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Otherwise, Winfield Vintage do one with an ABM Müller 12-saddle bridge. Officially it is intended for the wider 660 fingerboard but I have one on a 360 and it works great.
I always use the standard Rickenbacker 12-string set (10 gauge) - they're compressed-wound/rolled-wound, and in my opinion are a big part of the proper sound.
On 6-strings I don't like anything lighter than 11s, and I think they need a wound 3rd string, especially with the Toaster pickups - the G sounds really clangy otherwise.
"Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski
"Only two things are infinite - the universe, and human stupidity. And I'm not sure about the universe." - Albert Einstein
I have swapped the order of the string pairs but even before I did that I found it to make a big difference. Though you are right, the 6-saddle bridge, does sound better.
The bridge in this photo is an ABM one, but you can see that for some pairs they are quite close but for others the difference for the correct intonation point is quite a bit. The strings are Curt Mangan strings from Pick of the Ricks https://www.dropbox.com/s/8a8ankr501v47dh/Photo%2022-04-2020%2C%2020%2015%2014.jpg?dl=0
The neck does take some time to adapt to though, string spacing is pretty narrow. It also feels different since the neck is meant to be dead straight (as recommended by Rickenbacker), but with a bit of time noodling and tweaking, you adapt and it becomes easier to play. Used to go out of tune frequently too, but seems it's inherent to the bridge design and you simply need to get it perfectly flat for it to remain stable. Looks like that TOM bridge would resolve that issue.
Only recording I have so far is when I did a Beach Boys cover with it. You can see I struggle with the neck just a touch...
https://www.instagram.com/tv/B_PsuIQluLI/