Callahan Trem Blocks...Hyperbole or Effective?

[Steve Conner]

Why is the concept that something similar happens with a metal block so unbelieveable?

I am somewhat used to this drill though. My older son is a mathematician, and if it can be proven through equations, to him, it doesn't exist. I don't need the math. I have ears!

Why is it unbelievable? You never answered my Gedanken experiment about the solid cowbell. I'll ask again: What do you think a solid cowbell would sound like? Or a manhole cover used as a ride cymbal? Could you get the manhole cover to sound good by making it out of a different metal?

Whether metal will resonate or not, and whether those resonances will couple out of it and be heard, depends on what shape it's made in and what system it's used in, just as much as what metal it is.

I don't need ears, I have math.

Anyway, when it comes to auditioning different trem blocks, my first caveat would be: Who's going to change the trem block, but keep the same set of strings?

Mark: Is your guitar set up with a floating tremolo? If the bridge smacks against the body when you let go, that's going to absorb the energy and it won't "boing".

[dai h.]

Gillis was using a Kahler at the time. Even less stable than a Floyd.

maybe he has used Kahler at some point, but all the articles I remember reading showed and mentioned a Floyd (I did remember something about him having a very early unit and reading the above apparently the recollection was correct--also IIRC it had no fine tuners as the later units had). Oh yeah, anyone remember a "Sound Page"(?) in GP mag where BG sonically illustrated some of his trem tricks? Had a bunch of those sandwiched in some magazine--wonder if I still have them somewhere, lol...

[David Schwab]

maybe he has used Kahler at some point, but all the articles I remember reading showed and mentioned a Floyd (I did remember something about him having a very early unit and reading the above apparently the recollection was correct--also IIRC it had no fine tuners as the later units had).

That's correct. They are very blocky looking bridges. Nice and solid. But kind of a pain to set up. I posted his quote above:

He (Floyd Rose) made the first batch in his garage. I have the third one ever made built in my red Strat

Oh yeah, anyone remember a "Sound Page"(?) in GP mag where BG sonically illustrated some of his trem tricks? Had a bunch of those sandwiched in some magazine--wonder if I still have them somewhere, lol...

I remember that. I used to love those little flexi disks. GP should post them on their web site.

[Jag]

Anyway, when it comes to auditioning different trem blocks, my first caveat would be: Who's going to change the trem block, but keep the same set of strings?

I did!

I had locking tuners on the guitar so it wasn't too difficult.


MARK!!! Big heads up!
The current Guitar World issue has a CD with an "In Deep With Jeff Beck" video by Andy Aledort. VERY informative and he goes into the particulars of that technique! It's very easy to do with a Floyd but with a standard American two point term the setup needs to be just right. Andy goes into that as well. Beck is my #1 hero by a long shot.

I'm not a big fan of Guitar World but the CD's in the last year have been very good. I'm considering a subscription just because of that.

[uvacom]

Why is it unbelievable? You never answered my Gedanken experiment about the solid cowbell. I'll ask again: What do you think a solid cowbell would sound like? Or a manhole cover used as a ride cymbal? Could you get the manhole cover to sound good by making it out of a different metal?

Whether metal will resonate or not, and whether those resonances will couple out of it and be heard, depends on what shape it's made in and what system it's used in, just as much as what metal it is.

I don't need ears, I have math.

Anyway, when it comes to auditioning different trem blocks, my first caveat would be: Who's going to change the trem block, but keep the same set of strings?

Mark: Is your guitar set up with a floating tremolo? If the bridge smacks against the body when you let go, that's going to absorb the energy and it won't "boing".

I like your idea of putting a pickup near the block, because it helps solve the biggest issue in thsi debate, and that is how much energy is transferred to the block. If the block isn't excited by the strings, it doesn't matter in the first place how resonant it is or not. Likewise, tapping the block and measuring the output on the pickups is valuable, because it demonstrates how much energy goes from the block back to the strings. If there is no appreciable output in either case, the entire question of the resonance of the block is rather moot.

[David Schwab]

Anyway, when it comes to auditioning different trem blocks, my first caveat would be: Who's going to change the trem block, but keep the same set of strings?

The right way to do it is use a fresh set on each test. Removing the strings and putting them on again is going to kill their tone a little.

Then you record the results of each test with out making any changes in signal chain.