I have two Compton bridges but have never tried the Tru-Ark. My question relates to the fact that the Compton doesn't rock back and forth while the Tru-Ark is a rocking bridge.

It seems like the Compton may not allow as much movement as the Tru-Ark but the Tru-Ark may wander off vertical and may not stay in tune as well as the Compton. Anybody have any insight about this question?

I'm going to post this at the other Gretsch forum because I'm aware that members of the two forums prefer one over the other and have opposing opinions about them, and it will be interesting and (I hope) informative to hear the answers. I hope to get objective ansers.

S Mac

Why not keep the original bridge?

There are lovers of both TruArc and Compton bridges around here.

The other site blows.

TruArc bridges don't wander vertically, horizontally, nothing. Buy one, and if you don't like it, Tim will take it back, and someone else will buy it and love it.

I've got one Compton and three TruArc's, and I feel like I'm sitting pretty.

I've always wondered about the stability of rocking bridges... I'll watch this thread with interest And I think by 'verticle' you mean 'perpendicular'? Just so I'm not getting confused?

There is another current thread about not bonding with an expensive guitar. When I got my dream guitar last year, the Billy Bo White Penguin, it was a bit of a disappointment. The strings were not staying in place on the tune-o-matic bridge as the Bigsby B3 is too high on the flat-topped guitar. My Tru-Arc fixed everything. (Well, except my pickguard problem, but Setzer sorted that out.)

Best value for the dollar I've ever gotten with regard to guitar parts.

Have you ever heard of any rocking bar bridge, whether a Tru-Arc™ (by the way, please note that the bridge has nothing to do with Noah, but has everything to do with matching the "arc" of the bridge's radius to the "arc" of the fretboard's radius) or otherwise, not remaining perpendicular to the strings by reason of the use of the Bigsby? (Mind you, to properly intonate the bass strings, the rocking bar bridge has to be slightly canted anyway).

I have a number of Gretsch guitars equipped with Bigsby vibratos and rocking bar bridges and I have never experienced any movement of the bridges as you describe it. Moreover, I would think that the guitarist would really have to be yanking hard on the Bigsby to even begin to create such movement.

Buy a rocking bar bridge and put it on your guitar. It works more effectively than a non-rocking bridge because, when the bridge rocks or "wiggles", the string is not being dragged across the top of the bridge where friction could possibly impart wear to the string at that spot, or where the string could hang up on any surface imperfections on the bridge and thereby not allow it to return to its original length and affect intonation as a result.

In the interest of full disclosure, I own several Tru-Arc™ bridges and I own no Compton bridges. I prefer the appearance of the Tru-Arc™ rocking bar bridge. Also, I like the fact that my guitars look the way that Gretsch guitars have looked for many decades of their existence. Apparently, Gretsch/FMIC feel the same since they put the Tru-Arc™ bridge on the new Duane Eddy signature model guitar, as well as some of the custom shop models. Also, check out the endorsements that each of the bridges has. Those of the Tru-Arc™ are very impressive.

I have been extremely pleased with my Tru-Arc™ bridges and I know that, with Proteus's liberal exchange/return policy, I would be able to be confident that I would eventually find just the right material for my particular guitar. I wish Wayne "Pops" Compton no ill will, but, even more importantly for me is that I am supporting with my purchase of a Tru-Arc™ a long-standing member of the GDP who has contributed more to my knowledge about Gretsch guitars (as well, I presume, could likely be said for most other GDP'ers) than any other person. That level of sophistication, education, and integrity should be loyally rewarded by me, and every other GDP'er, in my humble opinion.

EDIT: By the way, expect Bonedaddy to show up any minute now and talk about "whittling" bridges.

You know Ric12string, I wasn't going to go there... but yes... I understand that the Compton's 'fit and finish' has improved but frankly it doesn't match the lines of any Gretsch guitar.

Same story I always tell. I won one at a roundup. I donated it back in to the prize pool. I have since purchased a Tru-Arc™. That tells a story in itself. To each their own, but I just wouldn't use a Compton, even for free, it doesn't look right on the guitar.

Thanks for all the comments so far. To clarify; by vertical I mean perpendicular to the top. I have read that rocking bridges can end up leaning forward or back with heavy use. (I know that the bridge needs to be canted)

I also haven't had problems with the wound strings hanging up on the Compton when I rub a little graphite on it. I like the appearance of both types of bridges so that is not an issue. What I don't know is whether the rocking bridge allows for more movement raising and lowering the pitch. That would be desirable.

S Mac

And oh, with all respect, I've gained valuble knowlege from both forums. That's not the subject here. Thanks again.

I don't have a Compton but two TruArcs. I love them and so will you. Or else...

I have a TruArc and a Compton. Both are great. Both seem to have kept tune just fine.

Tru-Arc.

The Tru-Arc absolutely pivots slightly back and forth during tremolo use when the physics require it. It will not require any treatment with lubricants to keep strings from hanging up in the grooves - which are machine cut to a smooth radius to accommodate any string size without binding.

I've never heard of a Tru-Arc (or a Gretsch Rocking Bar, for that matter) leaning forward or back off their bottom flat after any amount of use. (Something that does happen with some Bigsby Compensated bridges, which rest on a thinner edge of metal.)

I've had a couple of Compton bridges and found that I preferred them over the TOM or AOM bridges that come stock.

I have seen so much praise for the Tru-Arcs that I had to give them a try. Actually, the final nail in the coffin was my buddy Shelby telling me to quit screwing around and just try one. After fitting them on both my 5120 and Hot Rod, I will never go back. The fit and finish is incredible. They look great. No more bleeding on stage (well, almost). They work incredibly well, improve sustain, strings last longer, stay in tune better and they just improve overall playability.

I'm wanting more Tru-Arcs and am thinking of putting one on every guitar I have with a Bigsby and they are not all Gretsches...

New guy question: Define TOM and AOM when referring to bridges. Thanks (no such thing as a dumb question)Ed

Tune-O-Matic

Adjust-O-Matic

Sheesh, the guy asks a valid question and you just post a photo Ric? ;)

Seriously though, I had things figured once upon a time but is it TOM or AOM that is somewhat proprietary to Gibson? While we're at it, which is Gretsch currently using?

I don't re-call as I'm filling a drawer with adjustable bridges as I replace them with Tru-Arcs.

While we're at it, anybody a fan of the Space Control Roller bridges? I had one on a Jet at one time and boy did I hate that thing...

Gibson: Tune-o-Matic
Gretsch: Adjusta-Matic

Functionally identical. (I won't swear I have the o's and dashes right in their tradenames. Can't keep them straight.)

Thanks for your Tru-Arc enthusiasm, hayride - I appreciate it!

I badly disliked the first several Space Control bridges I heard - seemed tone-free zones. But I have heard some that sounded good. (Don't know that they sounded better than an alternative would sound in the same position, but they didn't sound hateworthy.)

Thanks, This is the information I was looking for and the second paragraph answers one of my questions.

Now, given the same amount of effort used on the bar, does the rocking action of the bridge allow more pitch variation than the non rocking type?

S Mac

It wasn't a tone issue with me on the SOM bridges Tim. It was those damn knurled rollers. Those things would turn my hand into hamburger...

Sheesh, the guy asks a valid question and you just post a photo Ric? ;) -- hayride13

I had seen that Tommy59 had answered the question, so I posted the photograph just in case he was a visual learner.

Now, given the same amount of effort used on the bar, does the rocking action of the bridge allow more pitch variation than the non rocking type? -- macatt

I have not seen that anyone has conducted any studies on this specific question, although, intuitively, you would think that it just might. But, the amount of pitch variation would seem to be limited, not so much by the movement (or lack thereof) of the bridge, but rather by the amount of displacement of the Bigsby handle when it is used. If the wiggle is maxed out, yet the Bigsby continues to cause the string to slacken, then the string would seemingly pass over the bridge much like it does on an Bigsby compensated bridge or the Compton. Other factors besides the "wiggle" would seem to affect it, such as any resistance that the surface of the bridge gives to the string attempting to slide over it as the Bigsby is deployed.

Is there anyone on the GDP that would have any expertise about rocking bar bridges? I know that there used to be a guy here, but I think that he left. Maybe in a huff. I thought, however, that I saw him resurface here recently. I'll check it out and get back to ya.

He feels no obligation to respond in a timely manner.

OK. The rocking action of the bridge, as I've minutely observed it, is pretty slight. Inasmuch as a rocking bar is freer to move, I think it does make the most of Bigsby inputs. Whether that's for greater pitch-bend per foot-pound (would that be the unit?) of input, or simply a slightly more fluid feel, I can't answer.

Well, you're not the guy that I had in mind, but your answer makes sense to me. So, we'll just say that it was you all along.