I am not sure if there is any guitar that has seen the introduction of as many different bridges as the Gretsch. Perhaps this is associated with improving the operation of the Bigsby or maybe improving the intonation in a hollowbody with a moveable bridge. In either case, I find the journey and the proposed solutions over the years to be fascinating.
I will leave the chronicle of the Gretsch bridges to the experts, however, the emergence of two newer bridges to the scene is intriguing and surely speaks to the genius of humankind.
I have read online about the Compton bridge which is a single saddle unit made of aluminum, stainless steel, brass, copper and even titanium. What it seems to offer in addition to the longstanding single saddle bar bridge is compensation for string sets using a plain G. It is slotted for string sets 10-46 by default unless otherwise specified by the buyer. Further it allows for a radius that matches the neck for improved playability. Overall this fine quality bridge allows for improved intonation, tone and playability. If you have used one, please do let us know how you found it.
The second new kid on the block is also well thought out and is called the tru-arc. This is also a single saddle bar bridge but allows for rocking capability so that it moves more smoothly with the bigsby vibrato. Further it has a radius (hence arc) that matches the fretboard for improved playability. It too comes in different metals, aluminum, stainless, copper and brass. It is also a precision made product that is most handsome looking.
I have not read any reviews as yet that compare the two bridges. It would seem, however, that they are neck and neck moving up the ladder to being sound improvements in bridges for the Gretsch guitar. Both bridges allow for matching the radius of the fretboard and have sufficient mass to improve tone with slots that have the strings comfortably sitting where they belong. The only difference that I can see (at least from a distance) is that the tru-arc has the rocking edge and the compton has the compensated edge. While these features may be present in both models I was unable to tell this from what I have read so far. The compton is a new look that may take getting used to for some while the Tru-arc has the more traditional look of the rocking bar bridge and as such some Gretsch lovers may feel more at home with it. Again, if you have additional information or should my review be incomplete or inadequate please set me straight. The photos I have used here were taken from online images and I did not see any indication that permission was required before using them.
At the end of the day these designers have stepped up to the plate and both seemed to have nicely hit it out of the park. My experience with the traditional tune-o-matic or adjust-o-matic, if you will, has always left me feeling a bit lukewarm. These bridges allow for intontation but always seem clunky to me, are somewhat prone to rattle and seem to rob the instrument of tone. These recent offerings show much promise and are a fine step forward in bridging the gap.
