Bruce Weber bridge

[AlanN]

Has anyone tried this? Thoughts?

Ebony Traditional Bridge By Bruce Weber
https://www.mandolincafe.com/ads/123949#123949

[George R. Lane]

First off, this bridge was designed by Vern Brekke, who makes the bridges for Bruce. That said, I have one on my Yellowstone and it is a great design. It does everything Mary has in the ad, I highly recommend it.

[HonketyHank]

I have one and am very happy with it.

[AlanN]

Thanks for the feedback. I'm thinking of replacing the 20-year-old bridge on Gilchrist Model 5 and looking at options. I want a full-footed bridge (no gap in the base) and am leaning toward a simple trad design. The Weber/Brekke bridge, although looks like a quality piece, is a bit too 'bulky looking', with that special saddle design and larger post hardware. It's not terribly important to me to be able to raise/lower under full string tension, so that is less of a benefit/concern. I know Cumberland bridges are held in high regard. I would have the bridge fitted and slotted by a pro luthier.

[Billy Packard]

I am the odd man out here.

I replaced this contraption with a conventional design by Siminoff and my Weber Fern just leaped to life. Way better volume and so much more tone, it was night and day. A much broader range of dynamics are available as well. The Brekke bridge made for a quiet, one dimensional instrument.

Billy

[HonketyHank]

Billy, are you thinking of the older Brekke design that needs an allen wrench or the newer one with thumbwheels (and can accomodate mini open-end wrench)? I have used both and I greatly prefer the newer design, for exactly the reason you state.

[MontanaMatt]

Thanks for the feedback. I'm thinking of replacing the 20-year-old bridge on Gilchrist Model 5 and looking at options. I want a full-footed bridge (no gap in the base) and am leaning toward a simple trad design. The Weber/Brekke bridge, although looks like a quality piece, is a bit too 'bulky looking', with that special saddle design and larger post hardware. It's not terribly important to me to be able to raise/lower under full string tension, so that is less of a benefit/concern. I know Cumberland bridges are held in high regard. I would have the bridge fitted and slotted by a pro luthier.

The bridge from Weber is smaller than a "regular" bridge. The post hardware is smaller than standard thumbwheels, as it is primarily adjusted with a small spanner wrench, though you could twist it with your fingers, just not under pressure without the wrench.
The saddle is much smaller than a loar style, as much of the strength comes from the brass under saddle, which hides under the ebony cap. Pretty sure Bruce would make a full contract base upon request.
It's hard to make size comparison without a side by side, but the Weber Traditional bridge is less material than a loar, quite refined look, and great functionality.

[pops1]

I like the wrench idea, but I can raise my saddle using only my fingers on the adjusting wheel under full tension. I made my own saddle and the fit to the wheels is all important to be able to move them easily. A little wipe of wax will act as a lubricant if you need.

[Billy Packard]

Hank, it's an older version. My Fern has an '07 manufacture date and that's the bridge that came with the instrument. This is the mandolin Bruce Weber re-graduated in 2012 that I've described elsewhere here in the forum.

[Phil Goodson]

[QUOTE=AlanN;1651359..... I know Cumberland bridges are held in high regard. I would have the bridge fitted and slotted by a pro luthier.[/QUOTE]

Alan, I had Ward Elliott fit a full contact Cumberland to my Henderson mandolin last year and I like it.
Seemed to help the tone & volume a little.

I had one of the Brekke Traditional bridges on a mandola a few years ago. It worked fine. No complaints.

[Ivan Kelsall]

Hi Alan - That's the 'standard' Trad. bridge fitted to almost all Weber "F" styles, & as George Lane says,it's a design by Verne Brekke. It's the one bridge where the saddle is almost 100% guaranteed not to crack / break. The 2 threaded rods are part of a metal reinforcing that fits into a slot underneath the saddle.

As a bridge,i rate it first class - i do have a minor quibble re.the hex.nuts,but no problems 'sonically' speaking,
Ivan

[Billy Packard]

Ivan, in my experience I have to disagree,

The Brekke bridge is so much metal, hard mass metal, posts, bars and such---it reduces the information coming from the strings. A wooden bridge is so much more transformative and transparent.

When I had the Brekke switched out for a standard Loar-type bridge the resulting sound from the mandolin was markedly warmer AND brighter in addition to being louder, by 30% I'd say...

Billy

[lloving]

I have one on my Yellowstone HT F and am very happy with it. I have tried others but keep coming back to this bridge.

[VernBrekke]

"The Brekke bridge is so much metal, hard mass metal, posts, bars and such---it reduces the information coming from the strings. A wooden bridge is so much more transformative and transparent."

The only material difference between the Loar style bridge and the Weber bridge is the bar that goes between the screws (the drawing doesn’t represent the newer Weber bridges that have a three piece construction – two screws and a threaded bar. The bar is 1/8 inch x 1/8 inch x 2 inches). The additional weight of the bar (approx. .135 oz) is small in relation to the total weight of the bridge.

The Weber and the Loar bridges both have: two screws, two adjusting nuts (of varying sizes and weights), a wood saddle and a wood base. The Weber bar does allow the wood saddle to be smaller/lighter than the Loar style. It’s hard to compare weights because the Loar style bridges are all over the place depending upon: the maker, the design, the quality of the wood (density), adjusting nut size and saddle dimensions. Both connect the saddle to the base with metal screws and nuts.

There is another adjustable bridge that is as close to a solid wood bridge as you can get if you believe "A wooden bridge is so much more transformative and transparent"

The most important consideration that I have experienced, over the 20 or so years of having this discussion, is the fit of the bridge. If a bridge has been on an instrument, that has been used and played in different environments for any length of time, the fit of the bridge to the top will probably have changed as the top has matured and changed (the changes may not always be obvious). When a new bridge is correctly fitted, the instrument suddenly sounds better than it did with the old bridge ...

Vern Brekke
Bridger Products

[MontanaMatt]

Thanks for your great design Vern. We live in the same valley, but I have yet to meet you...I hope that changes soon
Come hear how great your bridge and armrest/tailpiece design sounds at my weekly gig with The Bridger Creek Boys at Red Tractor, Thursdays 7-9. MT Bluegrass, MT Pizza, and MT Beer...the trifecta!

[Ivan Kelsall]

My Weber 'Fern' has had a Brekke 'Trad.' bridge on it as standard right from it's birth, & it sounds as good as most mandolins i've ever heard. Comparing it to my Ellis "A" style,tonally of course it's different, as are all mandolins,but the clarity & volume are easily the equal of the Ellis. IMHO - No way does Verne's design detract from the overall tonal quality of my Weber,if it did,it would have gone
10 years back !.

One other thing that i like so much about the Brekke bridge,is it's neatness. Compared to say a CA bridge,possibly the best 'Gibson style' bridge construction,it appears less bulky - all told it's different,but totally excellent,& i do like the rounded off saddle ends ,

Ivan

[George R. Lane]

Thanks for your great design Vern. We live in the same valley, but I have yet to meet you...I hope that changes soon
Come hear how great your bridge and armrest/tailpiece design sounds at my weekly gig with The Bridger Creek Boys at Red Tractor, Thursdays 7-9. MT Bluegrass, MT Pizza, and MT Beer...the trifecta!

Matt,

Vern is one smart cookie and a nice guy. His bridge has been on my Yellowstone for 8 years and sounds great. I plane on having one on my next mandolin. Vern, I guess I have to bring over some Parrot chocolates to thank you.

[VernBrekke]

Thanks George and Matt, I'll probably see you at Bruce's shop sometime.

Vern

[Buck]

Years ago when MC was doing the Guest of the Month (or was it Week?) and Bruce was the guest, I submitted a question about the Brekke Traditional bridge. It was new at the time and I hadn't seen one. I was curious how he thought it would change the sound of my '99 Big Sky. Bruce generously offered to give me one, either send it to me if I could fit it or send him my mandolin and he would fit it for me. I asked him to send it and I could fit it, which I did.

After fitting the new bridge I thought the mandolin sounded stronger - better bass, but really stronger overall including thicker trebles. That particular mandolin was good enough to have caught my attention from the first time I picked it up at FQMS, but this bridge made it even better. It's been on the mandolin ever since, and it has remained my #1.

[AlanN]

Vern and I are in touch and I have been educated on the features and benefits of the trad Brekke bridge. This looks like it will be the deal. Thanks to all for the feedback.

[Mark Wilson]

Alan, post back the details once you get it fitted.

[AlanN]

Well, here they are, Mark...14 months later .

I picked up the Gilchrist from Skip Kelley today. One word: Amazing! The mandolin SCREAMS. I actually have to tone down the attack, at times; it has made that much of a diff in its sonic presence. It replaced the original bridge (21 years old) and boy, am I pleased. And Skip's work was awesome - fast, affordable and perfect - no surprise there.

YaY!