60s "reissue that was more like 2.5 degrees.
 

DHBucker

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Here's Gladys - room for two, but not for three:
1904_p39552.jpg

everytime I see Gladys I can only look for so long before I turn away. It's like looking at another man's wife's perfect ass or something for way too long....You know it's not right but the manbeast in you screams out....WANT REALLY BAD!!!!
 

sidekick

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was there a specific angle Gibson looked to achieve with the neck set in the 50's LP's? It seems that the most of the pics I see hear and in other threads shows a lower bridge produced I'm assuming by a shallower neck/body angle.

I'm interested because because my 87 standard has a higher bridge at 3/4" to the top of the abr-1 (measured like Wilko above) and the neck/body angle is not nearly as flat in appearance as the vintage LPs I see. As you guys know this mainly affects the break angle from bridge to tailpiece. Mine seems pretty severe with the tailpiece screwed all the way down but sounds and feels great. I haven't taken the time yet to raise up the tailpiece incremently to find the best angle or sweet spot if it exists....like I said it sounds great as is anyway...

Over the years, I've seen it commentated the original, shallow neck angle, changed when the wrapover replaced the original series trapeze type somewhere during late '53. There was probably a form of short 'transitional period/overlap' during that time in the respective build sequence, but I've seen it stated the neck angle setting went from, (circa) 2 degrees to around 4/5 degrees and continued throughout the 50's. The maple cap is stated as becoming higher then also.

No doubt there was some minor variation because of the more "hand's on" in the factory back then.

When I had a new 'board put on a late '60 335, the (UK) luthier told me that Gibson did increase the neck angle a little more around then, (more noticeable on 335 neck sides, (under the fret-board binding) where they join the body in appearance from the side) and he commented on that on many late 50's Gibson's with PAF's, they often appeared set quite flush to the top of the pickup rings, (according the the recommended Gibson 1/16" P/U fretted top-fret height under the strings maybe?) and thus accordingly reflecting the then existing 4/5 degree neck angle.

To my eye, Wilco's bridge looks particularly high, but as he likes that on his guitars, that is a good thing for him.... Joe Ganzler's "Gladys" bridge height looks more "period right" to me, but that is the individual thing concerning the 50's LP's in that each is probably more an individual in it's own right.
 

The Stumble

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bridgeheight.jpg


Basically vintage bursts all tried to have the same setup as the picture in the beauty of the burst as shown above so the string is parallel to the top of the rings

Generally a low bridge is always desired as high bridges are brought about by bad neck angles and/ or flat topcarves and the need to have a high bridge to avoid string rattlle or choking on higher frets.

high bridges also increase the turning motion on the bridge studs themselves which will cause them to bend and fail over time which is why people install additional thumbwheels

High bridges also increase the string tension and make the strings harder to bend which is why most people top wrap there stings over the stop tail piece in this situation as it reduces the breakangle of the string as it passes over the saddle

vintage burst bridge heights normally range betwen 14mm to 15.5mm to the top of the saddle itself so wilkos is higher but i can appreciate people like different setups and different height actions

just my opinion , but if you like your setup this way that s fine man :salude
 

Rev.WillieVK

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everytime I see Gladys I can only look for so long before I turn away. It's like looking at another man's wife's perfect ass or something for way too long....You know it's not right but the manbeast in you screams out....WANT REALLY BAD!!!!

759504013_BpXXn-O.jpg

1904_p39552.jpg
 

Wilko

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vintage burst bridge heights normally range betwen 14mm to 15.5mm to the top of the saddle itself so wilkos is higher but i can appreciate people like different setups and different height actions...

Pickup rings are just over 12mm high. For pickup and string clearance I know that most (if not all Bursts have saddles higher than 15mm).

Gladys is pretty high compared to some I've seen.
 

jb315

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Apr 27, 2010
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I am only going by what the guitar tech adjusts after it goes in for a set up.
The angle between the tailpeiece and bridge seems to get severe, so the tech sometimes raises the tailpiece studs to compensate alittle after intonating the guitar, and believe me this guy knows his stuff, I surmise the neck has probably moved in some way over time, thus affecting the position of the bridge.
 

Wilko

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Yeah, necks move up, making the bridges go down.

Mine's not all that high really. The saddles are short, too:

56_side.jpg
 

Joe Ganzler

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Pickup rings are just over 12mm high. For pickup and string clearance I know that most (if not all Bursts have saddles higher than 15mm).

Gladys is pretty high compared to some I've seen.

Don't forget to factor in fret size/height too; Gladys has been refretted...
 

The Stumble

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Dont forget to consider the fact there may have been a little too much sanding on the belly of a number of bursts which would also have an impact on the bridge height increasing it
 

sunking101

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Jan 13, 2020
Messages
89
bridgeheight.jpg


Basically vintage bursts all tried to have the same setup as the picture in the beauty of the burst as shown above so the string is parallel to the top of the rings

Generally a low bridge is always desired as high bridges are brought about by bad neck angles and/ or flat topcarves and the need to have a high bridge to avoid string rattlle or choking on higher frets.

high bridges also increase the turning motion on the bridge studs themselves which will cause them to bend and fail over time which is why people install additional thumbwheels

High bridges also increase the string tension and make the strings harder to bend which is why most people top wrap there stings over the stop tail piece in this situation as it reduces the breakangle of the string as it passes over the saddle

vintage burst bridge heights normally range betwen 14mm to 15.5mm to the top of the saddle itself so wilkos is higher but i can appreciate people like different setups and different height actions

just my opinion , but if you like your setup this way that s fine man :salude
You seem to contradict the photo and your first paragraph in your subsequent paragraphs....

Yeah I know, thread resurrection time. 😊
 
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