Vintage Correct Stratocaster Trem Blocks and How They Can Improve Your Tone
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- Опубликовано: 17 мар 2022
- It's incredible after all of the so-called "vintage" blocks I've tried, that the Mark Foley block finally made my Strat play and sound like it should. It is amazing how much that little extra sustain will influence your playing. And, the high E is more prominent in the mix. I didn't believe it at first but I am now thoroughly convinced that the vintage steel makes your Strat sound its best. I also show you how to correctly install them (see also NOTE #3 below). I've spent way too much money on trying to find a decent trem block. I put some links below of some of the decent steel ones but none of them compare to the Mark Foley vintage correct block, in my humble opinion. This is not intended to be a promotion for MF blocks but I just had to share this discovery with my subscribers because I think you will thank me for it. If you watch nothing, at least go to the end where I give my final opinion, and also the part about removing the paint on you existing block.
Also, for starters, before you spend the big bucks on a MF block, scrape the paint off of your existing block to see if you notice any difference. If you do not notice any improvement, you may want to order the vintage correct MF block.
NOTE: I've realized that more mass does not necessarily equate to better tone. Maybe more sustain but that brass block was so dark sounding and it was the densest one. I think it is a function of mass AND steel compound and Rockwell hardness. The Callaham blocks have the correct mass but their hardness may be what makes them too bright sounding IMO. It's a delicate balance that Fender got correct maybe just by chance back in the old days when things were made differently. Once they started changing the block size and material, the guitars definitely started to lose their signature tone.
**NOTE #2**: When I put the 50's block on my 1964 Strat, I noticed the air gaps between the vintage 1964 plate and the top of block. It made me wonder why. I think I may have an explanation. Notice how thin the steel is at the base of each of the three mounting holes due to the hole bevel. Over tightening those screws may cause them to bulge a little. It would be better if they didn't bevel those holes to where they are so thin. It is probably best to replace those plates when you start to notice the problem. The next problem is where to find a vintage correct plate that is made of the same material as the original. I've asked Mark Foley if he makes any.
NOTE #3: I got a good suggestion on one website to screw the whammy bar through the plate and into the block BEFORE you tighten up the three plate mounting screws. That way, the bar stays aligned with the hole so it is easy to screw in and out.
Mark Foley - email him at mfguitarproducts@gmail.com
Guitar Fetish - www.guitarfetish.com/USA-2-73..., NOTE from their website, "These are black electrocoated to fend off rust. (Silver paint looks cool but paint tends to dampen vibration a bit, and hence tone and sustain are very slightly affected)"
Callaham - www.callahamguitars.com/strat...
Kluson - reverb.com/p/kluson-kvsb-cold...,
Kluson - www.kluson.com/kluson-milled-...
Fender Pure Vintage - www.amazon.com/Fender-Vintage...
Allparts - www.allparts.com/products/bp-...
Crazy Parts - www.crazyparts.de/pre-cbs-fen...
11:56 - Beginning of block installation
20:14 - How to remove the paint on the block easily
34:43 - Final verdict after playing it for one night 
Видеоклипы
![The Perfect Stratocaster Trem / Vibrato Setup [Floating, Flat Or Blocked?]](http://i.ytimg.com/vi/PjVXWyUGpwc/mqdefault.jpg)
very cool video and comparison, appreciate all the time and effort and expense you put in! I've been using Highwood Saddles they are great.
Thank you
Great video millstap I always love these in depth videos I changed the trem springs to Raw vintage on both my Strats with 5 springs and I also got the high wood saddles on your recommendation . Your videos have helped me dial in both my Strats thank you so much.
No matter what block is on your Strat now (except a real good vintage one), this block will change the tone and feel for the better.
Always love your Strat videos, Millstap! Very informative and always inspiring! Your knowledge and insight is very helpful! Keep ‘em coming!
Thanks again,
Cheers to you from Little Rock, AR
Hello Doug. Thanks for taking the time to watch my videos. I'm on another situation that arose after this video pertaining to the installment of the MF block on my 1964 Strat. I think that Callahman block I had on it caused the problem. See my answer to MapleFlame2021 above.
Thank you again for a another great episode friend 🎸👍🏻
I will definitely try the Mark Foley block thanks for the link to get in touch with him.
I put the other block on my 1964 Strat and it made a difference too. Unfortunately, I noticed that vintage 1964 base plate had the air gaps that I mentioned you don't want. I think that over the years, those three mounting holes bulge down towards the body some. Hopefully it's not a function of over tightening those screws. It could be just the force of dive bombing it for years with 5 springs which puts more force on those screw holes. I'm guilty of doing that sometimes. I'm not so sure it is that critical but I feel the better the connection there, the better it acts as one unit. I am looking for another replica trem plate right now. It still made a positive difference and I have tried several blocks on that Strat over the years. It had a Callaman on it which is decent but too bright to me. It doesn't pull out the nice harmonics like the Foley does.
1. Good information in the video.
2. You need to be more organized. "Here are the 5 blocks, here are what they are made of, here are what they weigh," or "Here is block one, the material, the weight, and so on." You bounce back and forth with different blocks and get distracted by the bevels, and then go back through the blocks but in different orders.."
3. Galvanic corrosion. Two dissimilar metals in direct contact can lead to a kind a corrosion. The paint will help prevent that, and may be why it is there.
Great vid. Thanks much. I'm going with the Mart Foley block when I "paint my masterpiece".
They are great sounding for sure.
a stratocaster is an instrument which body is mostly covered with thick plastic. let that sink in. :D
Not my strats, they are all thin skin nitrocellulous lacquer
@@mikebeaulieu3620 I was talking about the pickguard
Did you not like the Callaham? I just got one of their bars and their 64 bar for my strat
I have 57 AVRI strat with the single ply pickguard and I get all kinds of static electricity noise when my finger rubs against the pickguard. Have you ever had this problem? I am trying to find a solution that doens't involve rubbing smelly dyer sheets on it.
I just use the un-sented ones,and leave it over the pick guard in the case.
Thanks for your video! I installed a complete new bridge incl. block and springs from Wudtone (Wales) some months ago and was blown away about the improved tuning stability and increased clarity and dynamics that came along. That was on a 2014 am. std strat. So small parts, so big difference. Guitar-science is fascinating :-)
Yes, after all the blocks I've tried, I was shocked too. There was never a lot of difference between the other brands but the Foley block did something special that was great. I guess it is the softer steel that is more like they were back in the day. They harder current steel blocks just add a lot of brightness and the wrong frequencies.
did you get their vintage or holy grail tremolo?
@@levijessegonzalez3629 No, just the Foley block, both a 50's and 60's style. I'm waiting on a 60's style left handed block for my Nash Strat.
@@levijessegonzalez3629 I replied to millstap above, but saw your question. I purchased the Wudtone vintage bridge maybe 6 months back or so and put it onto a Callaham block because I already had it.
If you're in the US, purchase the Wudtone from a stateside seller. Don't do what I did and purchase from Wudtone and pay VAT and shipping...!
I think its a top notch product and does what it claims... I removed the brass shim because it introduced an unpleasent harmonic or something!!! Looking back and removing the Callaham block and installing the EJ/Fender block, I think the Callaham block is too bright as others have mentioned and may have caused or amplified what I heard with the brass shim on.
I have 2 "strat" guitars. One an older G&L that came with a pot metal block and zinc saddles and high ohm pickups. I switched those out and the guitar became a "strat"!
On my new partscaster, I used all high end components, but it was still lacking... Wasn't very resonant and wasn't inspiring. Current best setup is the Fender EJ block with paint removed (might be same Vintage series?) , Highwood saddles, Raw Vintage springs and Wudtone bridge
@@gmoody3000 hmm, so you don't like the WUDTONE block / springs? just the plate?
I am very curious, because many guitar channels say they add Brass Saddles to brighten tone but Brass Trem Blocks darken tone?
Thing is, I've set my tremolo up so that the E, A, D & G strings can bend up by a minor 3rd, but this restricts how much I can bend down with the full block in. I'm not sure I want to cut into the wood so I was hoping to find a decent (heavy) one with a tapered back edge. Doesn't look like they exist.
Thank you very much for the informations!
I’ll try a steel block on my Slick SL57, the original brass one seams to suck the high frequencies. I’ll experiment with different springs too, the 3 installed are very stiff…
11:31 edges are grind first because of grinding free hand mid air, probably with a lose paper on a soft pad….
You‘ll end up with a spherical surface!
I suggest for best results by hand: glueing the sandpaper on glas, grinding in one direction by pushing holding with both hands, concentrating on uniform pressure and contact with sandpaper. 😊
Good point. I thought of that spherical issue with the soft rubber backing. It's not critical. It scrapes of with the razor blade too. Some like Callaham don't paint that surface at all. Taping the sandpaper to a good flat surface works great too.
would you recommend getting the kluson block/trem system for the budget? Do you think it's good enough until I could upgrade to MF or Callaham
I removed a Callaham from my strat. As others have noted, I also now think it adds an unpleasant brightness to the guitar tone. Might try picking up a pure vintage block from Stratosphere. Look under parts or accessories. I think I saw them listed as new for $24. Yes, scrapping the paint made an audible difference to me. With a razor, it will take 15-20 minutes. I sanded it after and used like 1500-2000 grit on a counter and buffed out the mating surfaces. Good luck.
I would like to see a comparison of; the brass, the steel, the titanium, the stainless steel, and the cheap zink pot metal. One tone two sustain and three weight. Is there any difference, enough to justify the cost and effort? Thanks.
Thank you for the information. My paticular strat is USA made but has the Vintage/Narrow block Featuring 2-7/32" vintage mounting spacing but with the modern 2-1/16" string spacing, this bridge leaves a little extra room on the edges of the E strings. I dont think Mark Foley or Crazy Parts make that choice. I do have a Callaham in my strat right now but at times feel its a little too bright.
Hey! Thank you for doing the video. Do you think it will make a positive impact on a 72 maple Strat?
Would you also recommend some other adjustments in order to make it more sound like mid 50s Stratocaster?
Have a nice day!
Niklas
note: I would love to hear a little more throaty out of the instrument.
You are the man millstap love your videos and passion brother keep it all up. Matty from Oz 🌏 🎸😀
Hey Matty, thanks for your comment. Oz as in Australia? I have a lot of YT friends in Australia. You guys are a rockin' gang. Must be that British influence, lol.
@@millstap ha ha thanks millstap no fella these days we can’t stand the British here lol,,,,, we call them Poms though they did have all the influential rocking British blues all through the 60’s 7O,’s and 80’s etc,,,, The British rock invasion they called it lol
WoW, very interesting
Great stuff, have you ever tried the Floyd Rose Tungsten Tremolo Sustain Block?
Nice comparison, what do you think about brass tremolo blocks, saddles and trem plate that Fender once made in the 70s I think?
I’ve only tried that one brass block that I have and I didn’t like it. The closer I can get to the old steel blocks, the better IMO.
What about 2 point trem blocks ? I have a 1990 Strat Plus with factory red, silver and blue lace pickups but noticed the trem block doesn't have any mass to it at all really wonder if a bigger block would be better option for tone and sustain
I would check to be sure a full size block will fit in your guitar but, yes, it will definitely sound better and give you more sustain.
down the rabbit hole, every piece of the strat matter, hehehe
Hey Man! I have a minor space between the block and the plate (CrazyParts 60s Bridge assembly)
Do you recommend sanding it with 220 grit sandpaper?
There is some debate if it makes any difference. Mark Foley said he has looked at a lot of vintage Fender tremolos and they mostly all had the gaps between the three mounting holes. I think either way it sounds good. Personally, I like to eliminate air gaps but that's just my preference. It just take a slight sanding on the bottom of the plate to flatten out the raised areas around the 3 mounting holes. I tape a piece of the 220g on a flat surface and rub the plate back and forth until I get a flush fit. I think Fender would have preferred that fit to be flush but with mass production, the flaws make it through production.
@@millstap the block can be sanded as well? Cause seems perfectly flat
@@Matan2222222 Just the plate needs it. The block is machined flat.
I just got my Mark Foley 60’s trem block. I have Callaham blocks on both of my CS strats. I’ve heard some folks say they don’t like the sound of the Callaham blocks. That they have pingy/zingy sound which I can hear a little. I’m about to install my Mark Foley block one I receive the Highwood saddles. Ordered those as well after viewing your video on those. Thanks for the video @millstap.
You already got it? How long did it take after you ordered it? I had to wait a few weeks for them to arrive in the USA.
I would scrape all of the paint off too. It's really not necessary.
@@millstap I actually order a set of his SM-62 pickups which I already installed and they sound phenomenal! They are reasonably price compared to Ron Ellis pickups.
@@millstap not long. A few days after I contacted him on Instagram. He seems to be on there a few times a day and checks his messages. Very short with his words but nevertheless, a great guy.
@@jim_m001 I have been tempted to try them. Thanks for the info.
I'm proud of you. I'm sure about this, same experienced.
Thanks, lol. I did experience a change in tone with the first Callaham block I installed years ago but it was not a good tone change. It was too bright IMO. The steel compound makes a difference. I just wonder still if it is possible to make the old steel anymore even when they say they can duplicate it.
Just now I replaced the brass block I had on my "main squeeze" for many years. Brass is awesome to darken the guitars tone a bit..and served me well cause I used different pickups back then - vintage but hot style. Those were a bit spikey and hot and overwound.
Nowadays I'm a freak for vintage style pickups, and let the amp and pedals do the heavy lifting when it comes to that.
This is a steel sustain block - old school. Fitted like a glove. -this is an old japanese stratocaster 62 reissue, and the metric problems are well known. I pulled the trigger without measuring and bought a Fender Pure Vintage tremolo block, and hey..it went just fine. This pure vintage are unfinished on the top of the block already -great.
the tone is perfect. the guitar came alive. I was about to try different pickups..but..no way..not any more. Thanks
Yes, my 1964 Strat came with a brass block and was way too dark sounding. It took me a long time to figure out why. It has two Abigail Ybarra 1964 pickups. I just put on a Musikraft reverse CBS headstock rosewood neck with vintage size frets and it sounds better than ever. What an amazing design that can be improved after almost 60 years. I just bought a vintage correct trem assembly from Crazy Parts in Germany for a friend and will be able to check it out. The vintage steel definitely sounds authentic to me.
@@millstap yes. I was scratching my head for quite some time about this guitar, but I thought the block being brass was a non issue. The original one on this guitar was a zinc cheap one, and changed it to the brass one because I took it out from an old japanese tremolo unit- I had to replace a long time ago from an ibanez blazer custom made- I had laying around my spare box.
I never thought of returning to this block thing again..but glad I did! And somehow your video helped.
I've got an early 70's Japanese Rokkoman-strat with the thickest tremblock I've ever seen; it's a 17-millimeter thick steel block! Normal ones measure approx 12mm. Unfortunately, it won't fit in the cavity of my other strat-alike.
HI I recently broke my trem arm on my 57 reissue strat had it since 2006 I managed to get the broken bit out of the block but thought i might replace the block as the arm wasnt sitting snug in recent year and rocked a little making it difficult for subtle nuances with the bar. I was wondered if you could recommend me a block and arm for this strat. On the fender website they do a American Vintage Stratocaster® Tremolo Arms and a Pure Vintage '50s Stratocaster® Tremolo Arm Kit im not sure which one would be better quality what do you think? they are around the same price and they only sell one block which is the pure vintage one.
love your vids and all the best and king regards
I just replaced a shorter stainless steel bar with this Fender one, www.amazon.com/gp/product/B00I3XGFPA/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1. in my vintage 1966 Strat. It worked great and I didn't even need the spring. It went into a vintage block. I bent it several times in a vise to get the shape I was looking for but using a block of plywood with a hole drilled so the bar would go through past the threads and hold it steady while I bent it. The Foley blocks are great but expensive. Gotoh makes a decent one as well as Kluson and I'm sure Fender probably has a good one even though I have never found one that looked like it was the correct material.
@@millstap ahh yes I saw that one on the fender website they aslo do a 60s break angle Im guessing the 50s angle was to to high right? I think the American vintage ones are slightly lower could be wrong but wasnt sure if I would like the 50s angle as it looks more angled up that the reissue one I had originally. Kind regards
I would be scared to bend it incase it breaks lol breaking one has been hassle enough lol
Thanks for the great video! how do you clean the block straight part that sits on the plate? just a 220 grit sandpaper? or a razor blade as well?
I use the razor blade but on the top, you might have to use a little sandpaper to get all of it.
@@millstap cool Thanks!
@@millstap I've ordered the Aged version of the 60s full bridge assembly with Mark Foley Block from Crazy Parts. Can't wait!
@@Matan2222222 Good choice. As far as I can tell now, those are the best available. It should sound great.
@@millstap yeah definitely. The prices are huge so I hope it is😅
Me, too, Sir. Cold rolled steel generally does it for me. Metal density is what it's all about. Visit Bill Callaham ... One of the tuner makers builds a good cold rolled steel block as well. My old memory does not serve me well, this time of night!
i used a vintage correct block which are very good string holes not too deep some of the fender later blocks have too deep holes but nothing beats a original pre cbs cold rolled steel bridge which still has
the very thin coat of paint i could actually hear more sustain from it which goes to show why pre cbs strats are so good the strat body is soo important too when you hear a bell tone for the first time which
most later strats dont have its a eye opener ,cost wise a high quality block with resonate body, springs that come in different strengths and lengths are all very important too consider.
Hello, question have you ever used a brass tremolo block? just curious.
Yes. When I first received my 1964 Strat, unbeknownst to me at first, it had a brass block and not the original block as advertised. The guitar sounded very dark. As soon as I discovered it, I replaced it with a steel block (I think Callaham) and I never looked back. The guitar was quite a bit brighter even though now, I don't like the brightness of the Callaham blocks. I finally found the Mark Foley (UK) block and it is the closest to vintage I have found. Crazy Parts sells the same block I think. I did also like the Kluson block I tried. Now I have MF blocks on most of my Strats. Mark Foley's complete tremolo bridge is as close to vintage as I have found except the springs. I always end up putting a set of Raw Vintage springs on. The MF springs were not consistent as far as tension goes. Every RV spring has the exact same tension. Some people say the brass blocks should add brightness. It doesn't matter to me because I will always use an authentic cold rolled steel block.
Got a couple of blocks a while back for a deluxe and custom shop strat from Celtrocka (from Strat forum) in the UK, wales. Very impressed with them. Not sure how they compare to Mark Foley ones but he seemed to be extremely knowledgable.
Celtrocka ones where half those prices! Ouch. And apparently they did indeed work together at one time.
@@RokinLee You mean Celtrocka and Mark Foley worked together? I wouldn't be surprised it they are all getting them from the same foundry in the UK. I know Crazy Parts in Denmark also gets their parts from the same place Mark Foley does. They are probably all the same. I did notice that Crazy Parts had no blocks available. I asked Mark if he did left handed blocks and he said yes so I ordered one.
@@millstap Celtrocka makes them himself from steel. He was supplying MF for a while, but they are no longer working together.
Wow, spending this much effort on the term block, maybe the axlab tone claw maybe work a try. I'm building a strat, was thinking to get a gotoh 510 vintage. Didn't know the trem block was so critical. Thank you for the great video.
I shied away from that heavy duty claw. I'm just trying to get everything as close to vintage as possible and the MF block is one of the best. I didn't realize how much difference they made until I started buying some of the standard available ones and being underwhelmed with the results. I still the the Highwood Vintage Contoured saddles with the groove. I think they are the best. They will last forever and sound as good with a tad bit more sustain.
how about the wilkinson block where the string holes are stagard?
They are made of inferior steel. I have one on a strat but I upgraded the block to cold rolled but they don't seem to be available anymore
I sand the bottom of the bridge plate too. Often the steel is slightly distorted from the hole punch, all of mine so far appear to have been punched from the bottom side. It takes the chrome and nickel off down to the copper plating layer, just wax it and dont buff off the haze, it won't go green.
Then I use the bottom of the plate as the sanding block to finish off the mating surface of the block, 800 to 1200 grit.
The great goodies you buy are out of reach for me so I have to push every finishing detail I can to wring the good stuff out of the less spendy stuff I have. But you are right in your approach here to best mechanically couple the mass of the block to the plate.
There is simple science to the materials question: its the speed which frequencies travel through metal. From slowest to fastest, in context, its zinc, brass, steel, aircraft aluminum, spendy aluminum alloys, spendy titanium alloys.
I would be interested to put an aircraft aluminum block up against a steel one. I know it would have great sustain but I strongly suspect it would not have a 50s or 60s tonal character.
Good stuff. I'm getting ready to buy a full Mark Foley tremolo bridge complete with springs and claw. It will be interesting to see how that one is. I got the older '50's rough cut plate which is a hair thicker than the 60's plate. I will be putting together a complete Partscaster using an MJT body and Musikraft neck. Should be interesting. I'll do a video on it for sure.
Stan, did the vintage blocks have paint? If so, I think I would think twice about the paint removal to make it sound more vintage new.....
Most of the paint on vintage blocks has already fallen off. And even then, the paint was really thin. Leo was such a miser, I'm sure he would have gladly kept them bare if it meant saving a few cents per block. Since they were so close to the ocean in Fullerton, I'm sure they would rust pretty quickly in the salty air in a non-airconditioned shop. The new blocks have fairly thick paint in comparison. I think they sound better without it. I'll respond later on your static problem. It could be a pot.
@@millstap OK thanks. Yeah let me know what you think if its a pot.
@@JimmyDevere I just bought my Mark Foley left handed block from the Isle of Wight in the UK. They are the best. I will definitely scrape the paint off though. It is for my left handed Strat. I couldn't believe the difference between the MF block and a very good Kluson block. I think I have the same '57 Reissue Strat except mine was built in 1986 I think. I put a full aluminum shield under the pick guard like they did in the '60's. That might help. Then, make sure all three pots are tight against that plate. For now, be sure they are tight. There should be a small plate in there now just the size of the three pot area. Check your ground wire from the spring claw to the guts, wherever it connects and make sure it is solid. It is probably just a ground problem. But, make sure your knobs are not tight against the pick guard. I had problems where I put these rubber rings under the knob to keep them from turning so easily. The ring was pushing the pot shaft up which would cause the wiper to make bad contact so it was staticky all the time. I found the VIP Pots have a lock ring on the shaft to keep the shaft steady and the upward force does not move the shaft. www.vintageinspiredpickups.com/vipots
@@millstap Thanks for those tips Stan; I will give those a try. So are you using the VIP pots personally over the CTS now?
@@JimmyDevere Yes on the VIP’s. There may be a few originals still there but VIP whenever I switch. They are 280K. One of my 1964’s was 325K. VIP researched a lot and found them all higher than 250K.
I have your basic Indonesian 90 degree whammy bar (2016) Affinity Strat with the shallow body, it needs a short block 36 mm depth. End of the day a Musiclilly for about $ 21 & S&H added got the job done. I went with steel, but I may try their brass trem block just to warm up the tone. The thing with a brass trem block, it seems rather pointless if the saddles are still the chromed cast steel saddles & not swapped to brass saddles ? I just don't want to become a slave to brass tarnish or the steel rusting (FL, USA humidity & salt moisture issues). Bad enough the frets on the preowned instruments were turning green and corroding.
Yeah, you probably have worse humidity than we do around New Orleans, salty air definitely makes it worse. Got to keep the A/C cranking for sure. I'm waiting on my Mark Foley left handed block to come in. Those things really do sound better than any of the blocks I had tried previously.
Hi millstap. I just found out that John Cruz (former Fender Custom Shop Master Builder, I'm sure you know him as he made tons of guitars for so many famous Artists when he was basically the head of FCS) started his own venture by the name of John Cruz Custom Guitars. He must have seen your video's regarding the Highwood Saddles as he puts them on his every new build S type guitar that he makes that has vintage tremolos on it which confirms what you said all along regarding these saddles. I thought that was kind of cool.
Wow, that is really cool. I mentioned once that if Leo Fender had seen that design back in the '50's, he would have gone with it. Virtually every other Fender guitar had saddles with manufactured grooves except the Strat saddles, with the exception of the brass Tele barrels but a lot of Teles came with the threaded bolt type saddles with grooves all along them. I'm not sure why Leo did that dome saddle on the Strat.
What are thoughts on the Gotoh tremolo's, particularly the 510 series?
I don't think they are that bad. I'm pretty sure that is what came on my Nash Strat. But, I did have tuning issues with it right off the bat and ended up changing out almost everything. I think the only original parts I kept were the plate, six mounting screws and spring claw. I put in Raw Vintage springs and Highwood Vintage Contour saddles, a new whammy bar and Mark Foley block. The Gotoh block wasn't that bad compared to vintage but the MF's blocks are exact.
As far as tone goes, they are more vintage correct than a Callaham system.
Actually, I think mine was a traditional and not 510 series. I always like to stay with vintage correct parts so I don't like the two screw pivot system.
Of note on the block issue, fender makes the Eric Jonson block that is more vintage correct, shallow string holes and the like, I would argue that just removing paint may actually make the physical connection worse, depending on how the machining was done, fender blocks are very rough. i personally do not think it’s a big deal, however the best way to make this connection as solid as possible is using stones to remove all machining marks, I use synthetic to a Arkansas stones to get the block level, and should end up flat with a mirror finish, then the problem is the baseplate, it’s not flat, and hard to get that way with all the chrome on it, I played with paint, no paint, and using my gunsmith stones to level to a nats ass, both the block and baseplate, I found no difference in tone, both playing and using spectral analysis, with a daw and ozone insight, I use the Eric Jonson block mainly due to being more visibly vintage correct, but use fenders pat pend saddles, unlike the Elric Johnson bridge assembly, all this is more visually correct, not convinced it’s tone changes much at all against a stock and current USA fender bridge assembly. Just my take on all this after messing around with it. The Callaham bridge makes a tonal change, but is nothing like the tone of a vintage block. It’s just bright.
Nice work! Have you happened to have compared the 2-point term to the vintage 6-screw terms to see how much of tonal difference is there?
Awesome to know!
I just ordered a full '50's style vintage tremolo system from Mark Foley and should have it in 10 days or so. I'm looking forward to evaluating the rest like the springs and the saddles. I usually put Highwood saddles on all of my Strats but I will definitely give Mark's a chance. I know his blocks sound great. I'm real curious about the springs.
@@millstap I will be looking forward to that for sure...I am just now getting to evaluate certain saddles and honestly, I have never given the springs much thought besides their tension, so hell yeah bring it, man! lol
@@SIXX2772 I use Raw Vintage springs exclusively because they are the only ones with the softer, vintage correct tension. I will be able to tell right away if they are correct or not. See my tension chart in the description of this video, ruclips.net/video/Tl5j0AuEH1M/видео.html
@@millstap Awesome will do, I appreciate ya!
Love your channel! Bought a Fulltone Supa Trem because of you to use as a clean boost and opened it up and tweaked as you suggested as well. Works great. Love your playing and guitar/amp tone!
So, I needed to change strings tonight, so... I took off my Callaham block off and scraped the paint off...!!! I also buffed with 600/1500/2000/3000 grit paper, then metal polish. Have done that with nice knives and found it keeps corrosion at bay.
Did it change the sound for the better? Yes, I think it does. How much? Hard to quantify, but the springs and trem block have a purer, more bell like tone, especially listening from the rear of the guitar. I do it somewhat regularly, so I have a baseline.
I have some perspective to share with anyone wondering about this and other tone tweaks...
Keep in mind, I've upgraded a couple guitars and now use Highwood saddles, Raw Vintage springs, Callaham block, Wudetone tremolo bridge (removed the stainless shim due to unpleasant transients!) and TI blues sliders strings.
My strat style guitars are both now very resonant and acoustically loud. One is an old G&L guitar that came with a pot metal trem block and zinc saddles and high resistance pickups. Didn't sound bad at all, just never sounded like a "strat", so I endeavored to figure out why. Took the lessons learned from that guitar and built a "partscaster" out of an Eric Johnson strat body and an Eric Clapton neck. The Eric strat was relatively quiet initially and I've since learned a few things that made it much more resonant and acoustically loud. ***The point I would like to make is that if a persons guitar has a pot metal trem block, zink saddles, neck isn't attached optimally, and on and on and on... scrapping the paint off the trem block is probably futile and a waste of time! On the other hand, IF a person has a reasonably quality guitar AND components AND the neck is attached right, then scrapping the paint might be the cherry on top! I will also add that the "better" or more pure or bell like your tone, at least in MY experience with MY guitars, the more important it will be to make sure your intonation is as good as it possibly can be. I can't overemphasize that! The purer your tone, the more it will highlight imperfect intonation, at least in my experience.
Good hunting everyone... cheers!
Wow, that's all good news. That's taking paint removal to the next level, lol. I don't think you have to worry about rust unless you leave it in a humid environment which nobody would ever do hopefully. Good point on having a good guitar to start with before you start to notice the difference from paint removal. The "loudness" factor is what I noticed, especially with the tight joint between the plate and block. And the intonation must be right. Zinc is just bad sounding all around. Watch my last video on the gripes I have about the Callaham blocks. They are probably one of the better ones but he changes the design for no good reason and also, I think the steel is way too hard. I removed the neck shim that a luthier had put in on my CAR Strat to get the solid neck pocket fit. It did help with sustain but now, I'm thinking I might actually need it and that would mean to get a full pocket maple shim from StewMac and shave it down to almost paper thin at the heel. I'm not ready for that. I wanted to keep one Strat with vintage saddles (the CAR) but now, with the screws sticking up a lot, I'm seriously considering the Highwoods for it too. I keep my Supa-Trem on almost all the time. Great clean boost for sure.
@@millstap Well... curiosity got the best of me and I ended up swapping out the Callaham block for the Eric Johnson block that came with the body but I never installed it, instead originally going for the Callaham.
Scraping off the paint from the EJ/Fender block was MUCH harder and time consuming than the Callaham block and I was not able to polish it up at all really...
I did remove the Wudtone vintage bridge and polished both the contact surfaces of the bridge and block to ensure the best possible contact surface.
Before reinstalling, I mixed super glue and corn starch and filled the bridge holes up and bit and used a smaller diameter drill bit to make sure the mounting screws would go in all the way, but maximize contact with the wood.
I surprisingly was able to save the strings I used to install the polished Callaham block this past week and reinstalled those with the EJ/Fender block for a head to head comparison.
Everything sounds just as loud and vibrant as the Callaham block, but as I wondered and kind of hoped, the EJ/ Fender block actually is just a bit better/sweeter overall than the Callaham. The Callaham block, with everything else I've done to maximize resonance/aliveness, seems to reveal just a touch of unpleasant high end. Maybe that has something to do with why I felt the need to remove the Wudtone brass shim...?
Anyway, listening to the guitar unplugged and plugged in, it's hard to imagine it getting any better than it is now. It's acoustically loud/resonant and just overall sweet sounding and inspiring.
Just for added background on my guitar/s... For replacement pickups, I've used...
CS 69's Neck=perfect / middle OK / Bridge=ice pick
CS texas specials neck ok / middle good / bridge very good
Pure Vintage 65's - Very nice! Instant Hendrix!
Throbak 64's = PV 65's at 4x the price
Current pickups
neck CS 69 5.4 ohm (warm and sweet)
middle Tex Special neck 6.3 ohm (spanky)
bridge Tex Special Bridge 6.9 ohm (Great for Gilmour and Thorogood)
All wired into an Illitch noise cancelling pickguard (yes it works perfect!)
The general requirement is that all the pickups need to be the same polarization. The 60 cycle hum in my house is more of a buzz and the Illitch pickguard eliminates 99% of it. Can't recommend high enough.
I sent a reply after your post and not sure if I replied to you or myself... Anyway, more info there as well.
Really enjoy your videos! Very cool and you just kill it playing thru your Bassman's!!! All the best, Take care!
@@gmoody3000 Have you tried the Highwood saddles yet? Watch my last video I posted yesterday. I was kind of shocked myself but I had gotten so used to them on my other guitars, I could tell there was something missing from my vintage saddles. I hate that hum. I have this weird interference that comes from my old Apple Mac desktop that nothing can touch. If I want silence, I have to go in the other room where I moved it to get far away from my amp room, and unplug it. I bet you even the Illitch wouldn't touch it. It's that bad but lately I haven't noticed it much so maybe it is better now. It was a real puzzler. I even went to the extent of replacing the power supply in the Mac which is a real chore. It helped for about two weeks but then came back.
@@millstap I was writing a reply and it just disappeard. Not sure if it sent or just deleted it...
Anyway, yes, I installed the Highwood saddles, Raw Vintage springs and an updated steel block from G&L onto my G&L "strat" 10 years ago or so along with some more vintage correct pickups in order to try and get my "strat" to sound more like a Strat...
As you mentioned in a reply to someone else, yes the Callaham block now seems a bit too bright and introduces a slight unpleasantness to the tone. I was concerned that I might lose something when I installed the the EJ/Fender block, but it kept all the goodness and lost only the unpleasant high end...
Playing my unplugged Fender this morning before work and I realized a very big part of what I'm hearing is the "built in reverb" effect of the trem that I don't think I ever heard before with this guitar because the hard/thick paint on the block was subduing the vibrations! I was thinking that taking the paint off the block might be the cherry on top of everything else, but I think it's actually a big piece of the puzzle to maximizing tone/resonance/aliveness... whatever you want to call it! Very impressive... Thank you!!!
*Super glue mixed with corn starch and pushed inside the trem spring screw holes with a tooth pick will make them as good as new! Have a smaller diameter drill bit to clean out the holes by hand after a couple minutes and make sure you cover anything you don't want glue on... Don't ask me how I know... And a razor blade/sand paper to clean up any excess.
**Also, I've tried both the Verheyen and the Fruta method of setting a floating trem and the Fruta worked better for me to bring the strings back to pitch after using the wammy bar... I take a post it pad and measure about 1/8th" compressed and wedge it under the bridge... screw the trem springs in a couple turns... set my tuning and other adjustments... I think I set my trem so that the G string went up a tone and a half when depressed... remove pad and back out trem screws until you hit your tuning, E or E flat... Do not use your tuners...! Your string tension will now match your spring tension and your strings will go back to pitch after using the wammy. I set my tuning to E standard with 5 Raw Vintage springs, and if I want to drop down to E flat, I remove the middle trem spring and make little adjustments to the tuners... Super simple and easy!
Since putting together my Fender partscaster, I actually bought a new pickgard for my G&L and installed Seymour Duncan Antiquity unpotted humbuckers ("swimming pool" route - trembucker in the bridge position/wired like an Explorer - 2 volume/1 tone) I didnt see the point of having 2 similar set up strats and the humbuckers sound as good as any humbucker guitar I've ever heard...
Keep up your posts! Really enjoy you and your videos!!!
MILLSTAP, what is "buffered deck" tremolo? its different than deck tremolo how so?
Did I say "buffered deck" somewhere in the video. Where? That may have been my Texas slang because I don't know what that is.
@@millstap no you didn't but I don't know how to set up my strat tremolo unit to be buffered deck, can u make a video on how to set up a buffered deck
@@waynegram8907 Wayne, I've never heard of a buffered deck so I'm not sure what you are trying to do. I've never done that as far as I know. "Decked" can be done several ways too.
@@millstap look up buffered deck, also the blocks are made out of zinc or steel or other materials. You should make a video about different types of block materials
@@waynegram8907 I did and came up with nothing and the block material is what this video is about. Just stay away from zinc or brass unless you are looking for a sound other than a vintage Strat.
What about Sterling blocks???
What material is a black block made of?
It is brass that is tarnished.
Have you tried a Kluson aluminum block?
I have not. I always stay with traditional steel and the Kluson steel block was one of the better ones.
I made the "Mapleflame Mod" for stainless steel Bridge post for ABR-1 bridges. The stainless steel post aren't always better for some guitars, for some depth drilled has more to do with tone change. Most guitars the SS wakes them up and sounds amazing. I did the same swapping of blocks in my Strats years ago. At the time Callaham was the best, but even then, certain guitars can sound better with a stock or other type of metal block. I will mention that in most cases, the Vintage 50-60's blocks sound the best overall, just like 50-60's ABR-1's. The metal seems better for tone.
I am anti-everything Callaham. Long story, but he changes things from the original Fender design which actually causes more problems than they are worth. I love these MF block. I heard an 100% improvement on my Seafoam Green '57 Reissue that I bought way back in 1987. That is a new, amazing guitar now. I didn't hear the same improvement on my 1964 Strat and now I think I know why. In this video I preach that is it not good to have air gaps between the plate and block and when I put the MF on my 1964 Strat, I noticed the air gaps. Now it is driving me crazy wondering if it is the air gaps causing a loss in some tone. It did improve substantially, but not as much as the '57 where the block/plate connection was solid. I've been wondering ever since how my vintage 1964 plate got bent and doesn't fit flush. Now I think I know. At first, I came up with a faulty hypothesis, but now, I just inspected the Callaham block again and I think I found it. He deeply bevels out the three mounting holes on the block. There is absolutely no reason to do that. The bevel is on the plate where the screw heads go. I think that bevel on the block caused my plate to warp at each screw hole when I tightened the three screws. I tend to get them very tight. Now, I'm going to have to take the plate off again and see if there is some way I can bend those areas back again. You can see the plate sitting on those three raised areas on the block. I am also looking for a vintage correct plate just in case I can't straighten my old one back in shape.
@@millstap absolutely, the contact surface area is everything for transferring the string vibrations through saddles, screws, plate and block. Amazing how even being off a tad can make a difference. Thank you for your reply
hey have youtried the titanium blocks ?
I pretty much stay away from anything that isn't close to vintage correct. My 1964 came with a brass block and it sounded really bad.
Is Crazy Parts the same as Mark Foley?
On certain part like saddles, they seem the same, but on blocks the strings holes are a hair different and their tremolo springs a little different too. It may just be different specs for Mark and Crazy at the same foundry. I can't imagine too many places that make these parts so I would guess they are pretty much the same. I would go with the best price depending on the exchange rate. They are both excellent.
Never saw anybody manhandle a 64 strat like that. Tapping the block n on the body??
It's just an old guitar. Vintage is a little overrated in my opinion and it's well beat up already. Plus, it's a black spray can refin so not one of the $25,000 Strats people are still trying to sell. Strats are basically indestructible so a few more dents isn't going to change much.
I thought “Super Lube” was just for ordering from StewMac?
But now you’re telling me that you can also use it on guitars?
Or is that just what we should tell people when they ask what the big tube of super lube is for?
No, you can buy Super Lube on the internet but I don't think StewMac sells it. It's just a basic Teflon grease that is great and cheap.
they sell vintage reissue 50s and 60s blocks on crazy parts do you think these are the same as the ones you recommend I guess it would be hard to tell someone told me that Foley doesn't make trem blocks, and that he used to supply him personally ha the plot thickens lol
I think they both get them from the same place. Either one is good. I guess whoever is the least expensive. I know Mark says he has a proprietary recipe after analyzing a bunch of vintage blocks. They MF's have been great.
@@millstap kevs are ony 26 pounds and Mark hasnt replied so maybe give them a try
@@lewisedwards1658 For Mark, I think it is better to contact him on his Instagram page. I had the same problems. He replies once, sends an invoice and that is it. Not much on conversation. I'm all blocked out. I won't need any for the rest of my life unless I build another guitar which I don't plan on doing. Hopefully I don't break a bar that I cannot remove.
@@millstap Blocked out! lol yer you really dive into it got me obsessing now but very informative and insightful stuff. Yer I did contact him on insta aswell maybe take a couple of days. All the best and thanks for the advice ordered HIGHWOOD saddles and RAW springs as your recommended.
@@millstap Im still waiting for Mark to reply but I am almost convinced that the ones on crazy parts could be the same someone seems to think they asked him and he said that was the case but who knows cant trust these internet trolls lol
You can just turn your saddles on edge without having to remove them to access the block screws.
Great tip. Thank you 🙏.
Humm....
I was fooling with a guitar a few weeks ago. Pulled the thing off and everything. ( it was just a little Classic Vibe) but yeah I did the frets and stuff. Had a new block, got it all out and realized you ( I thought) have to remove the saddles…. Right back in it went. Never even thought of turning them on the side ha ha. Oh well I’ll try again when I get back to that guitar in a few months.
Those English trem blocks paired with the Highwood saddles are a match Leo Fender would have approved of. The block maker must be an "Alchemist" well versed in the laws of Archimedes!
What would you suggest for the bridge ? Going to do the whole upgrade.
I wasn't going to open my cake hole about removing whatever material or residue, or coating, or "paint" in question. You want it gone from your trem blocks. Not a bad idea.
UNTIL you broke out that grinder, something like a Dremel tool? Those tools can be indespensible while working on a guitar, ask any luthier or guitar tech. I have a needlessly-expensive fancy-shmantzy 'Fordom Tool KIt'. It was an overly- expensive gift given to me one Christmas by a well-intentioned friend. Anyway, I would never use it to remove paint or any unknown residue from guitar hardware. If I was faced with that particular eventuality? Your situation?
I gotta say: Fill the lower third of a coffee can with LACQUER THINNER and drop the block in there for one hour? Two hours? Overnight? Do this OUTSIDE!! Even 220 grit paper and a small rubber grinding disc can get to be needlessly-aggressive on musical instrument bits and pieces that were designed at least to go together with a good tight fit.
Sanding and grinding to remove that "Waxy yellow build-up"? IMHO too time-consuming but mostl mostly? Too invasive...
Ive been using Callaham blocks.
They are decent when used by themselves but the whole Callaham tremolo bridge tends to be a little on the bright side. Some people love the brightness by I prefer the warmth of the old steel blocks which are not as hardened. Bill, for some reason, over hardens his saddles and probably the plates and screws and his springs are by far the tightest (as far as tension goes) available in the market.
Hey buddy, I dropped a message about the blocks. I wanted to add a few more rabbit holes to your trip, check out General Vintage in Spain they have a Reverb shop, he makes the best springs they are exact replicas of pre cbs and made a difference. I need to remove the paint off my Foley/Dave England block to see what that does. Oscar at General also makes old wire pickups that beat Foley pickups even though Foley pickups are great.
I have seen General Vintage before. I like to support the Spanish since my son-in-law is from Madrid. But, not at $133.44 for a set of 6 springs (2 sets of 3). For $22 the Raw Vintage have the correct tension and sound great. The cheapest, best upgrade you can do. It would be interesting to get a few springs just to check their tension. I would be interested in finding one vintage style neck pickup for the one I just busted. I put a Lollar in it and it sounds great but I would like to experiment. I wonder if Oscar would just sell one pickup. Mine was a 1966 grey bottom with enamel wire. It's on it's way to the repair shop.
@@millstap Reach out to him buddy, I am sure he would be able to get it real close to your original as he has a horde of old wire I had him wind a set with essex wire sounded great. I have bought a fair bit from him so I got a full set of springs not at the price on Reverb I'm not sure who the target market is to buy 3?. He makes the best current reproduction Strat plastic as well Nitro guards and HIPS plastic knobs and pickup covers and backplates that are impossible to tell from pre cbs even under blacklight, bar the dings that real age causes. I was having a hard time getting my strat back to spec before I found his shop. Foley used to make amazing plastic years ago but he is done with that now.
No question
Are you related to Spock🖖?
When you wanna remove a Trem spring easily , just take the old g string you removed , cut it to have a clean end , and bend the tip into a tiny claw put it inside the hole and remove your spring with the claw ....Much safer than banging your tree block on your nitro lacquer ( especially f your guitar is vintage ^^)
I actually ended up doing exactly that but I'm not sure when. I had one, though, that would not come out with the hook and I thought it was going to be permanent but I put some tapping oil in the hole and just kept banging it and if finally came out.
16:07 Highwood!
Wow u knocked metal on wood!?
Ive had some strats that sounded best with the cheap cast iron blocks over the callaham fancy stuff.
The Callahams are too bright sounding. The Mark Foley block sound great but are too expensive but they improve the sound of the three Strats I put them in. Is your the thin one or full size. I would still go for any full size Fender block versus those half blocks they used in the cheaper Strats.
@@millstap Its a lighter one that came out of a 1994 anniv edition.
I always thought isle of wight was in the water between Scotland and Ireland. That's isle of man....
Hopefully I said Isle of Wight because that is where Mark is located, an island south of London.
I like stone blocks
I actually thought you were joking at first but wow, Tonestone. What does that do to the tone? They’re not cheap.
I’d be careful of that marker. Might affect tone
:).
I went into this trem block loophole not long ago, ended up actually buying a gotoh block bridge, that was a dark time for me...Granted, it does sound better but I doubt in real life application there's much to be gained from trem block switcharoo's :).
That was my initial thought too. You see how many I’ve tried and the Gotoh wasn’t anything special. But when get that extra sustain and clarity and string zing, you will shocked. It makes the guitar more fun to play and much more expensive. It really does sound more like Jimi’s Strats which always had the real, original Fender blocks.
@@millstap No what I am saying is I did get the improvement I looked for from the Gotoh but it did very little for me on a playing level. I think we're being bamboozled with all this stuff, playing into the mental illness most of us guitar players have ;). Don't mean to undermine your findings, I am sure the blocks do sound different to the discernable people out there.
Glad that you did this video millstap. I just bought a Mark Foley 60’s style trem block for my CS 60 reissue Strat. I’ll let you know how it sounds compared to the Callaham block I have on there now. I’ve heard that some say the Callaham block can sound “pingy” or a “zingy” type of sound which I can sort of hear. All the best!
@@jim_m001 Exactly, pingy and zingy, especially if you use his full tremolo assembly. I'm sure Callaham made his "improvements" on the block over Leo's design just like he did on the bridge plate and saddles. I've worked with engineers my whole life and I know how they like to reinvent the wheel. We don't want improvements on a perfect design from the start. You will notice a more balanced sound with more sustain and the correct harmonic character. It really did remind me more of some of Jimi's Strat sounds and that was astonishing. I said to myself "that's how he got that sound. He had a very good original Strat." The closer we get to that, the better. I know his techs would bring a bunch of Strats to him to try and I think I read that they knew what Jimi was looking for and were able to cull through them themselves. I had a Callaham on my 1964 Strat and just replaced it yesterday with the 50's MF. It sounds better that it ever has. I noticed even more improvement on my '57 Reissue in this video which had the nice looking Kluson block. Looks are definitely deceiving. It's all in the steel compound and hardness. That's what has the correct resonance to bring out the best of the string vibrations. I even noticed that my high E's are louder which was a big bonus because they were always weak sounding. Much better for those open E type songs like Spanish Castle Magic. Let me know what your results are. It is different for each guitar depending on the wood, springs, strings, etc. I'm using the Curt Mangan Nickel Plated Round Core 10-38. And the .038" E has this beautiful solid ring to it now. Enjoy.
@@roderickbalt8993 I was very skeptical since I had already been down this road, but this was different. At least there was much improvement over the Kluson block which looked and weighted great and not as much improvement over the Callaham but definitely worth the money. The strings just sound better, especially the E. It's crazy. Everything makes a difference and anyone that can make the steel that is closest to the original old steel, is going to get closest to the old tone. Nowadays, environmental regulations have killed a lot of great products of old like the Uni-Vibe Cadmium Sulphide photocells, steel with banned components like lead, to true Nitrocellulose paint. They killed them all. I think the Foley block is as close as it gets that I have found. Each block has a resonant frequency and it might just be chance when you find the perfect fit. Have you seen the back of some Fender amps? They practically put a cage around the electronics to keep people from a potential shock hazard. They've gone too far IMO.
Thanks for this info!! I have send a email at marc! 😉
I alerted him about the video. I hope he can keep up with the demand.
I use a Kluson Brass Block,cost under $40,, which sounds AMAZING!Much more tone n punch!!!!! ON MY '62 FENDER STRATOCASTER. Now my 61 will be equipped with a Brass KLUSON BLOCK today,,,,ITS A HUGE DIFFERENCE, UPGRADE MORE SUSTAIN,MORE PRONOUNCED SOUNDING.❤❤❤ SIGNED;A player of 55+ years ,from Detroit.
Cant stand building sht.
This video relaxing rsome reason i like yr attitude
I use coconut oil cold pressed lubricate everything.
Candle wax on bike chains. Hugely superiour. Ultra quiet. Noise is friction.
Motorcycle chain oiled is, becomes hot. Candle wax, chain feels much cooler. No friction after 80mph run.
I am worlds best guitarist &luthier. Gonna introduce a guitar ebay. It will be thbest ever built the epicenter. No i dont play guitar. Used2 as a beginner. Playing again now &I am gettimg damn good again. No1. I said no1 holds a candle 2me i gave up looking.
Floyd rose &Frankenstrat wr actually both my signatures not theres.
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You make more work for yourself by removing the saddles.... plus the Innovation settings needing fine tuning even though you took measurements b4 you removed the old strings...Just an old Aussie guys' suggestion
Good on ya for getting into the finer details of, in this case Strats .Any guitars' additional set-ups with quite a few moving parts (= variable) deserve investigation & Refinement where possible. Cheers 🍻
I've tried (as suggested before) to flip the saddles on their sides to get to the three block screws but found it is just cleaner to remove the saddles. It's not that much trouble. And I always adjust the intonation afterwards with my strobe tuner as well as every time I change a string or strings. It's amazing how every part changes the tone on a Strat slightly. That is why I try to stick to the original design when possible. I recently went back with the standard saddles, and the Mark Foley saddles were so vintage correct, that I have not broken any strings and there are just very slight grooves in them. The original saddles do have a specific tone too. The Highwood saddles saved my butt on the trems that had not-so-vintage correct aftermarket saddles like the new Fenders, Raw Vintage, or Callahams.
MF does not make blocks, he has the same UK supplier from crazy parts. I had both in my hands.
Not saying that's not true , but some evidence would be useful if it is true to stop people being ripped off 👍
I’m sure everyone has to go to a manufacturer that has the capability of making such a product. CP does state they get them from the UK but they don’t have any available now. And with the Euro/GBP conversion, CP is only a few dollars less today. CP’s photos are not very good because they show the same hole depth for both. CP claims the are the exact size and shape (everyone does that) but I’m more concerned with the type of steel they use. Everyone now has to be environmentally friendly but, in the old days, they weren’t concerned about it. MF’s steel sounds better than any other I’ve tried. Each vendor can work with the manufacturer to design a steel recipe which can be proprietary. I’m going to stick with Mark for now because I can personally attest to the great vintage Strat tone I am hearing.
@@millstap I was about to reply the same thing. I've asked cp directly and they even gave me the name of the supplier that supplies the same parts to CP and MF. MF doesn't make the parts sat there with his anvil in the Isle of Wight as you've imagined, he's just a middle man. I actually had a MF/CP 60s block on my extremely accurate vintage partscaster and I ended up changing it for a Callaham which I preferred in an A/B test so it might be guitar specific and obviously personal preference, I didn't take the paint off of either though. The callaham to me just seemed to have more of everything, in my opinion Leo Fender used the best materials he had available to him at the time but they didn't have the means to make blocks like the Callaham back then, if he was making the same guitars today I feel he'd be using blocks made from more modern techniques and materials like the Callaham
@@rallyslag185 Rob, I was just harkening back to the good old days of the 1800's when blacksmiths used their coal fired furnaces to push out iron products, not that I'm that old, lol. I lost all confidence in Callaham years ago after dealing with him. His is an arrogant guy that thinks he could improve on everything Leo did. Look at his bridge plates and all of the "improvements" he did to them. Once I caught him in a lie, I never bought another product of his and I have not missed any of them. I've had a Callaham block on my Black Strat for years and replaced it with the MF after this video and it sounds and feels better. It could come down to personal tastes. If you like a bright sounding Strat, then it may be the block to use. If you put a full Callaham tremolo assembly on your Strat, it will sound very, very bright, not authentic. And that is the same for his blocks. The lie started when I was researching replacement saddles for my vintage saddles. Of course, Callaham swears his are exactly like Leo's but they aren't even close. His arrogant engineering mind decided to make them harder (HRC) than the originals thus unable to cut grooves in the top of the saddle. I cut grooves in them faster that some of the other saddles I had tried. I confronted him about it and he said it is not possible. The extra hardness actually adds some bad overtones to the notes. After I cut the grooves in the tops, I had to start polishing the tops to get the grooves out. Once I went through the first layer of chrome, there was a layer of copper under it which is very soft. The copper under the chrome is what caused the grooves to form. There was never a copper layer on the original Fender saddles. They were chrome on steel and lasted a long time. Once I found the Highwood Vintage Contoured saddles, I never looked back. A much superior design, and John Cruz is using them on his new guitar line after leaving Fender. And, I personally know someone that used to work for Bill Callaham and he confirmed he is not a kind soul so there is my two cents. Who is the supplier of the MF and CP blocks? It is interesting that CP does not have them in stock and MF does. And MF offers a left handed block too. Either way, there usually is a manufacturer everyone goes to but they can surely work with them to come up with a proprietary method and recipe for their product. I have friends that do that with capacitor manufacturers. I'm not saying MF has done that but I would be curious. I'm sure I'll ask him about this controversy.
@@millstap interesting and somewhat damning view on Callaham as a company. I agree entirely on the saddles, having done before and after sound samples with raw vintage, highwood and repro saddles I find the only ones to me that actually sound authentic are the proper repro vintage saddles, but I know you don’t get on with those for longevity so there’s got to be a compromise somewhere. Interestingly enough I also know the company that supplies MF and CP blocks also supply entire 50s and 60s tremolo systems and bridges (they might even do more I don’t know about), they’re around £250-£300 and are vintage correct down to the smallest details I’d definitely recommend, I think they’re quite limited though. I’m a tone chaser like yourself and I’ve gone through huge amounts of different items trying to find ‘that sound’ for my Strat, and I enjoy your videos so thanks for the content by the way 👍🏽
why do keep hitting your guitar with metal
Funny he doesn't give a crap about the finish on the guitar but neither do I.
yes, the more beat up they are, the better they look to me. I'm just that way.
If you put a overdrive pedal on none of this matter's, This is for plug and play.
It definitely doesn't matter to the non-guitar geeky audience, but it sure does to us that want the classic sound. Who ever really notices in the heat of the moment?
I prefer a chunk of brass
My 1964 Strat came with a brass block unbeknownst to me until later. It really made the guitar sound dark. I was happy when I put a real steel block on but was pretty upset that I bought the Strat as "completely original" except for a refinish. The steel blocks still sound more Strat correct to me.
I came here wondering why my Strat doesn't resonate and vibrate like the Gretsch does 😂🤣🥂😅🤣
Which Strat do you have and what type of block was in it?
I'm a little confused how somebody could be that finicky about a trim block yet beat the block on the face of his instrument
Well a lot of talk on the different blocks but no sound comparison... It makes the video a little but useless
You'll never be able to discern the difference in a compressed RUclips video. You just have to be aware that every part does make a difference in the way a guitar sounds, especially the Strat.
@@millstap I don't agree, I can listen the difference between a lot of different guitar parts in a RUclips video. So if there's a difference in sound or improvement between any of these Blocks it should be listenable in a youtube video. If you don't notice any sound difference or able to discern any then it's because the different blocks don't make a difference at all in sound and then this video was completely a waste of time. Why discuss and weight the different Block if people can't discern a sound difference when installed in a guitar?
@@MrCacciLLo If you are satisfied with the tone of your Strat, then there’s nothing to learn here. If you have a Squire or a Strat with a thin or non-vintage style block, then you should upgrade to a better block.
@@millstap Yes I have a Mexican Strat, it has a Zinc block were they cut costs and made it thinner. Although I don't know what could be gained or not from another block, that's why I think that with measuring and weighting blocks would be important to complement that with Sound comparisions. Thank you
@@MrCacciLLo A steel block will also help in better sustain.
Fender can make some guitars but their strings suck. GHS 10s all they way on my guitars but everyone has their preferences
Yeah, it was the Bullet end that I wanted to try for a while. I had a time when my D'Addario's would unwind at the ball end. I have since switched to Curt Mangan 10-38 Round Core Nickel Plated Steels. I would go Pure Nickel but I wear them out too quickly. Great strings if you even want to try them.
Man, the way you bang on vintage guitars makes me cringe.
That's the beauty of a Fender; they are practically indestructible. They are just tools no matter how overpriced they get.
Losing quite a bit of mass from deep holes? AHAHHAHAHAHAHA
NO.
Pointless exercise
Cold rolled steel and shallow string recesses sound the best.
Definitely.