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We've all seen hundreds of different bridge designs but I was wondering why these two builders chose similar designs with the two protrusions on the heel side of the bridge?



Do they cross the 'X' in a specific fashion?

Do they effect the tone in a definitive way that is fairly commonly known among Luther's?

Or is it just two brains discovering some similar design that they think works? Or does it?

Video below

http://www.youtube.com/watch?v=ElR5Nq3iwnI

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I believe the Charis SJ is a bit smaller than the Olson, but otherwise I believe Bill has drawn quite a bit from Jim. What I like about that video is that you get a good idea for the unique tonal signature each maker has, given the similarities. Beyond that, I'd venture that it's simply design work.

Body depth is quite different. REALLY like the Olson - got me at 3:36.

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These two builders have chosen to use a bridge shape characteristic of Guild guitars. I don't know when Guild adopted this shape, or if it was original to them, but I think they've used it since the 1960's. Below is a picture of one of their bridges from a 1972 guitar. I've always assumed the shape is simply decorative. I have never heard anyone assert there is any acoustic purpose for it.

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Tim Allen
"Never hurry, never rest."

Thanks for the replies. Didn't know that Guild used a similar design. Not very attractive to my eye but beauty is in the eye etc...

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I recall buying plans from H.E Brown ( International Luthier Supplies ) back in the late 70's or early 80's. His plans had a similar bridge shape.

Sent from my GT-P3113 using Tapatalk 4 Beta

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Under Compensated Nut!

It's in the old David Russell Young book also.

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Jim Watts
http://jameswattsguitars.com

I had a late 50's Silvertone/Harmony with that same bridge shape as well.