If there are any experts on D-Tunas and/or EVH's set up of it out there I could use some input on how to set mine up more like Eddie's. This assumes he had his signature V-shaped, 2 spring configuration and fairly easy play to the bridge's dive.
I've got my Charvel San Dimas set up with a D-Tuna, using a trem block like this:
The problem I'm having is it makes a lot of noise when the Floyd is returned to pitch quickly. I need to have the spring tension be a bit heavy to keep the block from rattling against the stop (which is plastic). It also makes for slightly easier double stop bends etc. The bar then becomes a PITA to use because there's no room for finesse. No nuances or subtle techniques because I'm "muscling" the bar down.
So, what's the answer to the conundrum of how to have the D-Tuna remain functional and still have adequate play to the bridge?
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diablo175
If there are any experts on D-Tunas and/or EVH's set up of it out there I could use some input on how to set mine up more like Eddie's. This assumes he had his signature V-shaped, 2 spring configuration and fairly easy play to the bridge's dive.
I've got my Charvel San Dimas set up with a D-Tuna, using a trem block like this:
The problem I'm having is it makes a lot of noise when the Floyd is returned to pitch quickly. I need to have the spring tension be a bit heavy to keep the block from rattling against the stop (which is plastic). It also makes for slightly easier double stop bends etc. The bar then becomes a PITA to use because there's no room for finesse. No nuances or subtle techniques because I'm "muscling" the bar down.
So, what's the answer to the conundrum of how to have the D-Tuna remain functional and still have adequate play to the bridge?
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