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Let's see if we can answer some questions for you.

"so who cares where the center or bottom is?"

Well, the bottom of the strings is what buzzes on the fingerboard if the strings are too low. The bottom of the strings is what gets pressed against the fingerboard by your fingers. Too high, and it's hard to press and goes out of intonation when pressed.

"If we knew the numbers for the other two strings, could we not just adjust the notches to match these numbers and avoid removing the bridge or doing it later to clean it up"

The notches are only supposed to be a tiny nick in the bridge. Putting the strings on trenches is bad news, and there is no way to trim the bridge with the strings in place. A competent luthier will use a string jack to remove the bridge for trimming while fitting.

"First of all, DIY is in my genes. If I can do something and it's fun, I will do it."

That's exactly what this woman said when she "fixed" this painting. If you can properly do something, go ahead. If you don't know how to do it properly, you probably shouldn't.

Painting matching fresco that became 'Monkey Christ' resurfaces | Spain |  The Guardian

https://www.npr.org/sections/thetwo-way/2012/09/20/161466361/woman-who-ruined-fresco-of-jesus-now-wants-to-be-paid

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Thanks for the thoughts, ideas, suggestions, etc.

Unfortunately, this discussion is digressing into the wisdom of the 

ages and a neophyte seeming to challenge it.

This is not the case and the limit on daily postings makes it 

impossible to address all the comments.

Someone please humor me and supply me with the numbers I am asking 

for so that I can do what I want to do with them.

For the record, my G string is at 5.8mm and the E string is at 3.5 

measured from top of string to fingerboard at the end.

I wish to know what the numbers for the D and A string should be.

As a point of interest, a 42mm template is in contact at G,D and A 

but the E is a bit low and not easy to measure but could be a mm and 

offers no clue as to how to fix it without removing the bridge.. hence 

this discussion.

Jack-- 
Astronomy, Beer, Cheese, Fiber, Gems, 
Nature, Radio, Sheep, Sausage, Silver
         http://schmidling.com

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If the e is low with the 42mm template you have to lower the A, and to a lesser extent the D but not the G, do tiny bits at a time till the template fits all the strings equally, are you sure you have the black tube sleeve on the e string, if you don't that will make the e lower. You need to have that sleeve on to prevent the e string digging into the bridge over time, you can also use a very thin piece of parchment, instead of the sleeve, glued to the e string slot but that's another story

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20 minutes ago, JackSchmidling said:

Thanks for the thoughts, ideas, suggestions, etc.

Unfortunately, this discussion is digressing into the wisdom of the 

ages and a neophyte seeming to challenge it.

 

Things are the way they are for good reason, sometimes. You've probably never needed to salvage something that a home handyman badly messed up. Many of us have.

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52 minutes ago, Strad O Various Jr. said:

We can't give you a measurement for the D and A because we have no idea how accurate the curve is on your fingerboard, they are commonly off optimal on older German instruments.

He could always plane the fingerboard to an accurate 42mm radius. Oh, wait, that would require removing the bridge, nut, and strings, and if it's a nasty old MK instrument, with a dyed hardwood FB, ----- and on, and on.

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19 hours ago, JackSchmidling said:

What's with the limit on postings per day?
Pretty strange.

The post approval and posting limit are the unfortunate remnants of defense system from a number of spam attacks in the past. We still have some spam slip through the other defenses... but we catch it with this one.

As long as a new member is not a spammer, and avoids acting like a troll, these restrictions disappear after 10 approved posts.

BTW; Shelbow mentioned he did not see your first post (that you mentioned was not approved) and I did not either... User error or software glitch most likely.

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I received the numbers I was looking for from one of the moderators in private mail and they are very close to what my bridge looks like now.  Still a little light under E with template but it plays well so I am happy again.

The pic shows what it looks like and clearly not even a mother, let alone a luthier could love.

I received a new "fitted" bridge and it seems about the same as the original so I am not plunging into that yet.

I now also have a bridge lifter so I could remove the bridge easily but it's not clear which side of the bridge to put it on.  Gut feel is fingerboard side.

As mentioned earlier, the square side of the original bridge faces the fingerboard and most published info says it should face the tail.  
Does it matter? Hard to believe that Lewis would make such an obvious blunder if it matters.

I understand the muting effect of the excess wood but as I either use a mute or wear ear plugs when playing at home, this is no problem for me.  Are there any other ramifications?

Nuff for now,

Jack


 


-- 
Astronomy, Beer, Cheese, Fiber, Gems, 
Nature, Radio, Sheep, Sausage, Silver
        http://schmidling.com

BRIDGEF.JPG

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10 hours ago, JackSchmidling said:

I received the numbers I was looking for from one of the moderators in private mail and they are very close to what my bridge looks like now.  Still a little light under E with template but it plays well so I am happy again.

The pic shows what it looks like and clearly not even a mother, let alone a luthier could love.

I received a new "fitted" bridge and it seems about the same as the original so I am not plunging into that yet.

I now also have a bridge lifter so I could remove the bridge easily but it's not clear which side of the bridge to put it on.  Gut feel is fingerboard side.

As mentioned earlier, the square side of the original bridge faces the fingerboard and most published info says it should face the tail.  
Does it matter? Hard to believe that Lewis would make such an obvious blunder if it matters.

I understand the muting effect of the excess wood but as I either use a mute or wear ear plugs when playing at home, this is no problem for me.  Are there any other ramifications?

Nuff for now,

Jack


 


-- 
Astronomy, Beer, Cheese, Fiber, Gems, 
Nature, Radio, Sheep, Sausage, Silver
        http://schmidling.com

BRIDGEF.JPG

That picture really needs to have a warning on it! "Danger! Hack in progress!"

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12 hours ago, JackSchmidling said:

...clearly not even a mother, let alone a luthier[,] could love [it]...

As a luthier I hate it.

But I also have to admit that it could be perfectly playable as long as the string heights and the string bowing clearances are correct.  I suspect that it would be less than ideal tonally because of the weight of the excess wood at the top.

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3 hours ago, GeorgeH said:

Sort of a built-in permanent mute.

You are anticipating my new questions (many) and this probably should be a new thread but as I only play out about once a month and I have yet to find a mute I like for practicing, maybe this is worth considering.

If the point of the bridge is to faithfully transfer the sound to the bottom of the instrument, why all the artsy fluff like heart and kidneys?  Why two feet instead of one big one?  If I made a bridge out of some other material and shape, could I come up with something that still sounds like a violin but does not hurt/damage my ears?

js

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17 minutes ago, JackSchmidling said:

 If I made a bridge out of some other material and shape, could I come up with something that still sounds like a violin but does not hurt/damage my ears?

js

Others have been trying for close to 300 years to find some design better than what Stradivari carved out - his design hasn't been beat out yet to my knowledge.  

Feel free to try though.

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20 minutes ago, JackSchmidling said:

If the point of the bridge is to faithfully transfer the sound to the bottom of the instrument, why all the artsy fluff like heart and kidneys? 

 

The point of a bridge is not to faithfully transfer sound (or vibration) to the instrument. The bridge acts as filter, enhancing some frequencies, and diminishing others. Some bridge-fitters are really good at controlling these various parameters. Others, not so much.

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"If the point of the bridge is to faithfully transfer the sound to the bottom of the instrument, why all the artsy fluff like heart and kidneys?  Why two feet instead of one big one?  If I made a bridge out of some other material and shape, could I come up with something that still sounds like a violin but does not hurt/damage my ears? "

Go ahead, knock yourself out. Just don't expect to get much buy in from the experienced luthiers here.

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