Wigglestix: A Rambling Attempt at a Gear Review

Over the past couple of years I have become increasingly interested in various tremoloing devices on my six string companions.  For a number of years, I had played a Tele equipped with a nice vintage-style brass bridge as my only guitar.  Oh, how I could sling that slab of wood around like a promenading unicorn for hours without having to tune it.  Being content with hardtails for years and despondent of vintage tremolo systems, it wasn't until acquiring a Johnny Marr Jaguar last January, that I fell in love with the idea of a tremolo system.  I now had the ability to vibrato my pretentious diminished 7th chords (2nd inversion, of course) ever so softly, all the while, my pants becoming increasingly tighter.

Is it just me or does he make quite a bit of duck face?

My next rational conclusion, was that I now had to have a trem on everything.  I am a huge Keith Richards fan, and have always had copious amounts of guitar envy for his famous ebony ES-355 guitar.  So after doing some research and easily succumbing to the peer pressure of my friends, I decided that I wanted to throw a Bigsby B5 and V5 Vibramate kit on my Gibson ES339.  

I will recite some famous words attributed to a good luthier friend of mine, that the Bisby is the epitomy of "yesterday's technology, at tomorrow's prices".  Given, I understand name brand theory and the fact that the sheer amount of metal content in a Bigsby is worth it's weight in gold, I already knew this would be a costly endeavor.  So, being a stubborn nancy, I waited almost a year until I was able to jump on a deal of $100 for the whole shebang.  

After receiving the Bigglesby in the mail and installing it, I was immediately happy with the aesthetic of the tremolo.  Cause hey, who actually plays their guitar anyways?  After a minor set up by myself, I stroked my first chord and went for the bar on the wiggling device, only to be greeted by a horrible creak.  I removed the strings and meticulously filed the nut and saddles of my guitar.  With strings returned, I tried again.  "PING!".  The sound resulted in a conditioned response for me to want to strike the nearest person in the room.  Since no one was around, I unleashed my rage on my beloved life-size cardboard Elvis cut out.  

Poor guy, never saw it coming.

With my knuckles bleeding from the cement wall conveniently placed behind Elvis's beautiful head, I lay on the floor regaining my composure.  What was I to do?  I began to investigate my stock bridge, only to discover that when the Bigsby was engaged the stock ABR1 bridge on the 339 wiggled back and forth.  This also caused the guitar to fall horribly out of tune.  

So I began researching ways to remedy this bridge issue, (as well a DIY handbrace for my recently broken hand).  I came across various remedies for the stock bridge, most of which only seemed to create new problems.  

Finally, I came across a handful of notable companies that made a "locking ABR1".  The concept of this device is to pin a modified ABR1 bridge between your thumbwheels with screws that come down from the top, and screw into the bridge.  I sent out identical inquiries to each of these various manufacturers asking them what they would recommend for my situation.  One manufacturer was quick to respond, but rather than be helpful, he took the smug route and told me I was a moron for putting a Bigsby on a Gibson.  Scratch one from the list.  I finally received a very helpful reply from CV Guitars that sells the Faber Locking Bridge.  

Quick Gibson 101 lesson:  Gibson currently uses shotty zinc as the metal for their tailpieces, posts, pins.  As a result, sustain and low end are lost.  Many people recommend upgraded to aluminum, steel, or brass parts.  

Anyhow, the Faber locking bridge has (*edit) nickel plated brass saddles, locking mechanism, and is about $50 cheaper than the previous smug manufacturer's.  The CV website also claims to "Sell Tone", and since everything on the internet is true, I decided to order their locking tailpiece and steel bridge pins (for further theoretical increase in sustain).  After receiving the parts in the mail, I handed my guitar off to my favorite guitar repairman for a professional set up.  Once back in my arms, it was time to test out all this hard work (and money spent on all this business).  There was an immediate difference in acoustic sound.  The 5th and 6th string retained a significant amount of bottom end, there was more sustain, and overall the guitar was a lot brighter.  Now if you don't know me know that I actually like a darker sound from my Gibsons, (cause treble is for p*&@ies) so the increased brightness (wasn't bad) had to be accommodated for.  Personal preference.  After playing (not wanking) for a solid 6 hours this weekend, I think I have everything dialed in. The main fix is that the guitar stays in tune wonderfully, and THERE IS NO F$%#ING PING!

Overall, I'm very happy with how everything worked out.  It ended up costing more than my poor wallet wanted to spend, but you win some you lose some. 

- Stonewall