Vintage Tremolo

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Vintage Tremolo

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5 - Decent
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10 - Gem

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That is the most beautiful guitar I have ever seen!
marchione guitars are built for professionals. these arent meant to be bought my metal heads like you guys...stick to your ibanez and parkers
I am aware this is a very good guitar, so before you get all pissy with me (claiming i'm a "n00b" who should **** off back to my guitar hero), it does look like a cheap, nasty copy of a strat. Without knowing it's actual price and specs, I would have given you $150 ($300) for it.

swamp Ash body, a sugar maple neck and an African ebony fretboard.

I bet you could make this for less...

Anyways, it's pro eqiupment, that's why it's gonna be so expensive! I wouldn't mind it, but I'd give it white plastic instead of black, and a one peice maple neck. The it would be awesome.

Oh well.
it s not always looks to go on when buying, remember that
it does look like exceptional quality though
That looks amazing. Yeah the price tag is steep, and sure it's almost half of a year's worth tuition, but shit, I'd buy it. How could you not? It's gorgeous.
I now own this guitar. I collect guitars. Steve Marchione is a perfectionist when it comes to building a guitar. You have to play one to fully appreciate his guitars. I have another electric of his that was carved out of one piece of wood. Not a bolt-on or a neck through. You will not find many guitars made this way. His guitars are worth the price as they will become your favorite guitar to play.

I now own four of his guitars. They are all incredible.
This guitar is gorgeous ! But 5900 $...I can't afford that ...But if I can have the money...I buy it Now.
Forget the ratings, 5900 is only for those who can afford it. Good that you like it, otherwise.....
5900 for a guitar rated as an 8??? wow, thats just crazy talk. Sure does have a sweet look, but I couldn't see droppin almost 6K on that.
That does not seem to be worth the money
I was looking at Marchione guitars and they are amazing, and the price is high to reflect the quality of guitar they are, I would love to own one but the price is way out of my range not all of us are doctors or laywers.

However for someone to put sh#t on Parker guitars just tells me they have not played one, they are not Marchione guitars but they are amazing. So Pesoli09 maybe you should try playing one before you say things you have no idea on, or just go back to playing guitar hero.
Comments are like guitar picks - there's never too many.
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Sound — 9
This guitar's strong suit lies in it's thick, rich sound. While clearly meant to be rooted in sounds such as those of Stevie Ray Vaughn or Buddy Guy , this guitar shone through in numerous different situations. From the muted, smooth sounds of jazz, to searing metal leads, this guitar held it's own. When the tone knob was turned all the way down the sound of the guitar was overly muted in my opinion. That being said, that was my only real complaint about the sound of the guitar. The humbucker was rough and raw as is to be expected and the neck pickup really seemed to capture the essence of that classic, thin, Ray Vaughn sound.

Overall Impression — 8
The Marchione Vintage Tremolo is a exquisitely hand-crafted example of what happens when a custom builder turns his sights on improving the classic sounds and styles. The result, while graphically a little more modern, combines all the aspects that players have come to love over the last 50 years, but with so much more depth, clarity, and sonic versatility. But at 5,900 dollars the price to be paid for superior tone and ergonomics is not a small one. Overall, while the price is high, the Marchione Vintage Tremolo is a prime example of careful, Precision focused luithering and top-notch sounding electronics. For more information, or to order a custom Marchione please visit their website .

Reliability & Durability — 8
Overall this guitar has the feel of exquisite ruggedness. It has the rock solid feel of a guitar that will really last. The durability of this guitar was especially shown in the combination of the tuner and whammy bridge. I was very impressed how well it stayed in tune, even when the whammy bar was being heavily used. The strap buttons are solidly mounted Strap Loks.

Action, Fit & Finish — 8
I was very satisfied with the height of the action of the Vintage Tremolo. It seemed to be low enough to allow for easy playing, but was high enough to prevent any fret buzzing, even when voicing chords in the higher octaves. The finish on the Vintage Tremolo was beautifully applied, and while the look of the guitar was very modern, the sound was completely grounded in classic blues rock tones. I was rather disappointed to see that the finish was applied on the neck as well as the body. To me, this implies a bit of a cheapness, usually when finish is applied on the neck it tends to detract from the ease of playability, the butta if you will. However, this was not the case on this guitar. Moving around the neck was very comfortable, and smooth, it almost seemed to melt in your hands. The other problem that I have as far as finish is found on the back of the guitar. The panel where the springs for the tremolo bridge is located didn't have a cover. While I know that this was done on purpose, to give a more Vintage look, I would have still liked to have seen a cover come with it, and give the player the option to remove it.

Features — 7
The Vintage Tremolo Guitar by Marichone isn't exactly feature laden, but it holds to it's Vintage title with pride. Featuring only a five way pickup selector, volume and tone knobs, this guitar's true beauty lies in it's rich sound. The Vintage Tremolo expands on the classic design of the Stratocaster, adding a humbucking bridge pickup and throwing in a swamp Ash body, a sugar maple neck and an African ebony fretboard. In addition, the fretboard sports beautifully crafted stainless steel frets, that are incredibly comfortable and easy on the fingers. The pickups and electronics are custom made, and it shows. Despite minimalistic controls, this is where the real difference is made in this guitar. They produced a sound that was rooted in classics, but allowed for all the elements of it's clearly modern engineering to Shine through. I was equally impressed with the combination of the Sperzel tuners and the Wilkinson tremolo. Wilkinson tremolos are notorious for forcing the guitar out of tune with the slightest of touches, however this is not the case on this guitar. Even when you completely dive this guitar's whammy it stays mostly in tune. What bit out of tune it goes is more than acceptable for not having to deal with the hassles of fine tuners and locking nuts such as are found on Floyd-Rose tremolo systems.

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Copyright © 2020 Seymour Duncan. Santa Barbara, California. All rights reserved.

The most common tremolo system is the 6-screw “vintage” tremolo that was on the original Strat and still appears on many guitars now. The influence of its basic design can be seen in more modern tremolos such as the Floyd Rose, and “vintage replacement” tremolos from such manufacturers as Hipshot, Wilkinson and Schaller.
This type tremolo system balances the string tension with tension from springs in the rear of the guitar. The point around which these two forces balance is called the “pivot point”. On a modern two-point tremolo system, this pivot point is spread across two screws which a knife-edge on the bridge plate comes into contact with. This minimizes friction as two is the minimum number of points that could be in contact and still maintain stability. However, on the six-screw bridges, the bridge is in contact with all six screws, and pivots across them all. This can make a key difference to “tuning stability” – a key factor in tremolo usage that can be the cause of serious headaches to any player.
Imagine you perform a dive bomb on your vintage vibrato system. The springs get tighter, and the strings get looser. The reason they get looser is because the distance from the ball end to the tuner is being reduced. And because this distance is being reduced, it is necessary for the string to move a little. It will move over the saddle, it will move over the nut, and indeed it will move a little in the distance where it is wrapped around the tuning posts.
Now imagine you release the vibrato. All the moving parts revert to their original positions, and the string is now back to its original tuning. Right? Well, yes, in an ideal world. Incidentally, if you ever find an ideal world, could you let me know? I want to move there.
Of course the thing that we’re not taking into account here is friction. Everywhere the string is moving, it is rubbing against something. If for some reason it gets a little bit stuck on one of these points, then the string will not return to tune properly. To visualize this, imagine your divebomb again. A part of the string that was just in front of the nut is now in the nut slot. When the bar is released, if this part of the string stays stuck in the nut, the string will now be tighter, and so it will sound sharp. This also applies to the string sticking on the saddle, under a string retainer or at a point around the tuning peg.
With the six-screw bridges, there is another problem. The bridge is not pivoting across two sharp points. It is rubbing against six screws. These screws are threaded. This gives the bridge all kinds of opportunities to snag or get stuck. Of course, once that happens, the bridge stops returning to the same neutral position when the bar is released. This, again, can cause havoc with your tuning.
So we have strings snagging at the tuner, the nut and the saddle, and we have the bridge snagging on screws. There are solutions for all of these problems, but even using just one of these solutions could solve your stability problem outright.
Snagging at the saddle
String snagging at the saddle is less common than the other issues. The saddles are usually a smoothly curved piece of metal without much opportunity for snagging. However, any burrs should be removed, and if deep notches have appeared then it’s worth thinking about replacing the saddle completely. In addition to these precautions, every few string changes, you can apply a tiny film of 3-in-1 oil to the saddle surface using a Q-Tip. Smoothness and lubrication are key aspects we’ll return to as we look at the rest of the guitar.
Snagging at the nut
Snagging at the nut can be spotted quite easily. When picking up the guitar for the first time in a while, put your ear an inch or so from the nut and depress the tremolo arm. If you hear a “ping” come from the nut, then one or more of the strings was probably snagged in the nut.
The number one thing necessary to prevent this is having a properly cut nut. A full exploration of nut cutting is beyond the scope of this article, but suffice it to say that the slots should be comfortably wide enough for the strings and the bottom of the nut should be smooth. A good luthier will be able to either fix or replace your nut if you think this is a problem.
Once you have a well-cut nut, it’s essential to keep it lubricated. There are many ways you can do this. A very common one is to use graphite from a pencil in the slots. You can do this simply by scribbling across the nut slot – some powder from the pencil will fall into the nut, and then you can drop the string on top of that. Some people put Vaseline or a similar product into the nut slots, and this works fine too. Or you can try mixing graphite powder with vaseline to create a very slippery substance indeed. Various lubricating products specifically designed for nuts are available.
There are also materials that are “self lubricating”, such as Graph Tech’s Tusq XL, from which a nut can be made. These usually work by forming a small coating of PTFE (also known as Teflon) on the surface, which is very slippery.
Finally, you might consider replacing the existing nut with a roller nut, such as the Fender LSR. These allow the strings to “roll” backwards and forwards on ball bearings, rather than sliding across the surface.
Snagging at tuner or string retainer
If a string is snagging at the string retainer then of course it should be checked for smoothness and lubricated. Everything that applies to nuts applies to retainers, including the possibility of acquiring self-lubricating or roller retainers.
Eliminating snagging at the tuner is more complicated. Quite often the string is sticking to itself, and obviously getting lubrication between the wraps isn’t very easy. The solution is to minimize the wraps on the tuner; however, this is difficult with vintage-style tuners. One way is to “tie” the string to the tuner by threading it back under itself before tightening it. This can reduce the number of wraps and stop string slippage.
Another way to almost completely eliminate snagging at the tuner is to replace the tuners with locking tuners. These are made by many manufacturers, and indeed they come standard on a lot of higher-end guitars. These work by clamping the string into the hole in the tuner. Using this method you can pull the string tight, clamp it, and then simply tune the string to pitch. If done properly, it will take less than a full revolution of the tuning peg to bring the string into tune, which means there is barely any surface at all over which for the string to move. A bonus feature of these tuners is that string changes are much, much quicker.
A lot of locking tuners also have staggered heights – this means that as the strings increase in pitch, the height of the string hole above the surface of the headstock is reduced. This increases the break angle of the string over the nut, and can often mean that a string retainer is no longer required. This further helps to reduce the surface area over which the string must move.
Bridge not returning to neutral
With a six-hole tremolo, there is a common technique to solve this problem. By tightening all six screws until the bridge is in the required position, and then loosening the middle four screws by half a turn each, you “emulate” a two-point tremolo to some extent. The outer two screws become the main pivot points for the bridge, which vastly reduces the potential for snagging. It’s still not perfect but it’s a huge improvement.
If this is happening on a two-pivot bridge, it’s likely that the knife edges are worn so that they’re no longer sharp. Depending on the design of the bridge, these edges may be replaceable. If not, it’s time for a new bridge plate.
One thing that can be done to help with both types of bridge is to screw the spring claw down far enough that it pulls the bridge hard against the body. This means that you can no longer raise pitch with the vibrato, but on the other hand, means that the springs will always pull the bridge back hard to its original position – and no further.
By the time all these details have been looked at and fixed, it’s highly likely you’ll have a guitar that returns to pitch well after even heavy vibrato use. If it’s still not working properly, then check it all again! 99% of guitars can be made stable with vintage tremolo systems. But if you really can’t get it to do what you want, you might have to replace the bridge. There are lots of options here – most of which attempt to replace the six-screw pivot system with a two-point system, or a pivot of some other kind.
I hope this has helped you to understand how to achieve tuning stability with traditional tremolo systems. If you have any questions, as always, just post a comment and we’ll try to get back to you as soon as we can.
If any of this was true, then why on earth would the great Yngwie Malmsteen not use any of the tips? I have seen him change Guitars 2 times in one song because it went out of tune.. .. #2. Hendrix use to use a drop of what we call 3in1 oil on each string at the bridge, and nut…This works some. but even then he still lost tune…Nice try tho..Thanks
Because we don’t live in an ideal world where guitars never go out of tune, these only help. And yes they do help quite a bit more than not doing any of them.
You have no idea what your talking about, it is all true. Ask EVH who did most of this to his charvels pre Floyd Rose. and the rest of the no locking trem world.
Like I said, If this stuff worked, then someone like Yngwie Malmsteen would have all ready been doing it..Still to this day. some of the best Guitar players have problems staying in tune..How about Eric Johnson?? The guy cant keep in tune for more then one song..Way to many good guitar players prove this might help.. but at best its short lived..Angus Young, and that old SG he loves to play.. out of tune after just a couple songs..What you think makes no never mind to me..I see the best play, and they prove this stuff does vary little…
Since we’re talking trems here, Angus probably isn’t a good example, although last time I saw AC/DC Angus played one guitar for most of the night, with very few changes..as I guitar tech I was amazed! As for the other guys, well Eric Johnson has “very sensitive/tuned ears”, as we’ve all heard, so I wouldn’t be surprised if he “needs” to change guitars often. As for Yngwie, he does put his guitars thru the paces, but there’s no reason to change guitars that often. He’s been proven to be a “demanding” personality! Maybe we should ask his tech.. Again, as a guitar tech, there are numerous reasons why guitars don’t stay in tune, besides the things mentioned above, and what the player subjects the guitar to, including (and especially) temperature changes! Ever bring a guitar from a cold dressing room to a par can warmed stage? Goes out of tune in minutes w/o even strumming it!! As someone with years of dealing with guitars in shops and on stage, no disrespect Vernon, but I think this article is very good, and touches on all the right points, no pun intended. Try all these things out if your vintage trem is giving you issues.
Good stuff but you have to also remember the claw in the spring cavity. Spring tension = string tension. I followed this and my trem stays in tune fine.
I’m not sure what you’re suggesting here?
This article is about “vintage tremolo stability” first and foremost.
If you’re not completely satisfied, you must try the Floyd Rose
What about blocking the trem with a rubber eraser? Still has springy strat sound and bar can be used for slight vibrato on chords but seems to get back in tune more consistently than with springs alone.
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