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Jose L. Romanillos, Antonio de Torres, 1995
Many people don't know how much work is involved in constructing a guitar bridge, I know for most classical guitarists it is simply an anchor point for the guitar's strings.
I arch the bottom of the bridge to match the guitar sound board's doming, cut a channel for the saddle to sit in and I make a tie block for the strings.
The tie block gets covered with a piece of mother of pearl, this protects the tie block from string wear and gives the guitar a bit of bling.
Since I am making a fairly close copy of a Hernandez y Aguado bridge, the tie block is sloped towards the saddle slot, this was original done to increase the breaking angle of the strings over the bridge. This helps increase the overtones in the guitar. Compare that with a modern flamenco guitar bridge and you will see the string "breaking angle" is very, very shallow, the string goes almost straight from the tie block to the saddle.
I souped up the blade on my grandfather's Stanley No.192 rabbet plane and it works wonders in cutting out a rabbet for the tie block overlay.
It would be nice to close up the mouth of this plane just a little, but if I do my job of properly sharpening this Sweetheart Era blade it performs with perfect aplomb.
The Rocklite Ebano bridge with its new MOP tie block overlay. I put a bit of hide glue on the tie block, dry it with a heat gun, clamp the MOP onto it and then run some CA glue along the edges.
Tomorrow is the day from drilling the string holes in both bridges, then the final shaping and carefully stowing away the bridges so they will not become damaged.
Please bear with me as I find a new template for my blog, I want the blog to be easy read and search.
Here's a video of a brilliant young guitarist from Australia, Stephanie Jones!