Graphtech Resomax vs TonePros -opinions?

[zorrow]

Any opinion on the Graphtech Resomax vs TonePros locking TOM bridges? I'm using TonePros with roller saddles and they definitively are tone enhancers (or so I want to believe ). I'm however curious about the Resomax bridges. Has anybody here tried them? Can you please make a comparison vs the TonePros?

[RobB]

They've been installed @Brawer's shop, though not nearly as much as Tonepros. The magnetic-lock thing is a convenient feature, a little less of a hassle than using a allen wrench to lock the bridge-studs. The machining/plating is of very high quality.

I DON'T like them with the graphite bridge inserts. While they do help a bit for tuning and string-breakage (like their Strat versions), I find the low notes to be a bit "flubby" and nondescript, if you will.

Either brand, including Callaham and Faber, as well, are good choices to upgrade your hardware. I guess it comes down to what features you want and how much you're willing to spend.

[zorrow]

I use the allen key just the first time. The Tonepros, once they are set, they are set. I have roller saddles, because they do help against string breakage. They are quite expensive though.

[RobB]

I have roller saddles, because they do help against string breakage.

Great, good news. If it works for you, don't fukwiddit. If the bridge intonates adequately up/down the fretboard, it's all good.

I use a Peterson VS-II tuner to intonate my electrics. For physical settings of the saddles I use the "EQU" setting (open/12th, 5th/17th), then use the "GTR" setting for open strings/overall tuning.

Buzzy Feiten's system is probably, overall, the best temperance for the guitar scale. It works especially well on the first five frets. The downside is that every guitar/bass in a band needs to be set to this system, as well as the requisite fingerboard mods/nut mods, et al.

Sounds like you're on the right track with your current hardware. Most experienced musicians naturally adapt to the inherent problems with the guitar scale, and let their ears guide them to "play/finger" in tune. It's been argued that the actual "sound" of the guitar's imperfect scale is what gives it its particular sound.

Whatever. Segovia, et al, seemed to be able to wrench it into a listenable sound, no?