floating versus set bridge

[Kenssongs]

While the vast majority of luthiers appear to embrace the traditional floating bridge, there are some who use a set bridge, for example, Stevens Custom guitars in Munich: http://www.guitars.de/stevens-custom...uzouki-mandos/. I'm inclined to think that a set bridge provides greater stability and more consistent tunability, but perhaps sacrifices harmonics or tonal qualities. Thoughts? Anyone with experience with both?

Please forgive the series of questions. There are bound to be more. I'm essentially brand new to bouzouki, having been bitten by the bug during a tour of Ireland. I have been playing guitar for 40 odd years though, and I've already dabbled on a Trinity College TM-375 enough to know it isn't a passing fancy. Hence, I want to buy a zouk that will truly inspire me and serve as an investment for the balance of my days.

Thanks all,

Ken

[Dagger Gordon]

If the fixed bridge is precisely in the right place and the harmonic and fretted notes on the twelfth fret are exactly the same then it should be fine.
However this has not always been the case in some instruments I have seen. A floating bridge can be adjusted to get it right.

[Tavy]

It depends on the tone you want as well - pin bridges sound "guitar like" while floating bridges generally give a punchier more mandolin like sound. Lot's of great examples of both around...

[vernob]

Remember that there are opposite forces in play in this question. A pin bridge uses the tension of the strings to pull "up" on the top. A floating bridge with a tailpiece pushes "down" on the top. Completely opposite designs. The builder has to decide what he is bracing for, up or down.

[Kenssongs]

Thanks gentlemen. Good points. I do like the flexibility of the floating bridge, per Dagger's comment. Seems to make sense as the instrument responds to variable environmental conditions, and aging as well.

A belated Merry Christmas!

Ken

[dburtnett]

Here's a new idea just pitched to me... I have an 30's Epiphone Beverly Tenor which has a flat top and floating adjustable bridge. Yes, it's really a flat top. A luthier recently did work on it and warned me about knocking the bridge out of place, which is somewhat more likely on a flat top. He said he could insert a small pin (or two) in the bottom of the bridge and drill corresponding small holes in the top that would keep the bridge in it's proper position.

I'm unlikely to try it, but he said he's seen it done enough that it seemed common-ish. Any thoughts on this?

[James Rankine]

Here's a new idea just pitched to me... I have an 30's Epiphone Beverly Tenor which has a flat top and floating adjustable bridge. Yes, it's really a flat top. A luthier recently did work on it and warned me about knocking the bridge out of place, which is somewhat more likely on a flat top. He said he could insert a small pin (or two) in the bottom of the bridge and drill corresponding small holes in the top that would keep the bridge in it's proper position.

I'm unlikely to try it, but he said he's seen it done enough that it seemed common-ish. Any thoughts on this?

Find yourself another luthier.

[fox]

It might be possible to knock it out of position but with 8 strings holing it down, it will need a fair push!
Anyway you would notice if it has moved and with a electronic tuner it is not difficult to re set.
I bought an old arch top six string that had the bridge feet glued down' I thought it was just stuck with grime & polish but I just couldn't move it, I think is was super glue! Luckily it was it a good position.

[Tavy]

Here's a new idea just pitched to me... I have an 30's Epiphone Beverly Tenor which has a flat top and floating adjustable bridge. Yes, it's really a flat top. A luthier recently did work on it and warned me about knocking the bridge out of place, which is somewhat more likely on a flat top. He said he could insert a small pin (or two) in the bottom of the bridge and drill corresponding small holes in the top that would keep the bridge in it's proper position.

I'm unlikely to try it, but he said he's seen it done enough that it seemed common-ish. Any thoughts on this?

Yikes, please don't do that... or glue it either!

The whole point about a floating bridge is that it's adjustable for changes in string gauge, tuning, humidity or whatever. Plus I've seen enough glued in the wrong place to want to scream every time someone suggests something like this.

As for knocking it out of position: with 8 strings no way, with 4 strings and a decent break-angle over the bridge you should just be able to adjust it's position with the strings up to pitch, but you will need a strong arm and some care (I do this often during setup and it's a lot harder than you think). That said, I've seen some instruments with very low bridge break angles where you could grab hold the bridge and literally just lift it up off the top (along with all the strings). Those instruments tend not to sound too good and may have other issues though.

So.... don't be scared of the bridge, don't be afraid to adjust it yourself for optimum intonation, it's all part of playing mandolin family instruments... once you have bridge positioning figured out you'll wonder what all the fuss was about

[dburtnett]

Thanks Gang. I'm not going to alter the guitar, so no worries. Even with only 4 strings and a flat top the bridge is pretty well tight to the top under tension... certainly cannot lift it! And the sound is strong. And she's a pretty little thing too...


I have an old national tenor whose cone/biscuit migrates out of position MUCH more easily, so I'm comfortable repositioning. The epiphane in question does move more easily than the Gibson TG-50 did when I had it... but no fear, I'm not scared.

Thanks again for the advice!

daryl

[Dolamon]

One other suggestion ... per the 'moustache' on Selmer Maccaferri and other vintage floating bridge instruments, you can make a set IF your bridge has a tendency of shifting sideways when playing a lot of rhythm. I had this done on a small Spira, Ditson Martin copy. This is a fairly low tension tenor but the bridge was constantly moving around in chunky sessions. Jack made up a few ears for me, I adjusted the bridge and then carefully glued the ears / moustache's down.

That was done over five years ago and this little tenor is constantly surprising me with the crisp sound, sharp attack and spot on intonation all the way up the neck. The bridge is still floating, but it doesn't move around at all. (and it is a beauty!)

PS, I've seen this concept done on some old mandolins, mandola's and 4 and 6 string guitars. Some just have flat, round dowels which are shaped and place in the proper position to stop the migrations. It wasn't that unusual ... at that time.