4001 4003 replacement bridge
Moderators: rickenbrother, ajish4
Well, since 'Allen screw' is synonymous with 'hex screw', I believe you meant to ask whether I used the standard 4001/4003 Phillips intonation screws or the Allen ones. Like I said, I've fitted the saddles on all my Ricks with such Allen screws, except for the 1970 21 fret 4001.
A Rickenbacker bass is much like the Jaguar E car - perennially ultra-fashionable.
If you disassemble the bridge, you can turn the casting around so that the countersunk holes face toward the nut. Leaving the saddles with their respective string, you can install either button head or just a socket head cap (allen) screws. I have done this in the past and it works great. Plus you have the advantage of a larger wrench size. You can then use a wrench with a ball on the end to access the screw from an angle.
"The best things in life aren't things."
In addition to what Ken does, I also use a Dremmel to grind the slots between the strings deeper which makes them the adjustment screws much easier to get at. I've also found that the side of the bridge with the screw head isn't countersunk properly so I re-do that till the screw head sits flush. When the heads don't sit flush, the bridge can't be lowered properly to set string heighth.
The bridge on my V63 sat high enough to have the necessary clearance to use plain socket head cap screws. If you need to go lower you would need to go the flathead route. I also did file the holes deeper so that the screw did not bow so much.
Another thing I did was to modify the height screws to prevent the bridge from rocking. I posted this mod a few months ago a
on a thread titled "Floating Bridge". Sorry I couldn't find it in the archives. Maybe Peter can help or if there is interest I can write it up agian later.
Another thing I did was to modify the height screws to prevent the bridge from rocking. I posted this mod a few months ago a
on a thread titled "Floating Bridge". Sorry I couldn't find it in the archives. Maybe Peter can help or if there is interest I can write it up agian later.
"The best things in life aren't things."
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djm150
Hi all. I discussed many of the issues presented here regarding the hipshot bridge with the manufacturer. He asked that I post his view of the matter on this forum for those that might be interested.
Hi David,
I'm very pleased to hear that your instrument's tone, punch, sustain is much improved. I'll take that as an ATTABOY, MISSION ACCOMPLISHED and as you say, "that's a good thing". After close examination of your instrument and checking out several others, plus listening to player's comments and input, I had a pretty good idea as how to approach and solve the problems associated with the original bridge. The original bridge is fabricated of cast zinc. Zinc is a handy material to use in the manufacturing process. Its inexpensive, casts well at lower temperatures so tooling and mold costs are cheaper, and the material takes chrome plating well. However, zinc does have its limitations. It does not possess the strength necessary to withstand the constant pull of bass strings. Zinc might be a fine material to make door knobs out of, but it's soft, lead-like-qualities are not conducive to the application of bass bridgedom. Whenever I checked an instrument, I noticed that the back of the bridge had pulled away from the body. Generally the older the instrument, the higher the bridge had pulled up. The string pressure actually warped or distorted the original shape of the bridge. This adversely affects the playability and tone of your instrument. First, because the string is anchored to the rear portion of the bridge, as the back edge of the bridge lifts away from the face of the guitar, so does your strings, which in turn reduce your string/saddle contact pressures. Proper string/saddle pressure is essential to sustain, punch and tone. Imagine what your instrument would sound like if the strings were to pass over the bridge barely touching the saddles. Your instrument would buzz, rattle and have very little definition. Secondly, if you want a solid, distinct tone, it is essential to have solid bridge/wood contact. That is why I chose to fabricate the bridge from solid machined brass bar stock. The brass material and the CNC machining processes are much more expensive than zinc die cast but the end results speak for themselves ( as your bass will now be able to speak for itself). Because zinc is soft and susceptible to corrosion, its ability to hold threads can, in time, be compromised. That is why your intonation screw threads strip out. Also I chose to place all adjustment screws in an easy to reach location (easily accessible from the back and top of the instrument.) I prefer to use screws for sensitive adjustments such as string intonation, individual saddle height adjustment and side to side string spacing adjustment, (yes you can individually adjust your string heights and your side to side string spacing). The hit or miss techniques introduced when clamping screws are used are not worth the aggravation. To adjust your intonation using a saddle clamp screw style bridge you must loosen the clamping screw, (quite often you have to remove the string to access the clamp screw) gently (or not depending on how frustrated you've become) tap your saddle into position, taking care not to tap the saddle too far (or not far enough), retighten your clamp screw which of course changes the position of your saddle ever so slightly (grrrr), place your string back in the saddle (again), tune it up to pitch and check your intonation. I think Leo Fender got it right the first time. I don't think intonation screws affect your tone if your string/saddle pressures and bridge materials are proper.
One of the important parameters I set for myself in designing this particular bridge was that if should be able to retro fit the Rickenbacker bass without causing any permanent modification to the original wood structure of the instrument. I used the four existing screw mount holes to fasten the new bridge to the instrument (two screws are hidden under the saddles). The original bridge can always be replaced therefore you will not alter the vintage quality of your instrument.
I realize that folks may have their own take on the aesthetics and looks of the bridge, after all it is the center or heart of the instrument. I tried to design with function, form, and manufacturability in mind. Since I started Hipshot in the early 80's, my goal has always been to produce the highest quality products at reasonable prices. I'm a player as well although these days I seem to be playing a CNC milling machine more than my 5 string banjo (ah ha, a banjo player you say, that explains it!)
I welcome any thoughts or comments you may have.
Best regards,
David Borisoff
Hipshot Products, Inc
Hi David,
I'm very pleased to hear that your instrument's tone, punch, sustain is much improved. I'll take that as an ATTABOY, MISSION ACCOMPLISHED and as you say, "that's a good thing". After close examination of your instrument and checking out several others, plus listening to player's comments and input, I had a pretty good idea as how to approach and solve the problems associated with the original bridge. The original bridge is fabricated of cast zinc. Zinc is a handy material to use in the manufacturing process. Its inexpensive, casts well at lower temperatures so tooling and mold costs are cheaper, and the material takes chrome plating well. However, zinc does have its limitations. It does not possess the strength necessary to withstand the constant pull of bass strings. Zinc might be a fine material to make door knobs out of, but it's soft, lead-like-qualities are not conducive to the application of bass bridgedom. Whenever I checked an instrument, I noticed that the back of the bridge had pulled away from the body. Generally the older the instrument, the higher the bridge had pulled up. The string pressure actually warped or distorted the original shape of the bridge. This adversely affects the playability and tone of your instrument. First, because the string is anchored to the rear portion of the bridge, as the back edge of the bridge lifts away from the face of the guitar, so does your strings, which in turn reduce your string/saddle contact pressures. Proper string/saddle pressure is essential to sustain, punch and tone. Imagine what your instrument would sound like if the strings were to pass over the bridge barely touching the saddles. Your instrument would buzz, rattle and have very little definition. Secondly, if you want a solid, distinct tone, it is essential to have solid bridge/wood contact. That is why I chose to fabricate the bridge from solid machined brass bar stock. The brass material and the CNC machining processes are much more expensive than zinc die cast but the end results speak for themselves ( as your bass will now be able to speak for itself). Because zinc is soft and susceptible to corrosion, its ability to hold threads can, in time, be compromised. That is why your intonation screw threads strip out. Also I chose to place all adjustment screws in an easy to reach location (easily accessible from the back and top of the instrument.) I prefer to use screws for sensitive adjustments such as string intonation, individual saddle height adjustment and side to side string spacing adjustment, (yes you can individually adjust your string heights and your side to side string spacing). The hit or miss techniques introduced when clamping screws are used are not worth the aggravation. To adjust your intonation using a saddle clamp screw style bridge you must loosen the clamping screw, (quite often you have to remove the string to access the clamp screw) gently (or not depending on how frustrated you've become) tap your saddle into position, taking care not to tap the saddle too far (or not far enough), retighten your clamp screw which of course changes the position of your saddle ever so slightly (grrrr), place your string back in the saddle (again), tune it up to pitch and check your intonation. I think Leo Fender got it right the first time. I don't think intonation screws affect your tone if your string/saddle pressures and bridge materials are proper.
One of the important parameters I set for myself in designing this particular bridge was that if should be able to retro fit the Rickenbacker bass without causing any permanent modification to the original wood structure of the instrument. I used the four existing screw mount holes to fasten the new bridge to the instrument (two screws are hidden under the saddles). The original bridge can always be replaced therefore you will not alter the vintage quality of your instrument.
I realize that folks may have their own take on the aesthetics and looks of the bridge, after all it is the center or heart of the instrument. I tried to design with function, form, and manufacturability in mind. Since I started Hipshot in the early 80's, my goal has always been to produce the highest quality products at reasonable prices. I'm a player as well although these days I seem to be playing a CNC milling machine more than my 5 string banjo (ah ha, a banjo player you say, that explains it!)
I welcome any thoughts or comments you may have.
Best regards,
David Borisoff
Hipshot Products, Inc
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mortivan
