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Great deal Live video feed for you to view the wood. Payments must be received with in 24 hours after invoiced. We will hold wood thats been paid for. There is no other option. mario
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Mick - you can see over on my thread that i took a practice WRC top through the thinning and measuring process. I wanted to confirm that the defection measurements you use are in millimeters. I measured deflections of ~ 0.035 thousands or nearly 1 mm with a top at what i think is the right frequency, and near a similar finished weight and similar thickness's. The top does feel pretty floppy to me, so maybe this just says this was not a great piece of WRC!
Friederich's bridge is fairly standard. It's length is identical to most I've seen but the width, at 30 mm is about 3 mm wider. Everything else is fairly standard. Unfortunately I cannot find any information regarding his views on bridge weight. For myself I find that a bridge weight between 18 and 26 grams (without saddle) is acceptable. A heavier bridge may tend to support a warmer or darker tone, a slower attack and longer sustain so, for my personal taste I prefer them. I make my bridges mostly from EIR which can come in a pretty wide range of densities. So controlling bridge weight is more a matter of wood selection than anything else. The bridge weight in my guitar came in at 24 grams.
I start by dimensioning my bridge blank and drilling the tie block holes. I departed from tradition and drilled 12 holes instead of 6. Then I cut slots for the saddle and tie block boundaries. Next, I mark the underside of the bridge with pencil lines and sand it on a radiused block to fit the radius on the top dome.
The saddle ramp is shaped and the arms rounded and bevelled.
The tie block cap is fabricated from spare rosette tiles and bone strips.
I drill two millimetre indexing holes at the bottom of the saddle slot between string holes 1-2 and 5-6. Then I position the bridge and drill holes through the bridge index holes into the top. I use a jig to position the bridge. The jig fixes the scale length plus compensation. Strings are run through holes 1 & 6 in the bridge down to and through the headstock slots. When pulled tight it is easy to see when the bridge is centred.
Index dowels are glued into the holes in the bridge. I dry fit the bridge and check all measurements. At this point you need to decide whether to finish the top before gluing the bridge on or after. I French polish all of my guitars with the bridge already glued down.
I tape around the bridge to make it easy to see how it is placed when gluing and also to protect the top from glue smears. The bridge gluing caul is put in place and held in position with magnets.
The bridge is then pore filled and sealed with shellac. This is important so as to prevent the bridge from bleeding colour into the top when gluing and finishing. I brush on at least 10 coats, sanding between coats. After the final sanding
Then I glue the bridge down. I like cam clamps for this. .
When the glue has dried for about 15 minutes, I remove the clamps and tape to clean up the squeeze out. The glue is a little soft and cleans up quite easily. Then I replace the clamps and leave it to set over night.
Next week (August 10) I'll be taking this guitar to exhibit at an event at the Mount Royal University in Calgary called Guitar Fest West. There will be at least two other luthiers there. All of the guitars being exhibited will be demonstrated before an audience of student participants by Canadian guitarist Jeffrey McFadden during a noon hour session. After that the participants will be able to try them. When I get back I will do my best to convey the reaction. In the meanwhile some photos of the finished guitar.follow.