5150 build.

Andy Eagle said:
I continued to use ash on the relic simply because it is not proved either way. My NOS replica is Basswood and I believe this to be on balance of probability correct but I have both. By sound (when I played is acoustically )I would also say the original was basswood and by the visual evidence in this thread BUT the open pours in the forearm contour are certainly the visual character of swamp ash. Removing the spring plate on the Floyd certainly improves the bridge to body contact and has no detrimental effect on the performance of the fine tuners BUT if you had a D tuna fitted when you depressed the bar completely the d tuna would move (without the spring holding it) and not remain in tune on return. This is not an issues if it's not fitted.
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So you do think it's better to remove the spring plate on any guitar with a floating Floyd? I'm saving all my money for a move, so I can't go for the Gotoh 1996 as I'd like, but I'm always open to better tone tips with what I have, the Schecter Sun Valley Super Shredder Black Limba with it's stock Floyd, and I just float it, because I never down tune or have any other reason ever to block it or set it for down only.
 
Andy Eagle said:
View attachment 108884
Well for now at least;
That's all Folks!!!
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Dude, this has been a truly epic ride. I bow my head in respect to the love with which you did this, in all of its iterations. I actually feel sad it's ending!

You really oughtta just build random ideas on the side whenever you have time just to show the world how it's done from your perspective. I'm sure you have all sorts of cool ideas for various types of guitars.
 
State of Epicicity said:
So you do think it's better to remove the spring plate on any guitar with a floating Floyd? I'm saving all my money for a move, so I can't go for the Gotoh 1996 as I'd like, but I'm always open to better tone tips with what I have, the Schecter Sun Valley Super Shredder Black Limba with it's stock Floyd, and I just float it, because I never down tune or have any other reason ever to block it or set it for down only.
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Removing the spring plate on a Floyd is only useful to reduce it's hight and if you have the back resting on the body or you won't tell any difference.
 
State of Epicicity said:
Dude, this has been a truly epic ride. I bow my head in respect to the love with which you did this, in all of its iterations. I actually feel sad it's ending!

You really oughtta just build random ideas on the side whenever you have time just to show the world how it's done from your perspective. I'm sure you have all sorts of cool ideas for various types of guitars.
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Thanks but I don't know if without another pandemic I'll ever have time.
 
Andy Eagle said:
Removing the spring plate on a Floyd is only useful to reduce it's hight and if you have the back resting on the body or you won't tell any difference.
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I'm not resting on the body, I have a recessed route, and I have a full floating setup. I love using the full range of motion both for dives and for pull ups.
 
Andy Eagle said:
It won't be a noticeable difference unless its resting on the springs.
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With the spring plate removed, can the saddles lose tension if when doing extreme dive bombs or is there always enough string tension to keep the saddles pulled up in their proper place? In other words, do the string block screws always remain in contact with the fine tuner screws? Hope that makes sense. I always deck my bridges but have never tried removing the tension plate. Do you remove the shim plate as well?
 
darkknight91 said:
With the spring plate removed, can the saddles lose tension if when doing extreme dive bombs or is there always enough string tension to keep the saddles pulled up in their proper place? In other words, do the string block screws always remain in contact with the fine tuner screws? Hope that makes sense. I always deck my bridges but have never tried removing the tension plate. Do you remove the shim plate as well?
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Yes the tension plate is not needed without the spring plate.
The bolts do lose contact with the fine tuner when you get a totally slack string but I have never had an issue of them not returning sufficiently to go even slightly out of tune. If your saddles have o lot of slop in the hing this may be a potential issue but I haven't seen it. This is however the problem with the D tuna and no spring plate. I was surprised to see Ed has the spring cut off under the D tuna.
 
Andy Eagle said:
Yes the tension plate is not needed without the spring plate.
The bolts do lose contact with the fine tuner when you get a totally slack string but I have never had an issue of them not returning sufficiently to go even slightly out of tune. If your saddles have o lot of slop in the hing this may be a potential issue but I haven't seen it. This is however the problem with the D tuna and no spring plate. I was surprised to see Ed has the spring cut off under the D tuna.
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Yea I had an issue with the d-tuna popping out with trem use on my Wolf, I ended up putting a new spring plate on.
 
They are not identical the NOS one is really a 5150 with Wolfgang speck. It has a flat 16" radius, stainless 6105 size frets and a vintage rod. Wolfgang pickup, modern German Floyd and a Basswood body. I can't prove one way or another at the moment what the real 5150 body was but I would say on probability Basswood.

The 86/7 Relic is swamp ash with all vintage hardware and pickup from the era. Yes I need an original Hanson Floyd FRT5 but they are insanely expensive (£1/2k). A Duncan CCJ (a known Fav of EVH ) not the damaged JBJ on the original. A 10" radius with 6100 (stainless to my taste) not the 6150 in the original. The floyd on here is the first version German FRT5 with the spring plate and retainer removed then fitted with a repro steel block and prototype arm to be as close as possible to the original without the said Hanson built bridge. It also has a two way truss rod because that is all Locke Custom Guitars use. I need the old Charvel thing tree but the repro is out of stock.
 
It I had to choose between the two on looks alone, I’d pick the freshie. With artist relic guitars I‘d always prefer to see it with my own wear patterns on it. But other than the fact I’m a bit clumsy, I only age nickel and gold hardware. My finishes don’t see much wear.
 
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