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Latest Activity: Oct 17
Started by Luis Motta da Silva. Last reply by Luis Motta da Silva Oct 17.
Started by Michael S. Jackson. Last reply by Michael S. Jackson Oct 16.
Started by Iain Brennan. Last reply by Luis Motta da Silva Aug 6.
Hi, fellow guitar makers!
1) About accidents: One thing that amazed me at the guitar making course I attended was the fact that, although each one of us made an instrument at the course, working many hours a day, there were only minor cuts - and there were 22 of us. I guess this is due to the fact that we were constantly being asked to sharpen our tools (I used to call ourselves "The HONING stones"music group), and we were taught to always anticipate the movement of the tools, always cut outwards, and always keep our eyes on the job. I guess this is 100% important when you use hand tools, and 200% when you use power tools.
2) In classic guitars, I'm absolutely conventional, I make standard bridges for my guitars. But, when it comes to steel-stringed instruments, I give myself some latitude. This one is surely not as uncommon as Charles F. Morrison cartwheel shaped bridge showed in this thread, but I still fancy it. I used Brazilian Sucupira wood to make it.
I had an incident with a table saw about ten years ago. I had loaned my truck to my daughter,and was home alone. After I cut myself, I took a shower, and finally got in touch with my daughter. She brought me my truck, and I drove myself to the hospital. The ER nurse scolded me because I took a shower before going to the hospital. I told her, that she should be glad. I still have no feeling in my thumb, but it only cut into the pad of the thumb. I was doing something that you should never do, and it cost me. Think before acting. If it seem dangerous, it probably is. Don't do it. Power tools will remove appendages. Simple as that. And hand tools will hurt you to. Learn how to use them, and protect yourself. Most accidents can be prevented. I still have all my fingers, and need them. I am a finger style guitar picker and banjo player. And I build guitars, which takes fingers and hands to do. At least it is a lot easier with all your appendages.
Wow, Edward! Glad you still have your finger with you!
Look at my middle finger on my fretting hand in the picture below...
Don't push power tools! I had an argument with a table saw and it won! We had a gig about a month later and although it had healed quite a bit by then, my finger was still red and scarred! I was told I was very lucky and when they told me they would be glad to remove the scar, I said "No way, I want to see that scar every time I use that saw to remind me of how stupid I was and what I could have lost!"
I'll throw in my seconds thirds and fourths about sharp tools. Aside from the safety issues, it's very difficult to do clean work with a dull tool.
John, I can't really give a good answer to the volume and projection question. This is a different body shape than I usually use and so I don't have a lot of references to judge from. It seems to be in the nice and loud category, but I can't say it's louder than it would be with a standard style bridge, I just don't know.
On sharp tools, I agree with the general position that sharp tools are less dangerous than dull ones. That being said, keeping your tools scary sharp does not eliminate injuries. When you slip with or have a lapse in concentration when using very sharp tools..............
I have sustained modest but very bloody cuts when paring with chisels. I frequently do not even feel the contact, just see the blood. So, keep them sharp, but pay attention!
You are exactly on the money. The sharper the tool, the less likely you will get hurt. That goes for power tools also. I have a good friend that did not want to spend the money for a good 10" blade for his table saw, and he ended up with a serious injury. On the way home from the hospital, he bought the good blade. And he found out the hard way that sharp tools are important. You should never have to exert a lot of force on any type of tool. If you do, you may be sorry. Hand tools are great and they can produce a superior product. It just takes a little longer.
As you surmise, break angle is not something that applies here. Or perhaps I should say it doesn't in the the way everyone seems to imagine it does. IMHO, break angle is important primarily to firmly "stick" the strings to the bridge saddle and that it is the height of the string (at the saddle) over the top that determines the downward force on the top itself. In this case the torquing moment is spread forward and back about an inch more than normal as the ring of the bridge is about 3 1/2" diameter.
As for the changes of vibration patterns :
This should give an idea of how that is affected. This is as driven by a suspended speaker. When activated by a direct contact on the bridge it shows more as a tripole pattern, which is the dominant pattern at lower frequencies.
The tap tone on this top before gluing the bridge was 221Hz. After gluing the bridge the 221 peak still was there, but a new and stronger peak at 159 had shown up. On stringing it up and playing the first time, the bass was unbelievably deep and strong, overwhelming the trebles completely. Over the course of a few hours playing, the bass toned down (in relative volume) and the trebles gained strength to where it evened out nicely. The bass still has a very deep quality and the trebles are bright enough to have some edge to them.
I should mention that for the most part the bracing is a 7 brace Torres fan style. I did some things to the shape and used different woods to affect tone. It turned out the way I'd envisioned tonally, but the first hour or so scared me.
Break angle\? Any idea as to how much downforce there is at the "saddle(s)". Just looking at it one might think there is more torque at the "saddle" and less downforce. I'm wondering what the smaller, circular footprint of the bridge has on the vibration patterns of the soundboard. Can you describe the "interesting" sound qualities?
Always nice to see new things, thanks.
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