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Discussion in 'Basses [BG]' started by smperry, Apr 15, 2014.
Such as the Hipshot...
But will it be able to get as low, action-wise?
Based on previous responses, you and I are the only people who have trouble with it, which is inexplicable, since the mute screws and “teeth” between string prevent palm muting when plucking behind the bridge pup. The cure is a Hipshot bridge.
When i had my hipshot installed, It was just a happy surprise that playing between the bridge and rear pickup now was less obstructed. I always would bang my knuckles on the mute teeth,screws,etc. I very seldom actually palm mute,but of course it’s indeed easier with the hipshot.
The stock bridge and tailpiece is really pretty looking … but its functionally is pretty bad …
Not exactly. Hipshot had to change the footprint of their bridge because they had copied the footprint of the RIC part when they didn't have to.
I still wonder why Ric didn't just license the footprint design out to Hipshot, they could have gotten a piece of every Hipshot Ric bridge sold for doing nothing. Maybe they just knocked heads, but Fender has made a fortune licensing stuff out. It seems like a simple bit of engineering to come up with a drop-in or screw in saddle piece with individual height and intonation adjustments, but it must be harder than it looks, or somebody would have done it already. I never really had much gripe (other than palm-muting behind the bridge pup) with the original bridge design, once you set the intonation, its done. Hard to beat that retro-chrome look too. The mute is kinda useless, but it looks too cool to remove.
You can count me in that group too- tight palm-muted picking over the bridge pickup is a big technique for me and I literally can’t do it with the stock bridge. Muting in front of the bridge assembly mutes the strings too much and pushes my big hand and pick outside of the sweet-spot picking area over the bridge pickup.
All part of his narcissistic personality disorder. It doesn’t have to make sense to us as it’s all about him. Any type of licensing would imply to him that what he sells is not good enough, and to have another manufacture provide something better is not comprehendable.
That was my first thought- IME the stock saddles on some Rics don’t let me get low enough on the G side without filing the saddle lower, and these saddles look unnecessarily tall to me
So basically a plate you screw into where current bridge mounts which you can then screw the Babicz into?
Hard to imagine that not resulting in impossibly high action, and anyway kind of fudging the definition of "full contact." Full contact with what? Really only the tailpiece, right?
I am curious, but really only academically since they'll probably never make a 5 string version.
I know the idea of the bridge imparting any kind of tonality is a divisive issue, but it seems to me the "floating" design surely must contribute something - less energy lost into the body, longer sustain...or something? But people say the Hipshot sounds the same/better so who knows.
There is a realistic limit as to how many better Rick tailpieces or bridge inserts the market will allow. Not everyone is going to rush out and replace theirs, so if Hipshot or Babicz sells only 50 a year, not that many pieces sold to recoup R&D, prototyping costs on. It’s quite a gamble.
Full contact into the bridge recess only. It’s still limited by the contact provided by the underside of the Rick bridge recess and the Rick tailpiece perimeter. On many, that bridge recess floats in air as the route is usually made to deep putting all the contact forces on the thin tailpiece perimeter (and crushing the finish. But that’s another story).
that's the source of the magical sound
My first thought, too. No way Babitz is going to make that work.
Anyone have a source for black Ric strap bolts? Or do I have order a std Schaller and fill/drill the existing strap bolt holes so I can seat the Schaller wood screw?
Face it.... the only reason we put up with the stock tailpiece is that it just looks so nice, regardless of the functionality. I like the one I saw that had all of the teeth removed in order to palm mute. I've got a stock tailpiece laying around, but I'd like to try it out on a cheap aftermarket copy first.
I actually had a 4003 with the Hipshot.. for about 3 days. Yeah, it worked, but can't stand the look... Fender's Claw or that Traben monstrosity come to mind when I see them... sorry.
I wasn't sure about the Hipshot Ric bridge either when I first picked one up, but in combination with the lower profile metal bridge pickup surround I got it works great for me visually. Definitely less so with the stock surround. The classic look of the impractical stock hardware is difficult to mess with, but playability will always be tops for me and from an audience perspective nobody but other bassists might notice. Oh and my main Ric is a 4004 with none of those classic Ric trappings apart from body shape so its all kinda moot for me haha
Does anyone have intonation issues with the hipshot bridge and flats? My A especially is still registered flat and I can't move the saddle forward any more. I've made sure I have good witness points at the saddle and the nut and that the string isn't twisted. I emailed hipshot about getting longer screws.
The new bridge came with a couple extra screws in each length for that very reason. I think I did have to switch out one of the screws when I first put mine on, but can't remember which. I know with some/most flats I have to create a mild bend at the witness point at the bridge saddle for good intonation because of the design of the string and thickness, but maybe this is what you meant in your post about "good witness point".