Initially, I complained to him that the sound was warbly with the 12-saddle bridge, so I sent it back to him, and he installed new springs on it, that fit better. In the interim, I ended up going back to the 6-saddle bridge, which I thought sounded better. I got the bridge back from him with new springs, but I was in the middle of a project, and didn’t want to disrupt the sound I had going with the 6-saddle. That's really where I left it, until recently, when I have been re-visiting the intonation on all of my Rics (one horror story in progress), and I’ve been going through the 12-string set-up the past couple of nights. I noticed that I had loose springs with the 6-saddle, so I actually took all the springs out. However, the sound seemed to go south when I did that - thin, warbly, no meat to the sound. I wonder if the springs help stabilize the saddle. Anyway, I decided to take the bridge back out, stretch the springs out, and put them back in. However, this appeared to be a perfect time to try the 12-saddle bridge again. I slid the bridge plate back to where he had it, inserted the bridge, tuned up (broke the little G as it has been traumatized the past couple nights), and low and behold, my sound came back, as good as if not better than ever. Also, the intonation settings he had were about perfect. I’m sorry I didn’t give it a fair assessment after he sent it back with the new springs, because this is a great bridge. My favorite thing about it is how the saddles move perfectly when I turn the screws, however, I don’t even need to do that, since it’s intonated great already ! Great job by Mark Arnquist.
My 360-12 has toasters, trapeze tail piece, vintage knobs, and now, a 12-saddle bridge. Awhile back, Tony Carey said this look was "firmly planted in no-man's land".
Melissa B thinks of it as "the Steve Carsello model" 
