Official Luthiers Forum!

I was wondering how you handle each bridge for each guitar. Do you have a few standing by that you fit your neck and angle to? Or do you create a custom bridge for each neck angle and its unique set?

I'm under the impression that a 3/8" high bridge is about right with about 1/8" high saddle giving 1/2" clearance from top to string height but I'm finding each top and neck angle to be pretty unique and like the flexibility of creating the bridge for that particular set-up (always keeping very close to those 'ideals'). The down side is I don't have a bridge in hand to adjust angles etc.to so I'll thrash a bit while getting the angles right.

Even as I write this I can see myself going back to the garage to build a few bridges that I can have on hand but I was wondering what you all do for bridge building?

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I make most of my bridges using the same template, but don't drill the pin holes until the neck is set & bolted on. Most of my custom guitars have necks designed for the player. Width, edge distance & string spacings vary a bit, so I like to leave this step 'till last.
I make the bridges the same height & set the neck for that string height.

I like that strategy. I'm still building for my own purposes and designs but having a consistent bridge 'height' seems to make sense.

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I think that would depend on if you are building 2-3 guitars a year or 20 a year. If you want to release a line of guitars, you can things in batches to help. Like keeping the same radii on the sides at the neck and tail, so you can prepare the neck and tail blocks a head of time. (just trim to height) Rough cut brace.

But if are going to a custom guitar for each customer, then might not best thing.

Hmmm ...me wonder, what do kits got to do with the OP question about bridges?

Non the less re bridges.

The bridge in IMNSHO is the singularly most important part of an instrument. Especially if you build arch tops with floaters like me. So of course the bridge should be tooled, carved and sculpted first and the instrument build to fit the bridge. Ya right!


Yo, LarryH, is really like dis...is your build, wood, shop and time, DO what thou wilt. Simple...eh! A production line is just as valid as one offs....especially if you need the therapy or the $


blessings
?adma

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Audiences and dispensations on Thursdays ~ by appointment only.


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Interesting Todd, thanks. Will you have a bridge built to .350 on hand and build/set angles to match that pre-built thickness?

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Thanks Padma, appreciate the reply. I can see the wisdom in building to suit the bridge. Seems pretty simple after thinking about it a bit. Again thanks for the reply.

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One of the most important things to achieve when building guitars is a consistent string height above the soundboard at the saddle position. This not only determines the type of sound you get but also determines the static load on your soundboard and hence its longevity. The normal range is 12-14mm. Pick what you like within that range and don't be satisfied with your work until you are within less than 0.5mm of your target. Which, of course, means you need to learn how to set neck angle properly, which in turn is determined by the upper bout curvature if you like your necks and upper bouts to be co-planar (no wedges in the fretboard extension). Fiddling around with bridge height and consequently bridge mass and stiffness to get the action right just compounds the problem of trying to achieve any acoustical consistency.

Of course, if you like the excitement of never knowing what your next guitar will sound like, steady as you go.

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Trevor Gore, Luthier. Australian hand made acoustic guitars, classical guitars; custom guitar design and build; guitar design instruction.

http://www.goreguitars.com.au

I've always thought that you start with a "standard" bridge, then adjust the neck angle - that's what I've done in my limited experience.

Kevin Looker

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I'm not a luthier.
I'm just a guy who builds guitars in his basement.
It's better than playing golf.

I make each bridge for every guitar.
There are so many variables that can change even
the best of plans.

I never have to make 2 for one guitar.

Check neck angle-make spacers for simulating string
height using a straight edge for your layout.
With frets installed.
Then you'll have a good idea of the height you'll need.
Even in the CNC factories wood moves & things change that
can throw off the best of plans.

Mike

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Mike Collins

Even in the best factories things can vary (hence Taylor's system), and even 2 mm is a bit of variance, so I always wait until the neck is attached and the fretboard radius is complete and the neck is straight.

Then I sand the bridge blank that I've made to the exact height before doing the final contouring and shaping of it.

They always consistently land between 5/16th's and 3/8th's, I shoot for the thinner side though.

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Old growth, shmold growth!

I make the bridge a certain weight and height to suit the top and bracing and the sound I'm looking for. To tweak the height of the strings off the soundboard I adjust the thickness of the fretboard, or if it's off more than just a smidge I'll change the neck angle to suit. As others have said string height and bridge mass are pretty darn important, so I never mess with the bridge once those values have been determined.

I like making multiple parts when I have my jigs set up so I have a few bridge blanks, necks, linings, purflings, neck and tail blocks, bindings, backs and sides, tops, etc...

I make the same standard classical guitar bridge for every guitar. Steel strings I have played around a bit with. They all get finalized at the end.

I would rather have a consistent bridge design and perfect getting the rest of the system to fit it rather than the other way round.

Really great insights. Appreciate all the comments and replies. I built two bridges for two smaller guitars (small and light in this case) and will design to those bridges for now but I can see that there are many ways to tackle the issue.

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