G&L ASAT Classic bridge, construction flaw?

[DharmaBum]

Hi
I took my G&L Classic to my trusted luthier to have the original six saddle bridge reinstalled. I got it used with a Wilkinson Sung-Il with three compensated saddles. He told me that he had yet to come by a six-bridge that wasn't flawed or unstable. The saddles were likey to move around and wouldn't keep the intonation stable (Not sure if I got that right in English). At least, all of the Fenders he worked on had this problem. Maybe G&L were better in that regard, but he considered the construction itself as flawed. What's your opinion on that. Also, would it be possible to install three saddles into the G&L bridge. I could rather live with with "G&L ASAT" stamped into it, rather than being vaguely reminded of deceased North Korean madmen

[darwinohm]

I think your luthier is flawed. The G&L classic bridge is stable, will intonate better than a 3 saddle bridge, and stay there in my opinion. I am not a fan of Fender bridge plates as they are quite thin. The G&L is a heavier construction. I have them both and have measured.--Darwin

[KenC]

The ASAT Classic bridge was made from George Fullerton's original drawing for the '52 Tele. I don't know whether G&L has remained with this exact specification over the past 25 years, but at least it started out that way.

Ken

[TMO]

I agree it's a strange comment. My ASAT classic ashtray 6 bridge is completely essential to achieving a proper intonation. You need to adjust 2 things for each string individually at the saddle- length of the string's scale, and the height of the string from a reference on the fretboard. Proper intonation is achieved when the pitch of a harmonic played on the 12th fret matches the pitch of the same string fretted and noted (gently) on the 12th fret. When done properly, each string's length is exactly 50% on either side of a fretted 12th of the string's overall scale length, and the resulting fretted notes match their chromatic pitches, (it also takes into account the increase in string tension when fretted so the relative pitch of the strings when playing barre chords for example, stays the same relative to other strings on the same fret). The ASAT design is the most direct and efficient means of doing this and still be able to maintain control of playing action. I wonder if his beef is that the saddles can slide around on their height adjustment screws- but seriously- show me a guitar bend that can move the low or high e saddle while actually playing music. If your saddles are moving around on an ASAT ashtray- you're doing something wrong in setup IMHO.

Sounds like a tune-o-matic guy to me. Try getting a Heavy Bottom/Light Top string setup to work on one. Can't adjust the individual saddle heights. Big string gap between d + g. There's a reason why certain music is only played best on tele's- because it can only sound right on a tele.

[Craig]

Also, would it be possible to install three saddles into the G&L bridge.

Yes. Here is my JD-5 which came stock with the 3-saddle bridge. BTW, this was the only model that G&L offered both the
6-saddle and 3-saddle bridge as an option.



I also disagree with your tech's assertion that the G&L 6-saddle bridge is flawed.

[DharmaBum]

Thanks everybody.
I assumed that the six saddle version must be a sort of "evolution", and thus an improvement. My luthier admitted, that the G&L bridge might not have these issues described, but he had worked mostly with the Fender version, never with the G&L type. So that is probably where his beef with the construction comes from. (US G&Ls are not well known in Germany, but the Tributes are a common sight in stores. While these are good instruments, G&L is developing the stigma of a cheapo brand over here, since the US models are harder to come by.)
Since no one of you has ever had any of these issues, I guess I return the ASAT to it's former glory.
While not necessarily a Tune-O-Matic guy, my luthier sure has his preference for three compensated saddles. He uses the Joe Barden Bridge in his signature models.
But it's good to know, that I could just pop in three saddles in case.
BTW, Craig. I always thought, there was something wrong about blue guitars to begin with. After seeing yours I stand corrected.

[blargfromouterspace]

I think your luthier is flawed. The G&L classic bridge is stable, will intonate better than a 3 saddle bridge, and stay there in my opinion.

Same here. After setting the intonation I haven't had to redo it once on any of my Classics, and the saddles don't move around either.

[NickHorne]

I'm certain you'll find the G&L 6-saddle to be excellent.
But if you are tempted to experiment with other aftermarket bridges, do be aware that stainless is NOT necessarily a good move sound-wise; it can sound thinner, which would be a sad waste of a good back pickup!
And the screw holes in the body were not intended to undergo many unscrewing / rescrewings, being threads in timber and not nuts in metal. Trying half-a-dozen different bridges could be unwise unless you have a good tech who can drill, fill and remake the mounting holes, and some savings to pay him / her with, if the original holes get worn...
Giving the original G&L unit a fair trial would be a good plan.

[DharmaBum]

Looks like my guitar tech (and me) will be up for a pleasant surprise then: That G&L is the company that makes 6 saddle bridges that actually work . Really looking forward for the de-modded ASAT. I'm confident I won't be experimenting with the bridges and PUPs afterwards. So, the holes/wood won't be aggravated more than necessary. The MFDs are a design unique to G&L so I don't think about aftermarket pickups using the conventional Alnico design. The MFDs are one of the things that drew me towards the ASAT. Otherwise I might as well have stuck to my Fender Tele.
And after so much reassurance that the bridge will be fine, I'll rely on your positive experiences. As already mentioned, my tech, by his own admission, never had the opportunity to work on G&L saddles/bridges.
The guitar will be ready in about two weeks. I'll give you some feedback then.

[TMO]

The ASAT 6 saddle ashtray has the nice advantages of brass channelled saddles, and a side entry. By contrast, when intonating a guitar with the fender 3 saddle, each string has to be a bit of a compensation with it's "partner". You don't typically notice it too bad on the E/A or the B/E saddles, but the middle one is impossible- since there is often as much as a centimeter's scale difference between these two strings in order for them to match their chromatic pitch. Most people (including myself) would bend the set screws physically, in order to get the saddles to have better compensation by angling them. Trouble is, if you have a hard set (we used to open with "search and destroy" by the stooges)- you can play your guitar out of intonation in a few songs.

My beef with the tune o matic is that you can only really address bridge height, not individual strings. And the the tunomatic has a 12" radius, whether you like it or not. Using the G&L I can match any radius neck. I often change to a flat radius at the bridge when playing slide (and of course the asat bridge lets you quickly reintonate). The G&L bridge is also better for Open G, DADGAD and drop D, allowing you to selectively raise open string heights on E's without affecting the neighbor.

Finally, my ASAT stays in tune forever. shockingly so. If I had a tremolo, I may say otherwise, but form follows function- and so if you have to have an ashtray (and I do)- the ASAT seems like the best OEM out there.

[Lazer]

Dump the luthier, he's full of crap, There is no such problem with the Fender 6 saddle brigde either. I have been using them for
years an I can bend and abuse the strings pretty hard. Adjust them correctly and You will have no problem.

Cheers
L-zr