Now that I think about it, wouldn’t a high mass bridge serve to dampen the vibration transmitted to the body, rather than the conventional wisdom that it improves that?
It seems to me that it would instead act as kind of a vibration heatsink.
3 Likes
I am not sure… but, it certainly is “complicated” 
I guess in order for energy to be transferred there has to be a match of frequencies (a resonance). If the mass is high enough, there might not be a suitable mode available for resonance between string and bridge, and thus the bridge would less likely “interfere” with what the string is doing.
But, that’s kind of the limit of my physical understanding… I am a chemist, after all, and we usually do stuff by trial and error 
2 Likes
Here’s a pretty extensive article about aftermarket bridges, both high-mass and traditional. Informative.
2 Likes
Interesting. So the article thinks that basically it is the footprint that makes the difference. If there is any difference.
4 Likes
I just watched/listened to some before-and-after videos featuring Babicz and Hipshot Kickass, respectively, versus stock Fender bridges. The results were audible, if not crazy dramatic.
I liked the Kickass bridge the best. It added some lower-mids and discernible note clarity. An overall “openness” to the sound, for lack of a better term.
3 Likes
I have an inkling that most of these “arguments” are hand-waving at best…
Haven’t read the whole thing yet, but there are also bridges where each string is isolated from the next - so, there is isolation, but also less mass per bridge (element). I mean, let’s just agree it is a complicated system, where everything affects everything else, and there are likely no analytical solutions that let you say, with authority, that “when you change A, then B happens”. Everyone saying otherwise is probably from marketing 
6 Likes
Yeah. Combination of “common knowledge” and bass tone superstition 
4 Likes
I agree. The only way to compare and contrast any difference in sound of various bridges or bridge types is to test them on the same bass, recording the tests, of course.
4 Likes
Same bass, with identical positioning and fixturing, automatic plucking/e-bow, identical positioning of the bridge and screws, and…
The only thing I will say about bridges is that when I changed the stock stamped steel bridge on my Peavey Fury without changing anything else it sounds fuller and clearer, like the E is rounder and “bigger”, whereas the treble is sharper and more defined.
3 Likes
My experience of when I mix in my track with the original in the ‘post your covers’ thread is that pretty much all of the small differences are lost in the mix.
I’m going to guess that when playing live with others the same is true ie stock Fender vs High Mass bridge.
6 Likes
Absolutely. Even recorded in the mix, especially after EQ.
5 Likes
Depending on the mix, it likely won’t matter if it’s a P, J or MM or any other kind of bass to 90% of listeners.
Not to detract from this merry band of scofflaws, but we’re a bit of a silo here.
4 Likes
I agree with how the difference in sound of different bridges on the same bass, if any, will likely be lost in a mix.
The same goes for whether 90% of listeners would be able to differentiate which type of bass is being played, much less the difference between the sounds of different bridges on said bass.
But I was referring to the difference in sound we, as players, can discern when we play solo, such as when we practice, or otherwise.
This phenomenon is not unique to bass, however.
For example, when I used to play sax in college, I and everyone else in the symphonic band (150+ musicians) would practice our parts separately, individually, at home, in practice rooms, wherever.
But as we practiced, we would obsess on getting the best sounds out of our respective instruments.
As such, woodwind players experimented with different reeds and mouthpieces; brass players did the same with mouthpieces; percussionists worked with loads of different types of sticks and sundry striking tools.
But, barring soloists, (which the vast majority of us were not) the subtle sound tweaks we each had obsessed over when we practiced alone were lost in the mix. Except to ourselves as individual players. Whether or not I could actually hear the difference my particular mouthpiece, reed’s brand/age/sanding/etc. made, I felt like it made me a better player.
Placebo effect or degree of actual sound difference? Dunno, and it didn’t matter to me as long as it helped me play my best.
To the same extent, all the gear, strings, bridges, pickups, and setup details we bass players hold so dear serve to do the same thing: they help us sculpt the sound we, and possibly only we, can hear or feel matters. Is it real or is it Memorex? Doesn’t matter. We’ll fix it in the mix. 
3 Likes
I keep getting let down everytime I check this thread for new posts, it is clear that no one is getting to buy a new bass 
4 Likes
Not to mention that anytime you have wood involved, variables change because no two pieces of wood are alike.
Just too many variables to have a black and white solution
4 Likes
Now that’s a bass
4 Likes
Ask and you shall receive! You should like this one based on your avatar. Christmas in Aug for me as well. It’s supposed to be here tomorrow.
Here’s a teaser!
5 Likes
Best color and pickguard combo if you ask me!
2 Likes
I already bought the bass I made this post for and before it massively derailed and another one is slated for end of Sept (have the same one in mind, just a different color).
5 Likes