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actually, the perfect distance from bridge to saddle id 1/6th the scale length, this is true for all violins, mandos. chellos archtops, rarely employed..the tension is alway determined by over all string length, as its entire length must be brought to tension and the longer it is the heavier it is and therefore more tension to suspend it at that tone. this in known, what i am inquiring about is not theoretical, it is a practical question directed at the actual experience someone here may have or had playing the finger bridge in a reverse assembly, such as i have seen in the gibson citation...and a howard roberts fusion. would love to try it next time i wear out a set of strings.

There is not much money swimming around out there! many of us are being tested. I feel George's pain.

Yesterday’s Happy Friday Post from George Metropoulos on Facebook: (First Line from Post)

I think only the length of the scale determines tension for any particular gauge/weight of string. So the distance between the nut and saddle a determinant, but the distance from saddle to stop bar is not part of the equation. There are a certain amount of harmonics present on the string outside of the scale length, and this can have an effect on sound. The string between tuner and nut, and between the saddle and tail piece are audible if plucked, and a certain amount of sympathetic vibration happens when the intentional note excites the string beyond the nut and saddles. I've occasionally stuffed the head stock of basses and a guitar or two to stop the weird ringing overtones that come that. It seems more apparent to me on bass, FWIW. I'd tend to think that the finger tailpiece was probably designed for appearance primarily. It sure looks nicer than a trapeze tail.

How did I not know you had an amp company? Maybe the amp department at PRS is hiring someone with your level of expertise.

I know for sure that the longer the string is from tuning peg to the anchor point,the higher the tension required to bring to pitch, so the lower string would be looser and the tension would get progrrssivle higher towards the high e string. This I know, but does anyone have it set up that way? The gibson citation is rigged that way. Just looking to hear from experience. Anyone?

I recall reading *somewhere* about why & how they designed the finger tailpieces the way they do I cannot remember where it was. But it must be out there on the internet somewhere. Or god forbid, just ask AI ?

I always learn a lot just from watching his fingers so effortlessly glide around the neck. HIs fingers have looked a little arthritic for years and yet he is so smooth. What I usually learn from watching him is that my technique has a long way to go......

That makes more sense. In my defense, I've seen some people try some WEIRD things. I still don't know that it will make a big difference in tension. For a given string diameter, and scale length, the tension should be the same to reach pitch. I would think it might give a little easier bending since the elongation is spread over a slightly longer total string length but I don't know that it would be a significant percentage.

Jazz guy. His lessons are excellent.

Well check out his videos. He's a pretty damn good Jazz guitarist, the guy knows his way around a guitar neck!

Yep he looks like he plays effortlessly through the changes. I've watched a bunch of his videos, especially when I was hunting for a decent archtop, I wound up buying an earlier version of this guitar (with original HB1 pickups)... Here's my actual guitar, which changed hands a few times before it got to me...

Good to know!

Never heard of him

Yep, I know this guy, bought an H150 2 years ago from him. Plain top custom core for $2100, Indian Rocks Beach, Florida. Looks mint.

I think he was referring to the tailpiece fingers where the strings anchor.

I don't think it will make a significant difference in the tension or in "dynamics", but it will play havoc with the intonation. The reason the bridge points end up where they are is because that is the point where the 12th fret harmonic is equal to the fretted note.

Anyone out the ever reverse the finger bridge pieces so that rhe low e string is short and the high is in longer,everything in the opposite direction, I know it will increase the tension on the high end and lower the tension towd th low e. But waht dynamic results has anyone found.

He has that economy of motion thing down to an art form.

That guy is a really good guitarist!

That was quite enjoyable to watch, thank you some outstanding guitars there too

The Mean in a neck sounds KILLER DILLER! As a matter of fact, it was the first neck position P90 (in a modern guitar) that I really ever got along with. And I love the Meaner too. All the electric stuff in this song is my SG Special with a Wolfetone Mean and Meaner set...

I too have never been terribly impressed with the stock Lollar P90s’. I do like his 50s’ wind. I give a big nod to the Wolfetone “Mean” P90.

https://youtube.com/watch?v=9I8x1qvgtG4&si=dZJp39wWA_JoK1qC Happy Holidays to all!