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Pinned Bridge Question
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Author:  SimonF [ Tue May 01, 2007 5:19 am ]
Post subject: 
Hi Folks,
I am switching from a pinless design to the regular pinned design - which
I have never done. So I have a few questions. If you have any insight, I
would love to hear it.

1) Bridge Plate - I have been using a spruce bridge plate but am no longer
able to do that. I have heard about bridge plates cracking. Would it be
worthwhile to take two pieces of rosewood and laminate with hide glue
with the grain in perpendicular directions? It wouldn't have any extra
weight and I would think this would eliminate any possiblity of cracking.

2) String Holes - How do you drill the holes and eliminate possible
tearout of the bridge plate. Do you start with a smaller diameter hole and
then use a specialized reamer? I plan on using pins with a 3 degree
taper.

3) Slotted or Unslotted Pins - I am not quite sure which way I will go. Do
you have any advice? Also, wouldn't you need a different size tool to slot
the bridge for each string - like you do for the nut?

Sorry for the myriad of questions. I could figure it out on my own - but
why with the wealth of knowledge here on the OLF.

Thanks in advance.

Peace Out,
Simon
Author:  SimonF [ Tue May 01, 2007 5:21 am ]
Post subject: 
Oh, one other question.

4) Do you chamfer the top of the holes?
Author:  Jimmy Caldwell [ Tue May 01, 2007 6:17 am ]
Post subject: 
Simon,

I use both types and here's what I do on pinned bridges.

1. Depending on what tone I'm looking for I'll use either Maple (I'll describe as "bright") or Rosewood (I'll describe as "bassy"). Others may disagree on the tonal aspects, but this is what I hear. I use a solid piece (skew cut, approx .080) and run the grain about 15 degrees off perpendicular to the top. I haven't tried laminating one, but if I did I'd want to laminate it to the radius of the top as it's likely to be much stiffer than a solid piece.

2. I drill the two outer holes undersized first and attach the bridge with bolts through these two holes with a homeade wooden caul on top and two small (.5"x.5"x.5") cauls inside the body. I ream them out of final size with a reamer that has the same taper as my bridge pins. As for the top of the holes I use a brad point drill and drill a recess first that is slightly larger than the diameter of the bridge pin ball and then drill the bolt hole afterwards. This gives a nice crisp recess for the pin to sit in.

3. I use slotted pins and file a recessed slot for the string through the bridge. I make all mine the same width and use a small needle file. It's just little deeper than the string and at a slight angle. There is a school of thought that says you don't need the slotted pins if you have the string slot in the bridge, but it requires a pretty substantial ramp to use this method. Either way, I'd suggest slotted pins as you can always turn the slot away from the ramp if you want.

Good luck.
Author:  peterm [ Tue May 01, 2007 2:36 pm ]
Post subject: 
Simen, you're leaving the faith???   
what hapened??
Author:  SimonF [ Tue May 01, 2007 2:51 pm ]
Post subject: 
Peter, LOL

It was more of a marketing decision. The US market will primarily prefer
a traditional pinned bridge over the type of bridge you are doing and also
the pinless design I have been using. I also think many customers like to
customize the bridge pins. Also, I took a trip to visit Paul from
DreamGuitars last week and he mentioned that there is sometimes a
general impression that pinless designs are cheaper. Although that
hasn't stopped Greenfield from doing very well.

I am sure I could have stayed with the pinless design and done well but I
think this will be a better move from a business standpoint. I am also
taking the opportunity to take my bridge back to the drawing board - I
think I came up with a pretty cool design.

And Jimmy, thanks for the information. It was a big help.

Peace Out,
Simon
Author:  SimonF [ Tue May 01, 2007 3:01 pm ]
Post subject: 
Peter,
I thought I should say that I really like your bridge design (ala Doolin) and
think it offers a much more user friendly approach than your typical
pinned and pinless bridge. So I wasn't implying in my last post that you
should change it.

Guitar players can be sticklers for tradition. But as Greenfield is proof,
you can do very well with a non-traditional bridge. However, at least
offering a traditional pinned design might not be a bad business move. It
could open you up to folks who might be turned away from your design.
Personally, I have begun to appreciate a pinned design more over the
years. I think if you have some really nice bridge pins that they can serve
as a really nice accent and look better than a non-traditional bridge of the
same shape.

Peter, you have really been cranking out some breathtaking work as of
late. So regardless of what type of bridge you stick with, I am sure you
will be a great sucess.

God bless friend,
Simon
Author:  peterm [ Tue May 01, 2007 3:04 pm ]
Post subject: 
Thanks Simon!

I am eager to see your new bridge design.... your work is always top notch and innovative so I'm sure its going to be anotyher winner!
Author:  crazymanmichael [ Tue May 01, 2007 11:19 pm ]
Post subject: 
i drill the holes in the bridge on the drill press.

when the bridge is glued on, i clamp a backing caul inside and finish the hole through the top/bridge plate with a hand held drill and the same size bit.

use good quality brad point bits. the cheap versions have a tendency to tear out even with a backing caul. i size the hole based on the diameter of the working end of the reamer.

when the holes are finished, remove the caul and ream to suit your pins and taste.
Author:  CarltonM [ Thu May 03, 2007 7:05 am ]
Post subject: 
[QUOTE=crazymanmichael] use good quality brad point bits.[/QUOTE]
Lee Valley high speed steel brads. They really are superior.
Author:  Todd Rose [ Fri May 04, 2007 1:38 pm ]
Post subject: 
I think laminating the bridge plate is a very good idea, and I know I'm not alone in that opinion. Three lams make sense to me: a sandwich of two thin veneers with the grain running crosswise (in relation to the grain of the soundboard), and a thicker lam in the middle with the grain running the same way as the soundboard. Laminated in a dish to match the intended radius of the soundboard.

The only real downside, it seems to me, is that some people will be prejudiced against a laminated bridge plate. But, one needn't divulge the information, and no one is likely to ask. "What's the bridge plate?" they may ask. "Maple [or rosewood, as the case may be]" is all you need to say. Only you know it's actually superior to an ordinary bridge plate (IMO).
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