Half-Hour Student Quality Bridge

[Craig Tucker]

This is how I do it.

I stock bridges and everything else is always ready to go.

Half hour - (perhaps 3/4) average time.

[Craig Tucker]

And,

[lvlagneto]

Looks like you have some spoiled students.

I have a similar work method.

[Bill Yacey]

Thanks for posting this Craig!

Your methods are very similar to what I do, except I prefer to use needle rasps and files to finish off around the feet area and to open up the kidneys and sides. I also cut the sides in so they are concave rather than straight. This tends to remove some mass without weakening the bridge. For doing the face, I start with a small flat soled finger plane to remove the bulk, and then finish up the delicate areas on a sanding board.

Out of curiosity, why do you continue the cut on the side of the leg by scoring across the leg?

[zefir68]

Thanks for posting! Just one thing: isn't the brand supposed to be facing the player?

[PeterG]

Thanks for this,CT.

The marking of the feet like you do in the first photo is something never occured to me to do. I've got to cut a bridge tonight so I'm going to try that.

[saintjohnbarleycorn]

thanks I knew I bought that sander for a reason.

just one question I can see what all the pics are about except this one.

can't seem to get the right image up

if that came up, its the second to the last. after you sanded the angle on the bridge, was there some left in the middle that did not sand off or did you remark that to take some off in the middle? thanks.

[PeterG]

Thanks for posting! Just one thing: isn't the brand supposed to be facing the player?

You can actually face it whichever way you want in this country. It is a democracy, you know.

[Joe Leahy]

Hey Craig

I was reading your comments in another thread where you were pondering whether you should upload this piece or not and just wanted to voice my appreciation for your post.

The members of this forum, as you know, include those at every level of competence and experience in the violin making process. Some may find this information rudimentary and some may have a different approach. I think that many, however, including myself, no matter what level of expertise they have, find posts such as yours a treat. I thoroughly enjoy seeing these practical posts and hope that in the future, when I have something to share, I can do the same.

Although there are many enlightening posts that go into great detail and discussion regarding the minutae, examples of the most enjoyable posts that I read on this forum are those that show an approach to a practical issue (such as your post), a picture of a workshop or evaluations on what went on at the latest event. These things help make this forum a bit of a community for those that participate. I remember you mentioned at one time that you get your magnifying glass out to investigate what's on the shelves of the workshop pictures that are sometimes posted. Many of us, I think, are just as interested in seeing what others are doing, what tools they use etc.

Again, thanks and keep on posting.

Joe

[Craig Tucker]

Thanks for this,CT.

The marking of the feet like you do in the first photo is something never occured to me to do. I've got to cut a bridge tonight so I'm going to try that.

Then, note the wedge under the bridge, keeping the feet perpendicular to the sanding drum, so that the bridge doesn't tilt too far forward or too far backwards.

[Craig Tucker]

thanks I knew I bought that sander for a reason.

just one question I can see what all the pics are about except this one.

can't seem to get the right image up

if that came up, its the second to the last. after you sanded the angle on the bridge, was there some left in the middle that did not sand off or did you remark that to take some off in the middle? thanks.

Yes, this image.

It is just showing the flat feet - the rough cut out bottom, and the tilt of the bridge at this point - probably could have done without it, since it shows no distinct operation.

[Craig Tucker]

Thanks for posting this Craig!

Your methods are very similar to what I do, except I prefer to use needle rasps and files to finish off around the feet area and to open up the kidneys and sides. I also cut the sides in so they are concave rather than straight. This tends to remove some mass without weakening the bridge. For doing the face, I start with a small flat soled finger plane to remove the bulk, and then finish up the delicate areas on a sanding board.

Out of curiosity, why do you continue the cut on the side of the leg by scoring across the leg?

No real reason, other than slight added design.

There are times when I will also either bevel the side edges, or make then slightly concave also - which adds a very distinct look with - very little added work.

Mostly, it depends on whether or not I want to remove mass from the bridge or add it. (for tone)

[lvlagneto]

Thanks for posting! Just one thing: isn't the brand supposed to be facing the player?

I believe that the brand (in this example) was removed when thinning the bridge. Brands on factory blanks don't mean much, I usually remove them.

[Brad Dorsey]

Do you normally shade areas of the bridge before cutting them away? Or did you just do it in your pictures to show us what the next step would be?

[Craig Tucker]

I believe that the brand (in this example) was removed when thinning the bridge. Brands on factory blanks don't mean much, I usually remove them.

Well, if you follow carefully, the brand was indeed not facing the player, and I French face - (i.e. - a slightly convex surface ) the side facing the finger board (which as you can see - I marked with pencil so you could see what was removed with the belt sander - but which I don't really mark like that when I make the bridge...) with the side facing the tailpiece remaining mostly flat, but yes, the brand did get pretty much entirely removed during the process.

When I make a student bridge I don't pay much attention to the brand - sometimes it makes it through the process - sometimes not.

Sometimes it faces the player, sometimes not.

I like to stand the bridge on the bench, before I start, and the side that is closer to 90 gets to be the back side (facing the tailpiece).

[Craig Tucker]

Do you normally shade areas of the bridge before cutting them away? Or did you just do it in your pictures to show us what the next step would be?

No, never - I even exaggerated them for the sake of illustration...

Just the flat half-a-pencil mark for the feet.

[lvlagneto]

Well, if you follow carefully, the brand was indeed not facing the player, and I French face - (i.e. - a slightly convex surface ) the side facing the finger board (which as you can see - I marked with pencil so you could see what was removed with the belt sander - but which I don't really mark like that when I make the bridge...) with the side facing the tailpiece remaining mostly flat, but yes, the brand did get pretty much entirely removed during the process.

Well I'll be swizzled! There it is, facing the FB.

[saintjohnbarleycorn]

thanks, I actually was thinking of another pic but it was answered by you in another post.

One more question, what size sanding drum do you use. thanks. kevin

I also agree you have a great way of explaining and getting the ideas across. Thanks again for the help.

[Brad Dorsey]

I assume that you drum-sand the feet with the tailpiece side of the bridge down. Does that automatically seat the bridge on the top at the correct angle?

[Roger Hill]

Thanks, Craig. Having cut exactly one bridge, which took about three hours and turned out great (well, I think it did), you procedure is the one I shall follow for my second one three, maybe six months hence. Appreciate the good experience you have disclosed. And, keep it coming!

[jezzupe]

You can actually face it whichever way you want in this country. It is a democracy, you know.

No, it's a republic, ie. "rule of law"...the laws are to be democraticaly voted on, at least that's the way its supposed to work, but we know it only really works for the central banks

[Bill Yacey]

No, it's a republic, ie. "rule of law"...the laws are to be democraticaly voted on, at least that's the way its supposed to work, but we know it only really works for the central banks

Nothing like Canada. Here we vote for something, and the government ignores the majority.

[richardz]

Thank you for taking the time to do this CT! It is excellent. As the say, 14 pictures are worth 14,000 words.

If you don't mind, I have a couple of questions.

With this method you are not really "tuning" the bridge. Is it more like an average bridge or do you adjust each one roughly depending on the nature of the violin? If so, what criteria do you use?

Thank you.

[Craig Tucker]

If you don't mind, I have a couple of questions.

With this method you are not really "tuning" the bridge. Is it more like an average bridge or do you adjust each one roughly depending on the nature of the violin? If so, what criteria do you use?

Thank you.

This is an excellent question, richardz. It is exactly what I would wonder about. The perspective when making this type of bridge, must be almost strictly functional.

It is an average bridge - with no tuning and without any real refinement, no doubt about that fact.

The only things done to individualize the bridges, from my perspective, are quick decisions in the midst of cutting - often without the benefit of having played the violin beforehand - and really no time or desire to play it much after.

There is no way to test the results either way, so, anyone that requires graphs and proofs will have to go another route - this is considered quick meatball service.

Ok, since no one requires proof - this is generally what I might do;

...on student violins that feel stiff or that sound nasal - I might take off more from the edges or thin just a bit more.

...on violins that feel or sound weak or mushy - I might leave the bridge a bit thicker.

I'm telling you this because you asked. This is not general advice about tuning bridges - you understand why I'm saying this, right?

Generally though, a rule of thumb is that student bridges get left thick, simply because the bridge will last longer without folding. Decent Aubert bridges are a substantial part of the cost of doing this - and the longevity/quality considerations outweigh many other more subtle considerations - it is a balance between what they can get for the money, and how much time and effort can be spent on the job before you go broke (guffaw!)

Individuals that get individual bridges (better quality violins/bridge blanks - non school system jobs...) are approached completely differently. You get what you pay for.

Sometimes small refinements help, often, though, they are of no effect either way.

One problem with trying this type of thing ("tuning" the bridge, or subtle bridge refinements) with cheap student violins, is that it is like trying to steer a ship with a toothpick. Since the problem (in a big way) isn't the bridge, and doesn't originate from the bridge, it ("it" meaning subtle tonal qualities) cannot be remedied with the bridge.

[Craig Tucker]

I assume that you drum-sand the feet with the tailpiece side of the bridge down. Does that automatically seat the bridge on the top at the correct angle?

No.

I mark from the tailpiece side.

(The initial reason for this is that I usually set that back side angle at 90 - but don't worry about that)

Then, the bridge goes on the glass, tailpiece side facing up (towards you) so the marks I made on the feet can be seen. (see in the photo?)

Sand down to those marks.

The thing that keeps the bridge feet where the bridge is at the correct angle, is that small WEDGE that can be seen tipping the bridge slightly forward, so that the feet engage the drum flat.

Look and tell me if you see it - you can easily not notice it.

(just to the left of my thumb)

This is what seats the bridge at the correct "string over the top of the bridge" angle.

No one go past this point without understanding it - otherwise there will be some real problems with the bridge angle.