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Club Fbass (Part 4)

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Is that a Badass bridge on your VF5? How do you like it?
I hope this opens up a really good discussion about bridges and their different pros and cons. I read a great summary of bridges awhile ago in an Alleva Coppolo discussion, but I haven't been able to find it.

I LOVE my BAV bridge, but probably for all the wrong reasons.

Below is a photo of my VF5 with the BA bridge, and another photo of Vic's VF5 with the bent plate.
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I know Vic LOVES his bent plate bridge, and teases me sometimes for not having one, and for all I know maybe I should have got one, but look carefully at the strings as they leave the bridge...

I play with 3 fingers, or with 3 fingers and a thumb. When I play staccato and near the bridge, the wire of the exposed core of Fbass strings becomes an issue on some of my basses.

With Vic's bridge, I would tear up my finger tips playing back there, but with my bridge, I'm safe.

As to what the other pros and cons are for the two bridges, I'm fuzzy, which is why I'd like to find that summary I read in a Club Alleva Coppolo discussion, or have another discussion here that satisfies me on this matter.

As for tone, I don't know how it differs from Vics, but I do know we BOTH LOVE how our VF5s sound.
 
I know Vic LOVES his bent plate bridge, and teases me sometimes for not having one, and for all I know maybe I should have got one, but look carefully at the strings as they leave the bridge...
That's really mostly about what it is... just teasing. However, I do think the BAV affects tone, and at least for my preferences, I think the bent plate fits the theme better both tonally and visually, not to mention the convenience during restringing.

I play with 3 fingers, or with 3 fingers and a thumb. When I play staccato and near the bridge, the wire of the exposed core of Fbass strings becomes an issue on some of my basses.

With Vic's bridge, I would tear up my finger tips playing back there, but with my bridge, I'm safe.
WOW, you play really close to the bridge! I often play right over the bridge pickup, but very rarely behind it. That said, I don't use taper core strings on my VF anyway, so that's moot. That's an early shot from when I first got it, and while I did put those strings on, it was kinda' my last ditch effort to get into the exposed cores. Just not my thing.

As to what the other pros and cons are for the two bridges, I'm fuzzy, which is why I'd like to find that summary I read in a Club Alleva Coppolo discussion, or have another discussion here that satisfies me on this matter.

As for tone, I don't know how it differs from Vics,
From what I recall, the BAV adds both compression and sustain. Lotsa' folks added BA's to their Fenders back in the day because they were plenty punchy as they were, so a tiny bit of compression was fine, but most importantly, the added sustain was welcome and also helped counter-act dead spots. Back in the 70's and 80's, massively dense bridges were popular for that reason in particular. I had a brass DiMarzio bridge that probably added a pound to the bass all by itself. :D

Anyway, I don't really have any dead spot issues on my VF, and while a bit of integral compression would sound very good on a VF, I just prefer the slightly punchier tone of the bent plate, and again the stringing convenience is nice, too.

Bottom line, they're both really great bridges for what they are designed to do, so it's really very strictly what it should be... personal preference.

...but that's not gonna' stop me from giving you endless and merciless crap about it anyway... ;) :D :D

...but I do know we BOTH LOVE how our VF5s sound.
VERY true! :D
 
I used to have a gorgeous Rapture J5, but for some reason it never really spoke to me like the MVP's or Thunderbolts did (although I wouldn't mind getting another one at some point!). It also may have been the maple board...i've been noticing that I am much more of a rosewood fan lately.

But yes, as far as feel and playability go, I can definitely appreciate the VF5. I really love the flexibility that the preamp gives...both my Skjold and now my Fbass seem to give me everything I'm looking for in a bass right now. But I'm sure GAS wil strike again... :)


My first impression when I played my alder and rosewood VF5, and this is something you could relate to, p0k, is, "Wow. I don't think I need my Pedulla Rapture anymore."

My Rapture's a great bass, very VERY fast neck, great look, very light, but I've always wished I'd have bought a 5 string.

My VF5 likewise has a very fast neck, a wonderful and very flexible tone, a 5th string, the preamp I've come to really depend on, and I think it even has a body style similar to my Rapture.

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I'd imagine that any Pedulla fan would appreciate the VF5 instantly.
 
Here's a few I did for fun:

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These metal cover plates remind me of my 1976 Fender Jazz bass. It came with both these plates, and a black piece of foam rubber under the strings at the bridge. It's wild to see these things on a topped Fbass, but very cool too.

I normally don't like dark colored block inlays, but I REALLY like these. This is an amazing looking bass.
 
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I LIKE IT!! I think I need all 3!!
What is the plan for the two alder and rosewood basses?

I don't think I'd like two identical sounding basses... I would either put flatwounds on one, or perhaps give one an ash body under that finish (matched with the rosewood fingerboard like Tombowlus's VF5), or perhaps have the pickups in the 70s positions... something to make it sonically different from the other.

Knowing me, it would be Thomastik Infeld Jazz Flats on one, and Fbass strings on the other.
 
Plays my VF5 at practice last night...WOW. This thing sounds amazing at full volume. I'm very happy with it :)
Yeah, I remember clearly the first time I played my VF5 in a practice. The lead vocalist / acoustic guitar player stopped the guys midway through the song, and we were expecting something like, "Hey, let's try this here," or "Our balance is all messed up," instead it was, "Wow. That bass sounds so cool!" Everyone laughed and agreed.

I guess it couldn't wait for the song to end to say that.
 
What is the plan for the two alder and rosewood basses?

I don't think I'd like two identical sounding basses... I would either put flatwounds on one, or perhaps give one an ash body under that finish (matched with the rosewood fingerboard like Tombowlus's VF5), or perhaps have the pickups in the 70s positions... something to make it sonically different from the other.

Knowing me, it would be Thomastik Infeld Jazz Flats on one, and Fbass strings on the other.

If I were to go this route one would have a Badass on it to change it up(look closely at the mockups), but I've about talked myself out of that idea. I'll just change bridges when I feel like something different. Besides, the fiesta red and natural ash are the 2 best looking ones anyway.
 
Don't want to interupt the mockups (they look awesome by the way) but I wanted to announce the newest addition to the family, an antique white BN5 just purchased from fellow T/B member Footie (very cool guy). Should be arriving next week sometime.

Sorry for the interuption, now back to the show.:hyper: Peace
 

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