I love this guy. I am a self taught cellist and I work on my own Cello. My local luthier's response to any of my query is: mine is a 300$ cello, not worth their work. I rely a lot on Edger's videos and I've been able to modify my Cello a lot in my own workshop. Thank you Edgar, keep teaching us.
Hi Mr Edgar.I am a bass player and I love your videos, learning so much everyday. A have quite a different experience about the 4mm recommended for the top of the bridge on a bass. For my instrument, which is a 7/8 size (154mm bridge), a thicker top of the bridge made a huge difference in sound and stability. I had an excellent bridge, Despiau 3 trees, it was 4.5mm at the top, and unfortunately it warped within less than a year and a half despite myself always checking the right angle after tuning, and the sound was very much on the trebly side, too nasal sound, despite many attempts on moving the soundpost, changing the position of the bridge foot, etc. After the Despiau warped, I didn't have money and asked the luthier to fit any cheap chinese bridge available, but I wanted it to be thicker, 6mm to be precise. Oh my god, what a difference for my instrument, bass frequencies are much louder, clearer, and let's say more even, powerfull, and now no matter the soundpost position, it always sounds good just different. I also did another thing that might have helped, I aksed to change the string spacing at the bridge. Before it was 28.5mm, and now it is 26mm from each string center. Much better projection, focus and I don't have problems with wolf tones anymore. Before with the Despiau bridge I had terrible wolf tones on A and G# notes, both D and A strings. Have you had problems with Despiau bridges before?
A big selute to you Mr. Edgar. I am an artist (painter/sculpturist). By watching various videos like this from various luither & reading many things I am able to do make violin. Till now I did 2 violins & also repaired 6 violins. And I commit you I will continue this process. Thanks a lot for these information.
Most people do not understand that these instruments are the epidemy of human potential in design. When they are combined with the compositions of the masters which are as well the epidemy of human creativity something transcendant is possible. It should be our goal as musicians to one day play a superb instrument and to play the magestic works of the masters.
Thank you very much, very informative just finishing my first violin ( it’s very basic just a practice run) and it’s extremely generous of you to share this knowledge with us. Thanks again 👍👍👍
Thank you so much for sharing your knowledge - i have a small workshop and do repairs - i have watched so many of your vids that i have your voice in my head when i work lol. I bet you are super precise when you cut cheese :)
I would really love to watch you make this start to finish for a pro level bass for a great view. I think I get it but I’d love to see what you just described.
Thank-you very much! Your videos are excellent (from a mid-age metallurgist learning to play and better understand the instrument)! All the best to you :-)
Thank you so much for posting incredible videos Q Mr Russ standards size violin bridge is 41.5mm but my violin needs overlap bassbar and soudnpost to 44.mm how affected the sound or how you suggest to fix thank you
When I was an apprentice, I was taught that you only thin the face of the bridge to create the straight line of the top because the back, being at a 90° angle, creates the straight line at the top. Would tapering from the back not cause a convex curvature? Perhaps a ruler(straight edge) being placed against the back top edge could be used as a test?
Hello Edgar. In the Lemuel Violin Forum I have a topic about a String Length Setter . This is what I have "imagined "to keep the bridge standing at the correct angle to maintain a consistent intonation length for playing . It would be a physical object between bridge and fingerboard (between the A and D strings) with a dip to allow the bow hair room to play the strings . To be used when tuning to stop the bridge pulling forwards and to stop the bridge from bending . See what you think of the topic . Any luthier could make a setter to match a violin to maintain the correct string length . Thankyou for sharing all your knowledge with us .
Hi! i respect your prowess and appreciate the thought going into your work. Can i ask would you be willing to shed any light on tuning the bridge? I know it's subjective but could you elaborate on methods for achieving the most ideal tone transfer from each individual string? We all have trade secrets we just cannot lend and if this is the case i understand. Thank you!
Hello Edgar, After setting a bridge 90 degrees, do you use to give a very tiny push towards the tailpeice to counteract a string force pulling it to the head direction? Or you strictly leave it 90 degrees? Thanks for sharing your knowledge!
Can a bad cut of wood (entry level bridge) be altered to sound better or does the wood determine maximum playability and sound and if a better sound is needed, and better piece of wood is used?. 🤔
How about a custom straight edge to check the top of the bridge? Thankyou -- I am finishing a new fiddle in the next week or so, and will apply this information when I set it up. I did not think of planing the back side of the bridge -- I wasn't taught that. I do enjoy your videos, and thankyou! :)
Anyone any idea what effect an over-sized violin bridge would have? My bassbar is too far into the centre and the bridge sits almost over the outside of it.
I thought the back (tailpiece) side of the bridge should be left flat so that face would be perpendicular to the top, and only the front face should be planed to get rid of the "smiley face." Not true? Thanks!
Ciao. Complimenti per la serie di video, davvero molto utili. Ho una domanda un po di tempo, per fare queste modifiche è meglio la carta vetrata a grana fine o degli strumenti tipo sgorbia? Grazie in anticipo
Hello Edgar How do you explain that on an electric bass the string lengths have to be slightly different, the E string must be slightly longer than the A string and so on...and the individual saddles of the bridge must be adjusted that way, "staggered" as they say, in order to have the bass in tune at the octave, and that this is not in use or necessary on the double bass? Of course these two instruments are different but it seems to me that that should be a common point. Shoundn't the bridge on the d.bass be slightly angled in order to make the E string longer compared to the G string ? Thanks for your answer ,
On violin, viola, cello and Doublebass all fingerboards are fretless and therefore musicians are "used" to adjust this with the finger in slightly different positions between one and the other string. It is caused because of the different string diameter. The thicker the string the shorter is actually the vibrating part of the string between two points. I should actually write a book to answer precisely your question. Anyhow I do hope you get the reason and matter. Thank you for your interest all the best ER
Hello Mr distinguished violinmaker, thanks for aaaalI your videos on bridge/Soundpost topics I watched (as cellist forced to put the hands in lutherie because Cremona is too far you know) in order to design a larger bridge for a new stirring Romanian Goffriller model cello...but 54mm distance bettween the bassbar and the middle axis. Now may I risk a question please : should I have logicaly x2 +8 -2 = a so big one 114mm bridge ?! ...would like to show you my sketches...
More or less. It is slightly different since sting height is different . I think I made a Video which might be helpful as well: String Spacing. But I will soon make a video only regarding this upper bridge curve. Thanks for the input. all the best ER
Is it kind of that you have a fingerboard template and a bridge template that you know work well together? I have seen you use yours and they look a bit like you have cut them yourself out of sheet metal. Did you make them yourself or get them somewhere?
It's probably sacrilege to sand but I would sand the back square, I don't think this would take much effort it probably should be near square anyways and I also would use a cheap bridge for such experimentation. Then I would sand the front at a flat angle till the center were at the proper dimension, sand it on glass and check flatness on glass. Then sand the back's top half till the whole top is the same dimension measured with a caliper. I am curious if people do top with a graduated dimension at the top where it is thinner at E and thicker for the bigger/higher energy G string.
I have put some butcher's block wood conditioner on my bridge, this is the bridge I cut which is not back to front like my last one. I am waiting to test the results! ( I am not a Luthier)
If the bridge is 90 degrees to the top, the angle of the strings will not be the same on each side. If string to bridge angles are equal the bridge will not be 90 degrees. Please address the string length from nut to bridge as this too affects tone.
A romantic myth. The sound of the instruments would be unrecognizable to the Cremona makers - their instruments have all been 'modernised': longer neck at increased angle, larger bass bar, metal strings, modern bridge, and played with a modern Tourte bow - the sound therefore is completely different compared to the original set-up, lower pitch, and gut strings etc.
I love this guy. I am a self taught cellist and I work on my own Cello. My local luthier's response to any of my query is: mine is a 300$ cello, not worth their work. I rely a lot on Edger's videos and I've been able to modify my Cello a lot in my own workshop. Thank you Edgar, keep teaching us.
Hi Mr Edgar.I am a bass player and I love your videos, learning so much everyday. A have quite a different experience about the 4mm recommended for the top of the bridge on a bass. For my instrument, which is a 7/8 size (154mm bridge), a thicker top of the bridge made a huge difference in sound and stability. I had an excellent bridge, Despiau 3 trees, it was 4.5mm at the top, and unfortunately it warped within less than a year and a half despite myself always checking the right angle after tuning, and the sound was very much on the trebly side, too nasal sound, despite many attempts on moving the soundpost, changing the position of the bridge foot, etc. After the Despiau warped, I didn't have money and asked the luthier to fit any cheap chinese bridge available, but I wanted it to be thicker, 6mm to be precise. Oh my god, what a difference for my instrument, bass frequencies are much louder, clearer, and let's say more even, powerfull, and now no matter the soundpost position, it always sounds good just different. I also did another thing that might have helped, I aksed to change the string spacing at the bridge. Before it was 28.5mm, and now it is 26mm from each string center. Much better projection, focus and I don't have problems with wolf tones anymore. Before with the Despiau bridge I had terrible wolf tones on A and G# notes, both D and A strings. Have you had problems with Despiau bridges before?
A big selute to you Mr. Edgar.
I am an artist (painter/sculpturist). By watching various videos like this from various luither & reading many things I am able to do make violin. Till now I did 2 violins & also repaired 6 violins. And I commit you I will continue this process. Thanks a lot for these information.
Cutting a violin bridge and getting the optimum sount from that violin is a real art. It establishes what kind of voice the instrument will have.
Most people do not understand that these instruments are the epidemy of human potential in design. When they are combined with the compositions of the masters which are as well the epidemy of human creativity something transcendant is possible. It should be our goal as musicians to one day play a superb instrument and to play the magestic works of the masters.
Exactly!
Thanks Charlie
Thank you for sharing these bridge secrets. Most maestri won't be so generous in sharing their secrets. Your explanation is so easy to understand too.
You are welcome!
Thank you very much, very informative just finishing my first violin ( it’s very basic just a practice run) and it’s extremely generous of you to share this knowledge with us. Thanks again 👍👍👍
You are welcome!
I am glad to help others and it makes me happy!
Thank you
ER
Thank you so much for sharing your knowledge - i have a small workshop and do repairs - i have watched so many of your vids that i have your voice in my head when i work lol. I bet you are super precise when you cut cheese :)
Yes you are right! My family is joking always since I ask them how many millimetres they want the slices thick.
:)
Thank you so much!
ER
Thanks Edgar for putting your valuable time into these lessons. I always get a little more to add to what I already know.
Thanks Fred!
Wow, always impressed and learning little important details, awesome. Thanks
Great!
I would really love to watch you make this start to finish for a pro level bass for a great view. I think I get it but I’d love to see what you just described.
Thank-you very much! Your videos are excellent (from a mid-age metallurgist learning to play and better understand the instrument)! All the best to you :-)
Thank you so much for sharing your knowledge with us
Thank you so much for posting incredible videos Q
Mr Russ standards size violin bridge is 41.5mm but my violin needs overlap bassbar and soudnpost to 44.mm how affected the sound or how you suggest to fix thank you
Thank you for this, Edgar! Very informative.
Could you possibly make a video on cutting string slots on the bridge. How wide and deep can they be cut? Is there an ideal width and depth?
Thanks!
I am enjoying a lot my teacher from Edgar Russ Academy. =D
When I was an apprentice, I was taught that you only thin the face of the bridge to create the straight line of the top because the back, being at a 90° angle, creates the straight line at the top. Would tapering from the back not cause a convex curvature? Perhaps a ruler(straight edge) being placed against the back top edge could be used as a test?
Hello Edgar. In the Lemuel Violin Forum I have a topic about a String Length Setter . This is what I have "imagined "to keep the bridge standing at the correct angle to maintain a consistent intonation length for playing . It would be a physical object between bridge and fingerboard (between the A and D strings) with a dip to allow the bow hair room to play the strings . To be used when tuning to stop the bridge pulling forwards and to stop the bridge from bending . See what you think of the topic .
Any luthier could make a setter to match a violin to maintain the correct string length . Thankyou for sharing all your knowledge with us .
Hi! i respect your prowess and appreciate the thought going into your work. Can i ask would you be willing to shed any light on tuning the bridge? I know it's subjective but could you elaborate on methods for achieving the most ideal tone transfer from each individual string? We all have trade secrets we just cannot lend and if this is the case i understand. Thank you!
Hello Edgar,
After setting a bridge 90 degrees, do you use to give a very tiny push towards the tailpeice to counteract a string force pulling it to the head direction? Or you strictly leave it 90 degrees?
Thanks for sharing your knowledge!
Thank you and take your time...it is better to take our time and learn rather than rush and see
Excellent video! I have one question though. How to curve the bridge top if we don’t have a template?
Can a bad cut of wood (entry level bridge) be altered to sound better or does the wood determine maximum playability and sound and if a better sound is needed, and better piece of wood is used?. 🤔
Thank you so much Mr Edgar Nice video
Thank you
ER
How about a custom straight edge to check the top of the bridge?
Thankyou -- I am finishing a new fiddle in the next week or so, and will apply this information when I set it up. I did not think of planing the back side of the bridge -- I wasn't taught that.
I do enjoy your videos, and thankyou! :)
😉
ER
Anyone any idea what effect an over-sized violin bridge would have? My bassbar is too far into the centre and the bridge sits almost over the outside of it.
Very informative thank you brother
You are Welcome!
I thought the back (tailpiece) side of the bridge should be left flat so that face would be perpendicular to the top, and only the front face should be planed to get rid of the "smiley face." Not true? Thanks!
Ciao. Complimenti per la serie di video, davvero molto utili. Ho una domanda un po di tempo, per fare queste modifiche è meglio la carta vetrata a grana fine o degli strumenti tipo sgorbia?
Grazie in anticipo
Hello Edgar How do you explain that on an electric bass the string lengths have to be slightly different,
the E string must be slightly longer than the A string and so on...and the individual saddles of the bridge must be adjusted that way, "staggered" as they say,
in order to have the bass in tune at the octave, and that this is not in use or necessary on the double bass? Of course these two instruments are different but it seems to me that that should be a common point.
Shoundn't the bridge on the d.bass be slightly angled in order to make the E string longer compared to the G string ?
Thanks for your answer
,
On violin, viola, cello and Doublebass all fingerboards are fretless and therefore musicians are "used" to adjust this with the finger in slightly different positions between one and the other string. It is caused because of the different string diameter. The thicker the string the shorter is actually the vibrating part of the string between two points.
I should actually write a book to answer precisely your question. Anyhow I do hope you get the reason and matter.
Thank you for your interest
all the best
ER
Nice video Edgar !!!
Thanks Igor! :)
Thanks, Igor!
ER
Hello Mr distinguished violinmaker, thanks for aaaalI your videos on bridge/Soundpost topics I watched (as cellist forced to put the hands in lutherie because Cremona is too far you know) in order to design a larger bridge for a new stirring Romanian Goffriller model cello...but 54mm distance bettween the bassbar and the middle axis.
Now may I risk a question please : should I have logicaly x2 +8 -2 = a so big one 114mm bridge ?!
...would like to show you my sketches...
Oh sure, not easy to follow 4000 ones
I think you got it perfect!
TOP! 👍🏼
ER
@@nicolaslemaire4859 Yeah, Sorry for my late reply!
THANK YOU FOR THE VIDEO, GREAT JOB ! I HAVE A QUESTION: THE TOP OF THE BRIDGE MUST FOLLOW THE CURVE OF THE FINGERBOARD ?
More or less. It is slightly different since sting height is different .
I think I made a Video which might be helpful as well: String Spacing.
But I will soon make a video only regarding this upper bridge curve.
Thanks for the input.
all the best
ER
THENK YOU !@@EdgarRuss
Is it kind of that you have a fingerboard template and a bridge template that you know work well together? I have seen you use yours and they look a bit like you have cut them yourself out of sheet metal. Did you make them yourself or get them somewhere?
It's probably sacrilege to sand but I would sand the back square, I don't think this would take much effort it probably should be near square anyways and I also would use a cheap bridge for such experimentation. Then I would sand the front at a flat angle till the center were at the proper dimension, sand it on glass and check flatness on glass. Then sand the back's top half till the whole top is the same dimension measured with a caliper. I am curious if people do top with a graduated dimension at the top where it is thinner at E and thicker for the bigger/higher energy G string.
I believe what you say is true. Maple is wonderful. I go to have Pizza now...
I have put some butcher's block wood conditioner on my bridge, this is the bridge I cut which is not back to front like my last one.
I am waiting to test the results! ( I am not a Luthier)
Again: Thank you so much!!!
😊
If the bridge is 90 degrees to the top, the angle of the strings will not be the same on each side. If string to bridge angles are equal the bridge will not be 90 degrees. Please address the string length from nut to bridge as this too affects tone.
A romantic myth. The sound of the instruments would be unrecognizable to the Cremona makers - their instruments have all been 'modernised': longer neck at increased angle, larger bass bar, metal strings, modern bridge, and played with a modern Tourte bow - the sound therefore is completely different compared to the original set-up, lower pitch, and gut strings etc.