String anchoring, bridges and how these affect the sound

They all apply pressure on the top, the difference in sound would be negligible though the thin floating wooden one would be best in theory, as it has the most potential to vibrate. However, it doesn't look like the break angle is as good there.

Basically, it's mostly aesthetics in this case in my opinion

 

With an ABG, unlike a solid body electric, you want as much energy to go into the top as possible, that means light weight bridges, and lots of down pressure, personally I would use a light floating bridge and tailpeice, like one and three, another thing to consider is you want the bridge centered in the lower bout for the most acoustic volume.

 

+1000

 

If it is just a single chamber with nothing connecting the top and back other then the sides its a hollow body, and the same rules apply IMO, if it has a block down the length of the body with chambering on either side it's a chambered body and I would build it like a standard electric, and if it just has a block under the bridge it is a semi hollow body, and depending on the tone your going for it can go either way, this is all just IMO

 

#2 is a Rob Allen. The bridge is deeply sunk in the solid (or slightly chambered) body, so there is little to no vibration of the top. Sustain is comparable or better than most solid body basses.
If I'm not mistaken, #3 is a Veillette, and the bridge is joined into the end block of the guitar, unlike the tailpiece in #1, where it is merely affixed with screws. I assume that this is also in order to try and garner more sustain, but I haven't any experience for an opinion.

 

Our own local guru, @Bruce Johnson talked about things like this a few year back. This is a VERY good read...
bridge materials... | TalkBass.com

 

Unfortunately, it just takes too much time to write detailed posts on complicated subjects. The whole field of how to tune the wood frame of an electric bass to change the sound (which includes wood choices, chambering, hollowbodies, making it sound like an upright, etc.) isn't going to be explained in two paragraphs. And, unfortunately, a large portion of TB posters are locked into that belief that electric basses are just slabs of wood with pickups. Personally, I'm just too busy these days to get into long arguments.

 

Go play every ABG you can get your hands on. In the end, I think you'll reach the same conclusion as most of the rest of us. They're "too small" to make the low freqs audible against regular acoustic guitars. Basic physics. But heck, prove me wrong.

Now I'm gonna go to a jazz jam with my upright and pretend it won't feedback... again, basic physics.

 

I think I could be one of those unfortunate posters (I'm getting better, I promise), but I could still stand to hear a bit about how to tune the frame from a reasonable "no mojo" perspective, even if it runs contrary to my previously held ideas. I guess that's my way of saying I promise to hold up my end of not making it into an argument if you want to discuss it.

 

What is this 'frame' you're talking about?

If you mean tap-tuning, you take the plates of the bass/guitar/violin/etc. and you pinch them near the top on the edge. Then you tap the plates and compare the ringing sound they make to a reference pitch.

Some luthiers swear by specific pitches, some just aim for a decent, clear ring (I'm in the latter camp).

 

I was referring to Bruce's post specifically. I wouldn't presume to put words in his mouth.

 

Eh? You said you wanted to know more about tuning, hence my reply

 

Got it. Thank you!

 

This was very well said, and perfectly aligns with my experience about bridges. Not too long ago, I swapped my MIM Precision stock bridge for a Babicz bridge, simply because the sticky uppy saddle adjustment screws dig into my hand when I play with a pick, and the Babicz doesn't have those. No difference at all in sustain or sound. Big difference in comfort though. And it does look cooler