Once the damage is done, you will need to replace the bridge. This will cause the bridge to cave and change its radius, making for a less playable instrument. If the stop tail is too low and the strings contact the back of the bridge after going over the saddle, it will basically double the pressure of the strings on the bridge. Distance from bridge and its height are variable. The grab for the ball-end of your strings. The most common problem with old TOMs is “bridge collapse." This happens to instruments left at pitch for very long periods, exacerbated by a low stop tail.Ī stop tailpiece is a fixed metal bar anchored by two posts into the guitar body. If you are working on a vintage TOM, there is a whole host of other issues we haven’t touched. There are also replacement saddles for hot-rodding that we’ll address later. While this is fixable in most cases, you’ll need to be handy with a file. This causes the string to move and create its own irregular saddle. A common problem is that the saddles are not slotted deep enough. If the bridge has roller saddles, make sure they move easily so that they will return to pitch normally.įor standard saddles, the notches must be smooth and clean. Any rattle will result in a loss of contact and tone. Next, check that each saddle moves in both directions and that the adjustment screws are not stripped. If there is a retainer wire, you must make sure it is not loose or stretched. Take, for instance, the retainer wire, which spans the adjustment screws to hold them down. For such a small piece of equipment, the TOM has many moving parts, all of which are essential. The first thing to do when looking at a used guitar with a TOM is to make sure all of the parts work. Here’s the skinny on sussing out vintage specimens, getting them back in line and potential upgrades.
The fact that very few changes have been made through the years is a testament to the TOM’s simple but effective design.īefore we get too high on singing its praises, let’s remember that owning and maintaining a TOM isn’t always a walk in the park. Today, some form of it is used by nearly every guitar manufacturer out there, large scale or boutique.
It’s hard to overstate just how giant of a leap forward the Tune-o-matic bridge was for guitar design. By the early 1960s, the design had made its way through most of the Gibson electric (and a few acoustic) models. Post to Post Spacing = 2.93 Inches / 74.The Tune-o-matic (or TOM) bridge first appeared on the 1953 Gibson Super 400 and the 1954 Les Paul Custom. Thread = 5mm Metric (as used by Gibson on Nashville Models) It can be fit with many standard sized Piezo and & aftermarket graphite or exotic saddle materials.ĭirect retrofit for most USA guitars without modification. Direct retrofit for most USA guitars without modification.
Standard small post and standard threaded insert (same as TP6). TonePros® T3BP-C comes with many improvements including intonation adjustment on the pickup side phillips head saddle adjustment screws, and pre-notched saddles for quick installation. (Same format as LP Standard & LP Custom). TonePros ® System II - T3BP-C Bridge - locking version of the Nashville type standard small post and threaded insert as found standard on current USA Gibson Les Paul GT and Gibson SG GT models.
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