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Thread: Fixed bridges

  1. #1

    Default Non-adjustable bridges

    I can't seem to find any non-adjustable mandolin bridges (as in, without the thumbscrews/metal posts) for sale. My current bridge is practically held together with spit, duct-tape, and hope . Could anyone point me in the right direction?

    I know some good work has been done in the past in the field of non-adjustable mandolin bridges, but as I lack many wood-working resources, making my own just isn't feasible. I could probably get ahold of a fitting jig if I could find a bridge I wanted to fit.

    Thank you for any tips or random insights and musings.
    Last edited by LugubriousOrchid; Apr-18-2017 at 7:12pm. Reason: Correct terminology is important!

  2. #2
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    Default Re: Fixed bridges

    Others will help you find what you are looking for. The correct terminology would help. What you are looking for is a non-adjustable bridge. A fixed bridge is attached to the top of the instrument. There are a few mandolins made that way but the norm is a floating bridge that can be adjustable or not.

  3. #3

    Default Re: Fixed bridges

    Fixed, thank you!

  4. #4
    Registered User mandobassman's Avatar
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    Default Re: Fixed bridges

    Seems that all of the sources that I know of are no longer making them. Red Henry was experimenting with several different designs, one of which I used and it was quite good. I bought one from Roger Siminoff a few years ago but I just looked at his website and he is retiring this month and is no longer selling instrument parts. There was another builder that made a very good one that I used on one mandolin and it, also, was excellent. His name is Steve Tourtelloute and I wanted to get another of those bridges but he seems to have vanished in thin air. His web site was gone and I could find no other info about him. He is listed as the Vice President of the Alabama Bluegrass Asso. but I have not been able to get in touch with him. There have been several others who have made non-adjustable bridges, including Mike Black and Peter Coombes. Many are listed on Red Henry's mandolin bridge web page. I don't know how current the info is but you might be able to contact Red to find out who is making them.

    Here is a link to Red's page.
    http://www.murphymethod.com/index.cf...t&contentId=87
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    Registered User Charles E.'s Avatar
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    Default Re: Fixed bridges

    The problem with non adjustable bridges are just that. They have to be custom fit to the instrument and then have the string heights adjusted to the neck angle of the instrument at hand. There is no way you could order one as is to fit your instrument.
    Charley

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  7. #6
    Registered User bigbendhiker's Avatar
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    Default Re: Fixed bridges

    Elderly's has several listed. Maybe one of these would work?

    https://www.elderly.com/accessories/...family-bridges
    Scott

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  8. #7
    Registered User jim simpson's Avatar
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    Default Re: Fixed bridges

    Although not a fixed bridge, I find the original Brekke bridge to at least come close in appearance to a fixed bridge.
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    Registered User Bill Snyder's Avatar
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    Default Re: Fixed bridges

    David Hynds has sold many people on the site new, fixed bridges. H E R E
    Bill Snyder

  10. #9

    Default Re: Fixed bridges

    Thank you for the responses everyone, my quest advances

  11. #10
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    Default Re: Fixed bridges

    They aren't very hard to make, although it takes a while. I've done quite a few maple, some ebony, some Brazilian rosewood, persimmon, maple with bone, maple with ebony. They all sound a little different. I suspect basic violin bridge design accurately rendered as to function, rather than appearance, would be excellent. I've got a few of those, none I'm really happy with. However, the individually tuneable course arrangement isn't difficult. The issue with all of these is that each bridge is both physically and acoustically fit to each mandolin. I've had a crack at building a nicely tuneable commercial-prospect design, but have not figured out how to train in tuning by a short enclosed instruction sheet!

    If you decide to make your own, a useful approach is to start with a thicker piece of wood (watch the grain) or several thicker pieces or a stack and shape a whole mess at once as to the outline and any basic cutouts. Saves lots of individual shaping.
    Stephen Perry

  12. #11

    Default Re: Fixed bridges

    Quote Originally Posted by Stephen Perry View Post
    I suspect basic violin bridge design accurately rendered as to function, rather than appearance, would be excellent. I've got a few of those, none I'm really happy with. However, the individually tuneable course arrangement isn't difficult. The issue with all of these is that each bridge is both physically and acoustically fit to each mandolin. I've had a crack at building a nicely tuneable commercial-prospect design, but have not figured out how to train in tuning by a short enclosed instruction sheet!
    The violin thing was what I was going for. In my estimation there's some function there that's not really applied to most current mandolin bridges. Perhaps with good reason, but worth trying in my opinion. Red Henry seemed to like the results from not having a direct path of tension between the strings and the instrument top on a non-adjustable bridge.

    I don't think I understand your part about how a bridge is fit acoustically to a mandolin, and the tuning issues you speak of. These may be beyond the scope of a forum post, but I'd like to know more.

  13. #12
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    Default Re: Fixed bridges

    Can't have the bridge fighting the instrument. Past physical fitting. Look at a violin bridge. Has spikes sticking out. There's one in the heart in the middle. There's two on each side. These are very useful for evening up the response and cleaning up the harmonics on violins. I've gotten quick at doing this as one of the adjustments on violin bridges. Outer strings from outer spikes. Inner pair more iffy, from middle spike and changing associated arm and spike area. I've also built some trial mandolin bridges that have tuneable features, but usually end up tuning the adjustable type. Lots more potential to develop that. Either way, final tuning has to be done under tension and on the instrument to keep things from fighting each other. On violin and mandolin.

    I posted something on doing a bit of this about a Kentucky 756S I went through lately. You can probably find that. Or visit.
    Stephen Perry

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    Default Re: Fixed bridges

    The use of violin bridge design to inspire mandolin bridge design can mislead. The motion of the bridge and top of a violin when bowed has more of a side to side component than a mandolin bridge.

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    Default Re: Fixed bridges

    I don't think so Nevin as to the input. Now the effect of the post indeed does that. However, the features of the violin bridge that I see as counting have nothing to do with how it moves the top, but how it filters and shapes the tone and response.
    Stephen Perry

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    Registered User Andy Hornby's Avatar
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    Default Re: Fixed bridges

    My question on non- adjustable bridges is.. I have had several mandolins over the years, nearly all with NA bridges. Some fit the soundboard accross the full width, some are cut away in the middle to sit on 2 feet violin style. I imagine on f hole, Gibson style carved tops, F or A models, violin acoustics are more relevant with longitudinal braces. But on flat top mandos with x or latitudinal ( is that even a word?.. Maybe crosswise is better) which is better and why?

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    Default Re: Fixed bridges

    Quote Originally Posted by Andy Hornby View Post
    My question on non- adjustable bridges is.. I have had several mandolins over the years, nearly all with NA bridges. Some fit the soundboard accross the full width, some are cut away in the middle to sit on 2 feet violin style.on flat top mandos with x or latitudinal ( is that even a word?.. Maybe crosswise is better) which is better and why?
    I am not sure it makes much difference, I did scoop away my old bridge to sit on 3 feet, I can't say I could hear any difference. When it went back to Paul Hathway for a refret and ended up with a new fingerboard, he also put on a new bridge that was flat across the bottom. It did sound better after, but since this bridge has a hard saddle and other work was done too I wouldn't put it down to the contact area of the bridge.
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  19. #17
    Mando-Accumulator Jim Garber's Avatar
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    Default Re: Fixed bridges

    Quote Originally Posted by LugubriousOrchid View Post
    I can't seem to find any non-adjustable mandolin bridges (as in, without the thumbscrews/metal posts) for sale. My current bridge is practically held together with spit, duct-tape, and hope . Could anyone point me in the right direction?
    What kind of mandolin are you playing and why is the bridge falling apart? It might help to know if it is a standard carved mandolin, or a flattop or a bowlback, etc.

    Quote Originally Posted by bigbendhiker View Post
    Elderly's has several listed. Maybe one of these would work?

    https://www.elderly.com/accessories/...family-bridges
    If the OP's is a flattop or bowlback some of those non-adjustable bridges might work. The others are mostly meant for mandolin-banjos.
    Jim

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  20. #18

    Default Re: Fixed bridges

    Quote Originally Posted by Stephen Perry View Post
    I don't think so Nevin as to the input. Now the effect of the post indeed does that. However, the features of the violin bridge that I see as counting have nothing to do with how it moves the top, but how it filters and shapes the tone and response.
    Why do you say it has nothing to do with moving the top? Are you intimating that the sound mostly goes through the posts, resonates the back of the violin, which shoots it back upward at the top? Or am I completely misreading this.

  21. #19
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    Default Re: Fixed bridges

    I didn't say it didn't move the top. It moves the top, but the features that count are those that filter. A lump of wood will move the top. Moving the top is trivial. How it works between the string and the top and the string and the top is what's important.
    Stephen Perry

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