ratherdashing
Kablamminator
Re: Another Reason Compensated Claw is a MYTH
You've summed up the Internet in a single sentence.
You've summed up the Internet in a single sentence.
Another Reason Compensated Claw is a MYTH
- Thread starter SJ318
- Start date
Chris of Arabia
Desert RATT
Re: Another Reason Compensated Claw is a MYTH
uOpt
Something Cool
Re: Another Reason Compensated Claw is a MYTH
Well there is theoretical opportunity even if you want to stick to known guitar physics. If the baseplate bends then that would be such an opportunity. How much a slightly bent baseplate shifts the base frequency of the strings depends where the saddle sits relative to the trem springs.
It is also possible that extreme angles in the claw make it more likely that the whole trem shifts in the 6 screws when you work the trem arm.
Well there is theoretical opportunity even if you want to stick to known guitar physics. If the baseplate bends then that would be such an opportunity. How much a slightly bent baseplate shifts the base frequency of the strings depends where the saddle sits relative to the trem springs.
It is also possible that extreme angles in the claw make it more likely that the whole trem shifts in the 6 screws when you work the trem arm.
ItsaBass
New member
Re: Another Reason Compensated Claw is a MYTH
What determines the notes that are pulled up to is the amount of float...and nothing else. Period. It's a physical fact that cannot be reasonably argued against. It's not how many springs there are, where they are, how the tension is distributed along the block (i.e. whether or not the claw is angled), or anything like that. It's simply how high the vibrato is floating. Any way of arriving at a certain total spring tension on the block works to achieve that level of total spring tension. Angling the claw or keeping it straight will have the same effect on the setup of the vibrato. It's black and white basic mechanics that any reasonably intelligent and/or educated person can see. If you argue otherwise, you are simply wrong, period. That's physically provable, so don't tell me I'm being subjective by saying that.
Personally, I think of it as common sense and good workmanship/work ethic to keep the claw straight. It's just a sign of neat work and attention to detail to do so. I'd think that a repair person's pride and sense of aesthetics about his/her work would obviously dictate that the claw be set squarely to the walls of the spring cavity. It's as if one is saying that it's such a burden to turn two screws equally and keep things looking neat and making sense, that you're gonna just use one and leave the claw looking wonky because it saves you 5 seconds. Is your 5 seconds so valuable that it is worth making your work look like ****? If so, fine; you just don't have a very professional approach.
All that matters is total tension...yet if I got my guitar back from a repair guy with an angled claw, I'd think less of his work. Maybe that's very German of me, but so be it. I value neatness, attention to detail, and things that simply "make sense" in a professional's work. Also, if I saw that, I'd think something like, "Jeez; don't tell me this guy actually believes that is doing something special. What an idiot. I'll never bring my guitar here again." There is nothing I hate more than being sold a line about how something makes a difference, when any idiot can see that it doesn't.
What determines the notes that are pulled up to is the amount of float...and nothing else. Period. It's a physical fact that cannot be reasonably argued against. It's not how many springs there are, where they are, how the tension is distributed along the block (i.e. whether or not the claw is angled), or anything like that. It's simply how high the vibrato is floating. Any way of arriving at a certain total spring tension on the block works to achieve that level of total spring tension. Angling the claw or keeping it straight will have the same effect on the setup of the vibrato. It's black and white basic mechanics that any reasonably intelligent and/or educated person can see. If you argue otherwise, you are simply wrong, period. That's physically provable, so don't tell me I'm being subjective by saying that.
Personally, I think of it as common sense and good workmanship/work ethic to keep the claw straight. It's just a sign of neat work and attention to detail to do so. I'd think that a repair person's pride and sense of aesthetics about his/her work would obviously dictate that the claw be set squarely to the walls of the spring cavity. It's as if one is saying that it's such a burden to turn two screws equally and keep things looking neat and making sense, that you're gonna just use one and leave the claw looking wonky because it saves you 5 seconds. Is your 5 seconds so valuable that it is worth making your work look like ****? If so, fine; you just don't have a very professional approach.
All that matters is total tension...yet if I got my guitar back from a repair guy with an angled claw, I'd think less of his work. Maybe that's very German of me, but so be it. I value neatness, attention to detail, and things that simply "make sense" in a professional's work. Also, if I saw that, I'd think something like, "Jeez; don't tell me this guy actually believes that is doing something special. What an idiot. I'll never bring my guitar here again." There is nothing I hate more than being sold a line about how something makes a difference, when any idiot can see that it doesn't.
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LonePhantom
New member
Re: Another Reason Compensated Claw is a MYTH
It's amazing how much something that doesn't really affect a person in reality sparks such debate! Reminds me of many political, religious and social debates that just shouldn't matter to anyone.
People dig the angled claw and/or the compensated claw, great. People prefer their claws straight, great. Let's all just get along, because at the end of the day each persons preference doesn't affect the others.
It's amazing how much something that doesn't really affect a person in reality sparks such debate! Reminds me of many political, religious and social debates that just shouldn't matter to anyone.
People dig the angled claw and/or the compensated claw, great. People prefer their claws straight, great. Let's all just get along, because at the end of the day each persons preference doesn't affect the others.
PFDarkside
of the Forum
Re: Another Reason Compensated Claw is a MYTH
The entire time these threads have been going on I've been thinking this. All of the arguments suppose a "perfect" fulcrum. A 2-post approaches this, but we all know a 6-screw is NOT a perfect fulcrum. A heavily overloaded (high tension springs on one side, no springs on the other side) 6-screw could act really wonky... I'm not sure exactly if you could get the base plate "rotation" that would result in different pitch shifts vs a perfectly balanced claw.
On a slightly related note, per my post above I've been messing with string tensions on an Excel spreadsheet. Part of the theory here is that low strings "require" more spring force to balance the string tension. What I'm seeing us the most string sets have pretty balanced tension from low to high. There are a few strange ones that D'daddario corrects with their "balanced tension" sets, but for the most part each string is applying a pretty equal force to the bridge.
This weekend will be my "time in the lab", I'll mess with changing the gauge of my G to attempt to reduce the pitch raise and achieve my desired half-step E and While-step G raise. We'll see!
The entire time these threads have been going on I've been thinking this. All of the arguments suppose a "perfect" fulcrum. A 2-post approaches this, but we all know a 6-screw is NOT a perfect fulcrum. A heavily overloaded (high tension springs on one side, no springs on the other side) 6-screw could act really wonky... I'm not sure exactly if you could get the base plate "rotation" that would result in different pitch shifts vs a perfectly balanced claw.
On a slightly related note, per my post above I've been messing with string tensions on an Excel spreadsheet. Part of the theory here is that low strings "require" more spring force to balance the string tension. What I'm seeing us the most string sets have pretty balanced tension from low to high. There are a few strange ones that D'daddario corrects with their "balanced tension" sets, but for the most part each string is applying a pretty equal force to the bridge.
This weekend will be my "time in the lab", I'll mess with changing the gauge of my G to attempt to reduce the pitch raise and achieve my desired half-step E and While-step G raise. We'll see!
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Lewguitar
New member
Agileguy_101
Master of his Domain
Re: Another Reason Compensated Claw is a MYTH
Idea,
This would be too much fun if it was submitted to "mythbusters" if they are still on. Also, I wonder why Carl V. doesn't "guest" chime in on these discussions. I mean, He sort of started the whole thing. If I was a famous guy, I am sure I would have heard that there was a lively and seemingly endless back and forth on something I said. I would enter the fray right away. BY THE WAY!!!!!!!!!!!!! JEFF BECK IS THE BIGGEST ABUSER OF TREMS IN GUITAR HISTORY and just fans his block with 3 springs and a straight block.
SJ
Idea,
This would be too much fun if it was submitted to "mythbusters" if they are still on. Also, I wonder why Carl V. doesn't "guest" chime in on these discussions. I mean, He sort of started the whole thing. If I was a famous guy, I am sure I would have heard that there was a lively and seemingly endless back and forth on something I said. I would enter the fray right away. BY THE WAY!!!!!!!!!!!!! JEFF BECK IS THE BIGGEST ABUSER OF TREMS IN GUITAR HISTORY and just fans his block with 3 springs and a straight block.
SJ
Lewguitar
New member
Re: Another Reason Compensated Claw is a MYTH
As for science - Albert Einstein used his tremendous IQ (http://listcrown.com/top-10-highest-iq-holders-world/) and his complex calculations to prove that Black Holes could not exist.
But evidently, Black Holes do exist and Hawking uses his calculations and observations to show that Einstein was probably wrong about that. http://www.dnaindia.com/scitech/rep...s-albert-einstein-s-black-hole-theory-1956713
The weather man is also often wrong about the weather - even with all the scientific data backing him or her up.
When it comes to feelings (like how I feel or you feel when you play your guitar and tap into that mysterious source of music, art, love and creativity) if your guitar feels and sounds better to you with an angled tremolo claw then leave your Strat that way and don't give it a second thought.
As for science - Albert Einstein used his tremendous IQ (http://listcrown.com/top-10-highest-iq-holders-world/) and his complex calculations to prove that Black Holes could not exist.
But evidently, Black Holes do exist and Hawking uses his calculations and observations to show that Einstein was probably wrong about that. http://www.dnaindia.com/scitech/rep...s-albert-einstein-s-black-hole-theory-1956713
The weather man is also often wrong about the weather - even with all the scientific data backing him or her up.
When it comes to feelings (like how I feel or you feel when you play your guitar and tap into that mysterious source of music, art, love and creativity) if your guitar feels and sounds better to you with an angled tremolo claw then leave your Strat that way and don't give it a second thought.
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ginormous
Understatmentologist
Re: Another Reason Compensated Claw is a MYTH
Lew, guitar playing is very much about feel, no question. Some people string up with bridge cables and rock out. Others need dental floss.
David, in the 20th century, science made significant advances in guitar building, in what was up to then an artisan-driven craft.
Both ideas and points of view have equal merit.
The guitar player uses the tools literally at hand, to the utmost expression of their art.
The guitar builder takes pride in creating their best effort, for a legacy of quality and durability.
Referee calls a draw. No winner, no loser, no rematch.
Let's chill for a minute, then.
Again I ask, how can we test something with so many variables?
We can measure, evaluate, and correlate 'til the cows come home, but what specific item or items, or set of materials, conditions and settings, will yield the postulated theorem most consistently?
Perhaps most importantly, how can we account for playing technique idiosyncrasies, in the margin of error?
What would the A/B/X be in a true double- or triple-blind test? How would any possible placebo effect be counteracted and accounted for?
TLDR -- It's a university-level engineering project, people. Who's gonna pony up the bucks?
Until then, this is nothing but a p***ing contest.
Lew, guitar playing is very much about feel, no question. Some people string up with bridge cables and rock out. Others need dental floss.
David, in the 20th century, science made significant advances in guitar building, in what was up to then an artisan-driven craft.
Both ideas and points of view have equal merit.
The guitar player uses the tools literally at hand, to the utmost expression of their art.
The guitar builder takes pride in creating their best effort, for a legacy of quality and durability.
Referee calls a draw. No winner, no loser, no rematch.
Let's chill for a minute, then.
Again I ask, how can we test something with so many variables?
We can measure, evaluate, and correlate 'til the cows come home, but what specific item or items, or set of materials, conditions and settings, will yield the postulated theorem most consistently?
Perhaps most importantly, how can we account for playing technique idiosyncrasies, in the margin of error?
What would the A/B/X be in a true double- or triple-blind test? How would any possible placebo effect be counteracted and accounted for?
TLDR -- It's a university-level engineering project, people. Who's gonna pony up the bucks?
Until then, this is nothing but a p***ing contest.
frankfalbo
In Fluence Y'all
Re: Another Reason Compensated Claw is a MYTH
I can't believe this discussion is still going on. The science that could prove beyond a doubt that it is a myth, unfortunately would have to depend on each piece of the equation being rigid and fixed in relationship to one another. If you've ever worked a Strat trem, you know there are times when it's digging into the body, the paint, and times when it's meandering about the 6 (often poorly placed) screws. The 2 fulcrum should, in theory equalize the physics of it. The trem can't pivot anywhere between the two studs. But even 2-point trems can move non linearly a little depending on where the force is applied. That makes this plausible. But everything alters the pitch fluctuation. The radius of the saddles, (vs the straight baseplate) the intonation points of the saddles, whether they're farther forward or back on the trem, how high they are off the baseplate, all of these things change the relationships. To say the angled claw is the singular cause has to be false. You could achieve the same pitch variance by shifting the intonation points a little, relative to their neighboring strings.
Lewguitar
New member
Re: Another Reason Compensated Claw is a MYTH
Would you all like to read Carl Verheyen's comments on all this?
"I have worked on this concept for many years and I have found it is all about equalizing and balancing the tension between SPRINGS AND STRINGS.
Here follows the information sent with my signature "Balanced Bridge" strings made by Thomastik-Infeld in Vienna, Austria.
Verheyen Stratocaster Full Floating Tremolo Bridge Setup
For the last 20 years the Fender Stratocaster has been my main guitar. When working with the bridge setup I always strive for the most musical and in-tune mechanical operation I can find.
I’ve asked hundreds of players about their setup and over the years I’ve come up with my own method that always returns to pitch and has many musical benefits as well.
The method described works best when the tuners are working properly, the nut has been properly cut so string don’t bind, the neck truss rod properly adjusted and the six (or 2) mounting screws that fasten the bridge plate provide proper freedom of movement.
At the heart of the setup is balancing spring tension with string tension by adjusting the two long spring tension adjusting screws at the “claw” to which the tremolo springs are attached to the steel tremolo block. Use 3 springs from the tremolo block to the claw: furthest position left, furthest position right and center; do NOT set the outside springs at an angle.
1) Begin by adjusting the 2 screws of the claw so that when you pull UP on the tremolo arm and the bridge is in contact with the body the G string pulls up a minor 3rd. This will make the B string rise a whole step and the E string a half step. The mechanics of the system should first make musical sense. You will end up with an “Angled Claw” which is exactly what you’re looking for.
2) Next, adjust the screw on the bass side of the claw (closest to the low E string) so that when you pull up on the tremolo arm and the bridge is in contact with the body, the A and D string when fretted at the 5th fret (D and G) rise a whole step to E and A.
3) You may have to go back and forth a few times between the two adjusting screws until the bridge is stable and the intervals described are true. And you’ll need to correct the intonation by adjusting the bridge saddles.
4) When all is right and balanced between springs and strings, the Am7 barre chord on the 5th fret should sound like it is descending musically to an Abm7 when the bar is slightly depressed. It won't be perfect but it's a very musical sound you're after and should achieve. This effect is ideal for “shaking” chords and applying a manual tremolo to your voicings.
5) I use a Teflon lubricant (sold in electronic shops) under the strings at the nut slots and where the strings contact the string tree(s). You only need to use a little lube; wipe away any excess.
6) I try to use the minimum windings on the string posts, preferring just one if possible. My bass strings leave the post at the top; my trebles wind down and leave the post at the bottom.
7) There is a short video of me explaining the whole process at
VIDEO Carl Verheyen's Strat set-up 1.01 It was recorded a few years back in Amsterdam …….it may also help!
All the best,
Carl Verheyen"
Would you all like to read Carl Verheyen's comments on all this?
"I have worked on this concept for many years and I have found it is all about equalizing and balancing the tension between SPRINGS AND STRINGS.
Here follows the information sent with my signature "Balanced Bridge" strings made by Thomastik-Infeld in Vienna, Austria.
Verheyen Stratocaster Full Floating Tremolo Bridge Setup
For the last 20 years the Fender Stratocaster has been my main guitar. When working with the bridge setup I always strive for the most musical and in-tune mechanical operation I can find.
I’ve asked hundreds of players about their setup and over the years I’ve come up with my own method that always returns to pitch and has many musical benefits as well.
The method described works best when the tuners are working properly, the nut has been properly cut so string don’t bind, the neck truss rod properly adjusted and the six (or 2) mounting screws that fasten the bridge plate provide proper freedom of movement.
At the heart of the setup is balancing spring tension with string tension by adjusting the two long spring tension adjusting screws at the “claw” to which the tremolo springs are attached to the steel tremolo block. Use 3 springs from the tremolo block to the claw: furthest position left, furthest position right and center; do NOT set the outside springs at an angle.
1) Begin by adjusting the 2 screws of the claw so that when you pull UP on the tremolo arm and the bridge is in contact with the body the G string pulls up a minor 3rd. This will make the B string rise a whole step and the E string a half step. The mechanics of the system should first make musical sense. You will end up with an “Angled Claw” which is exactly what you’re looking for.
2) Next, adjust the screw on the bass side of the claw (closest to the low E string) so that when you pull up on the tremolo arm and the bridge is in contact with the body, the A and D string when fretted at the 5th fret (D and G) rise a whole step to E and A.
3) You may have to go back and forth a few times between the two adjusting screws until the bridge is stable and the intervals described are true. And you’ll need to correct the intonation by adjusting the bridge saddles.
4) When all is right and balanced between springs and strings, the Am7 barre chord on the 5th fret should sound like it is descending musically to an Abm7 when the bar is slightly depressed. It won't be perfect but it's a very musical sound you're after and should achieve. This effect is ideal for “shaking” chords and applying a manual tremolo to your voicings.
5) I use a Teflon lubricant (sold in electronic shops) under the strings at the nut slots and where the strings contact the string tree(s). You only need to use a little lube; wipe away any excess.
6) I try to use the minimum windings on the string posts, preferring just one if possible. My bass strings leave the post at the top; my trebles wind down and leave the post at the bottom.
7) There is a short video of me explaining the whole process at
VIDEO Carl Verheyen's Strat set-up 1.01 It was recorded a few years back in Amsterdam …….it may also help!
All the best,
Carl Verheyen"
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David Collins
New member
Re: Another Reason Compensated Claw is a MYTH
While I admire your efforts toward diplomacy, I do not see this an argument of equal and opposing opinions, but debate over a phenomenon with one, factual, definitive answer. I'm not discussing what feels best, what avenue of setup procedure works best for different tinkerers, or what is perceived to have a better tone.
One simple question.
Does changing the lateral distribution of tension on the back of a tremolo block affect a difference in relative pitch changes between strings when you pull the tremolo back?
Much as I love diplomacy, this is an impersonal fact, a right or wrong answer to a simple singular question which keeps getting lost in a cloud of peripheral issues and distractions.
It doesn't take much. This question is not complicated, does not include many variables (only one actually, which is the point of doing such a test to appraise influence if singular factors), and is not terribly difficult to test. Take your guitar and adjust the trem claw at the opposite angle with the same float (use something like the G raising a minor third with the trem full back as a reference). Will the B and E be end up sharper or flatter at full back than they were with the opposite trem claw angle? Do the test yourself, and you'll see it doesn't make a difference.
For those seeking advice on setting up their trems, this alteration does not affect any real change in how the strings change pitch relative to one another.
On a separate note (important, this is separate from the primary issue in discussion), this did pique my interest in effect on feel and stiffness with different spring adjustments. I did set up a Strat trem with the claw at a maximum angle (3 springs), claw straight, and then claw straight with 5 springs, and measured the force at a marked point at the tip of the bar required to lower the third string 1 full step. It was a quick cursory test, not as tightly controlled as I would call ideal, but I did find the angled claw to require about 2-4% greater force, and the 5 spring of course much more at about +22% compared to the straight claw 3-spring.
So yes, angling the claw does appear to stiffen up the trem a bit compared to straight (but less than adding additional springs). So the feel can be a bit different, tuning stability during a bend and how far you have to bend a string to hit a target can all be affected. Of course I checked the tuning while I was doing this, and when you pull from neutral back to the deck, each string sharpens by the same amount whether angling the claw treble back, bass back, straight, or 5 springs. No surprise of course, as the strings are still being extended and stretched the same amount in each case.
Still, it was good to do the test myself just to reassure myself that the laws of physics hadn't changed on me recently. I was getting worried for a minute.
While I admire your efforts toward diplomacy, I do not see this an argument of equal and opposing opinions, but debate over a phenomenon with one, factual, definitive answer. I'm not discussing what feels best, what avenue of setup procedure works best for different tinkerers, or what is perceived to have a better tone.
One simple question.
Does changing the lateral distribution of tension on the back of a tremolo block affect a difference in relative pitch changes between strings when you pull the tremolo back?
Much as I love diplomacy, this is an impersonal fact, a right or wrong answer to a simple singular question which keeps getting lost in a cloud of peripheral issues and distractions.
It doesn't take much. This question is not complicated, does not include many variables (only one actually, which is the point of doing such a test to appraise influence if singular factors), and is not terribly difficult to test. Take your guitar and adjust the trem claw at the opposite angle with the same float (use something like the G raising a minor third with the trem full back as a reference). Will the B and E be end up sharper or flatter at full back than they were with the opposite trem claw angle? Do the test yourself, and you'll see it doesn't make a difference.
For those seeking advice on setting up their trems, this alteration does not affect any real change in how the strings change pitch relative to one another.
On a separate note (important, this is separate from the primary issue in discussion), this did pique my interest in effect on feel and stiffness with different spring adjustments. I did set up a Strat trem with the claw at a maximum angle (3 springs), claw straight, and then claw straight with 5 springs, and measured the force at a marked point at the tip of the bar required to lower the third string 1 full step. It was a quick cursory test, not as tightly controlled as I would call ideal, but I did find the angled claw to require about 2-4% greater force, and the 5 spring of course much more at about +22% compared to the straight claw 3-spring.
So yes, angling the claw does appear to stiffen up the trem a bit compared to straight (but less than adding additional springs). So the feel can be a bit different, tuning stability during a bend and how far you have to bend a string to hit a target can all be affected. Of course I checked the tuning while I was doing this, and when you pull from neutral back to the deck, each string sharpens by the same amount whether angling the claw treble back, bass back, straight, or 5 springs. No surprise of course, as the strings are still being extended and stretched the same amount in each case.
Still, it was good to do the test myself just to reassure myself that the laws of physics hadn't changed on me recently. I was getting worried for a minute.
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ginormous
Understatmentologist
Re: Another Reason Compensated Claw is a MYTH
Thanks, David. I'm now an admin, so diplomacy and maintaining decorum are my responsibility.
As passionate as we are about playing, making and hot-rodding guitars, it's easy to let things get out-of-hand in a discussion like this.
I ask everyone to keep a level head. Lew and David have the right idea; no name-calling, hair-pulling or ad hominem attacks.
Thanks, David. I'm now an admin, so diplomacy and maintaining decorum are my responsibility.
As passionate as we are about playing, making and hot-rodding guitars, it's easy to let things get out-of-hand in a discussion like this.
I ask everyone to keep a level head. Lew and David have the right idea; no name-calling, hair-pulling or ad hominem attacks.
L
Little Pigbacon
Guest
Re: Another Reason Compensated Claw is a MYTH
A little hair-pulling is okay once in a while, right? Because everybody likes a good catfight.
A little hair-pulling is okay once in a while, right? Because everybody likes a good catfight.
yldouright
New member
Re: Another Reason Compensated Claw is a MYTH
I promised I wouldn't get myself involved in this again but here goes. Some of the posters suggest the float amount is the determining factor without any regard for claw angle. This is true ONLY when string set load matches the required offsetting spring tension. Invariably, the bridge MUST angle to match the tension for repeatable tonal accuracy and the best way to do that is by adjusting the claw. For those wishing to prove this I suggest the following test:
If your string set is 9-42 and your guitar floats up and down without loss of tuning or improper tonal stepping, change your string set to 9-52 and tell if this is still the case after a week of playing. The reasons behind the lack of apparent change when changing the claw angle for those that have floating bridges which work properly can be many but I will offer some below:
1. Your pivot screws have been worn to 'accomodate' and have developed a 'memory' of your tuning.
2. Your springs do not have identical tension profiles and are fortuitously positioned
3. Your nut and or bridge is exhibiting stiction that resists the expected change from the claw angle
The three factors above are not mutually exclusive. Many of these points were expressed earlier by other members in whole or in part but I'm just putting them here in what I hope is a comprehensive reply If anyone reading considers themselves 'wiring' gurus, I can use some advice in this linked thread.
I promised I wouldn't get myself involved in this again but here goes. Some of the posters suggest the float amount is the determining factor without any regard for claw angle. This is true ONLY when string set load matches the required offsetting spring tension. Invariably, the bridge MUST angle to match the tension for repeatable tonal accuracy and the best way to do that is by adjusting the claw. For those wishing to prove this I suggest the following test:
If your string set is 9-42 and your guitar floats up and down without loss of tuning or improper tonal stepping, change your string set to 9-52 and tell if this is still the case after a week of playing. The reasons behind the lack of apparent change when changing the claw angle for those that have floating bridges which work properly can be many but I will offer some below:
1. Your pivot screws have been worn to 'accomodate' and have developed a 'memory' of your tuning.
2. Your springs do not have identical tension profiles and are fortuitously positioned
3. Your nut and or bridge is exhibiting stiction that resists the expected change from the claw angle
The three factors above are not mutually exclusive. Many of these points were expressed earlier by other members in whole or in part but I'm just putting them here in what I hope is a comprehensive reply If anyone reading considers themselves 'wiring' gurus, I can use some advice in this linked thread.
Lewguitar
New member
Re: Another Reason Compensated Claw is a MYTH
My opinion is that everyone who cares to, should experiment with both methods and then use whichever method you prefer.
One way or the other will appeal to you and I recommend using that method - whichever it is.
Think for yourself. Don't let anyone tell you what you should think or what you should prefer.
I prefer the angled claw method.
My floating tremolo returns in tune, sounds good, feels solid when I bend notes with my fingers, doesn't quiver much when I'm strumming chords and gives me the predetermined notes I want when I pull up on the bar.
And I like the way it feels. It feels solid and dependable.
My opinion is that everyone who cares to, should experiment with both methods and then use whichever method you prefer.
One way or the other will appeal to you and I recommend using that method - whichever it is.
Think for yourself. Don't let anyone tell you what you should think or what you should prefer.
I prefer the angled claw method.
My floating tremolo returns in tune, sounds good, feels solid when I bend notes with my fingers, doesn't quiver much when I'm strumming chords and gives me the predetermined notes I want when I pull up on the bar.
And I like the way it feels. It feels solid and dependable.
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