Violin Bridge Picture

[Atomino]

In a former post, Manfio showed the picture of a Michael Darnton's violin bridge. I have been unsuccessfully searching the forum. Does somebody remember wich one was the thread?

[stradglider]

In a former post, Manfio showed the picture of a Michael Darnton's violin bridge. I have been unsuccessfully searching the forum. Does somebody remember wich one was the thread?

May be you are trying to find this thread?

Hope that helps

[stradofear]

They're quite a bit lighter now, in all respects, than in those photos....

[MANFIO]

Hi Strado, can you show us a pick of one of your current bridges?

[Atomino]

May be you are trying to find this thread?

Hope that helps

Thank you very much Stradglider, that was the bridge I was looking for......

[Bruce Carlson]

Thank you very much Stradglider, that was the bridge I was looking for......

A little off the subject but here's one from me, since one hasn't been posted yet.

Bruce

[hollenbach]

A little off the subject but here's one from me, since one hasn't been posted yet.

Bruce

That's a mighty jolly lookin bridge!

[Bruce Carlson]

That's a mighty jolly lookin bridge!

Thanks. It's the one currently used on the Cannon with the "modern" setup. Maybe a little asymmetrical.....

[jezzupe]

A little off the subject but here's one from me, since one hasn't been posted yet.

Bruce

Sexy,... its stout yet delicate, it has the legs of a dancer

[Jack Rushing]

Thanks. It's the one currently used on the Cannon with the "modern" setup. Maybe a little asymmetrical.....

I noticed the treble side kidney seemed a trifle larger. Do you think the maker might have done

this to balance out the strings, to play more even, or some other reason maybe?

[Roman Malamant]

Thank you very much Stradglider, that was the bridge I was looking for......

Hi all!

Bruce, I like your bridge, especially wood selection!

I played a bit with camera yesterday and photographed an old bridge that was laying around and, funny thing, the background l used looks similar to yours. Was it back of cigar box by any chance )?

[actonern]

The area circled in the photo is so enormously impactful as a final shaping of the violin's sound.

Tiny shavings can make such a big difference.

Do you custom trim/ tune each bridge in this area on the instrument?

E

[Bruce Carlson]

Hi all!

Bruce, I like your bridge, especially wood selection!

I played a bit with camera yesterday and photographed an old bridge that was laying around and, funny thing, the background l used looks similar to yours. Was it back of cigar box by any chance )?

The blank was from Aubert and I chose it in part for the grain running straight across the bridge. Very often the grain lines are skew to the fretwork because in maple it is so irregular. Evidently even difficult for the bridge makers to control .....

The photograph was shot against my bench pad which is of thick dark compact wool. This type of pad is nice because when you're working you don't get light reflected back into your eyes from the bench lamp.

Bruce

[Bruce Carlson]

I noticed the treble side kidney seemed a trifle larger. Do you think the maker might have done

this to balance out the strings, to play more even, or some other reason maybe?

There's still room to remove wood but the violinist was happy so I left it for now. It wasn't intentional on my part. Maybe subconsciously I like little asymmetries

[Bruce Carlson]

The area circled in the photo is so enormously impactful as a final shaping of the violin's sound.

Tiny shavings can make such a big difference.

Do you custom trim/ tune each bridge in this area on the instrument?

E

The bridge as you see it, for me, is a starting point. I wouldn't remove any more wood unless, after a time, the musician and myself felt it was necessary. Going in gradual steps over a period of time is usually the best way. Once you've removed too much you have to start over!

[Roman Malamant]

The blank was from Aubert and I chose it in part for the grain running straight across the bridge. Very often the grain lines are skew to the fretwork because in maple it is so irregular. Evidently even difficult for the bridge makers to control .....

The photograph was shot against my bench pad which is of thick dark compact wool. This type of pad is nice because when you're working you don't get light reflected back into your eyes from the bench lamp.

Bruce

Thanks, I see what you mean regarding the grain lines.

Hoped I discovered your secret regarding bridge photo background, but was far from it . That woolen cover is also very good as a photography background I must say.

[Atomino]

A little off the subject but here's one from me, since one hasn't been posted yet.

Bruce

Fully into the subject and useful as always. Actually the thread title could be turned into "Nowadays bridges". How did bridges evolved following the new string technology and players needings.

Grazie

[Melvin Goldsmith]

A little off the subject but here's one from me, since one hasn't been posted yet.

Bruce

Hi Bruce

Nice bridge (as to be expected )

Noticeable is the lack of a stamp. Is there a reason for this?. (I must say I prefer a bridge without the grafitti.)

[stradofear]

This is not a current bridge, but it's one of mine I picked for the people in my shop to use as a model:

[Oded Kishony]

The area circled in the photo is so enormously impactful as a final shaping of the violin's sound.

Tiny shavings can make such a big difference.

Do you custom trim/ tune each bridge in this area on the instrument?

E

I have never noticed that the area you circled is especially important. Can you cite some evidence for why you think it's important? What frequency vibrations it supports or dampens?

Thanks,

Oded

[Bruce Carlson]

Hi Bruce

Nice bridge (as to be expected )

Noticeable is the lack of a stamp. Is there a reason for this?. (I must say I prefer a bridge without the grafitti.)

Hi Melvin,

I have to confess that I usually use a stamp but it didn't seem the proper thing to do on the bridge for the Cannon though it would have been great publicity (if publicity is what is really needed ). The fact that it is used on that violin doesn't really change the way the bridge was cut.

Congratulations for putting up the alarm about the closing of the musical instrument collection of the Victoria and Albert Museum. Come on Maestronetters, sign up on the link that Joe Robson attached to his post!

"Here is a petition that will accept signatures from those who are not British citizens:

http://www.petitiononline.com/22210/petition.html

Joe"

Bruce

[Jeffrey Holmes]

Noticeable is the lack of a stamp. Is there a reason for this?. (I must say I prefer a bridge without the grafitti.)

So, should we be expecting some instruments from Melvin "sans label"? (Graffiti is graffiti after all)

[Melvin Goldsmith]

So, should we be expecting some instruments from Melvin "sans label"? (Graffiti is graffiti after all)

..........

Good point!

[Oded Kishony]

One of my teachers signed his violin under the bass bar ! :)

(anon)

[actonern]

Hi Oded:

You asked earlier about what I based my observations on in respect of the circled area.

It has primarily to do with the clarity of the sound. It's a remarkably sensitive area to assist in the creating of the bow "bite" or "crunch" that musicians like, vs. the wah wah sort of feel under the bow.

I don't have measuring tools so no graphs from me

E