Banjo Bridges by Bart

Frequently Asked Questions

Questions & Answers - All Bridges by Bart

Q: Will your bridges sound different then the bridge I'm using now?
A: Yes. All bridges sound different and so will these. Keep in mind, the beauty of tone and sound is extremely subjective, what I like you might think really sucks or vice versa.
Q: How's the sound compare with or without the ebony top?
A: Depends on the wood. Some I prefer plain, others I prefer with the ebony top. For some woods the ebony top is needed to keep the strings from slicing up the bridge.
Q: How come your bridges look so thin compared with most others?
A: I use woods denser than maple so I don't need to make them look like a two by four. A thinner bridges will transmit the string vibrations more freely to the tone ring and the skinnier legs make for a smaller foot print on the banjo's head so there's a much less of an opportunity for my bridges to mute/deaden string vibrations. Also, because the top also is thinner, there's much less of a chance for strings to buzz.
Q: Tried any different woods?
A: Yup, all kinds of them. Keep in mind, all of my bridges are totally custom so I can do them up out of any wood you want. I recently did a solid ebony one that sounded quite beatiful actually. Hard to describe, but it took on some of the properties of a muted-bridge without sacrificing too much on the high notes. Another one I made this weekend (Jan. 2001) was out of some weird wood, totally blew my mind so far I haven't heard anything sound this loud and this good.
Q: Do you use old wood that's been "seasoned" by having music flow through it in previous incarnations, like some that are made from old fiddle parts or pianos or something?
A: No, I don't. What if whomever played it got bad notes stuck in it by screwing up Cripple Creek time after time, or playing it out of tune all the time... I'm pretty sceptical about that sorta thing actually, but hey, it might not be impossible...
Q: Does the sound my bridge gives me improve with age?
A: See above... More like it that after a few years of banjoing you're playing got a lot better and you can put more feel into getting your own sound. If Earl picks up my banjo and plays it, he'll sound like Earl and as much as I would like to, I simply never will.
Q: How long do bridges last?
A: If you move them around a lot the wood at the string slots might chip and your string start buzzing. Could be they might crack, or sag in the middle after a while because let's face it, there's a huge amount of pressure on them (especially with the tail piece cranked down low) so you should really consider them a consumable item like strings and carrying a spare sure couldn't hurt. Normally speaking though they should last you many years.
Q: I've been told taller bridges are louder and have a better tone, that true?
A: Yes and No. If you're talking about weirdly short bridges, less than 1/2 inch, this can easily be true. For bridges in the normal range, 1/2 inch to 11/16 inch, no, there is no difference in volume when going taller. When you increase the height of the bridge the angle of the strings where they make contact gets steeper which results in more string pressure on the bridge. Three variables at play here: bridge height, tail piece pressure and head tension. The ideal overal pressure/tension gets you the maximum sound. If the increased bridge height made your banjo sound louder it means that your banjo was not tweaked to the max in the first place, simple as that.
Q: How long does it take you to make one of your bridges?
A: Usually about two to three days.
Q: After I put one of your bridges on my banjo and it turns out I really hate it, how long will they last in my fireplace?
A: Depending on the efficiency of your fireplace, the rate of caloric accelleration, the oxygen levels at your geographical location and elevation, and if you remembered to first detach the banjo, approximately 7.3 seconds.
Q: If I bring, or ship you, my banjo, could you measure the sweet spots for me?
A: Of course. It would actually be better because then I can "sweeten" it more accurately without needing to round off the millimeters. Depending where you are, shipping a banjo back and forth could be quite expensive and could easily cost a lot more than what I charge for a bridge. You can drop me an email to make an appointment to come see me with your banjo. I live in Hamilton, Ontario - about half way between Toronto, ON and Buffalo, NY, only about one hour in either direction. Can I do it while you wait? No guarantees but I might be able to. If you really do want to ship me your banjo, you need to email me before hand because there's not always somebody here to receive it.
Q: I've heard some bridges mute the sound and the whole thing sounds muffled
A: Usually the result of improper slotting. In rare cases one kind of bridge just doesn't get along with some banjo and I have no idea why that is. No prob though, just send it back.
Q: My banjo is a no-frill inexpensive jobbie, what's my chances of me getting a better sound?
A: A budget banjo will typically give you a budget sound. Sometimes they're finnicky and don't like to be tinkered with. Most of them however, love my bridges and reward you by kicking up the volume a notch or two besides sounding a lot sparkier.
Q: Do you promise, or claim, that your bridges will be louder than the one I got?
A: I don't know what you got now, could be you have a killer bridge already. Maybe too much truth in advertising but no I can't, and I won't, promise you that. Mind you, I gave being surprised at louder volumes a long time ago...
Q: What's your own personal favourite wood combo?
A: I'm kinda partial to the mystery stuff although the enigma is really cool too. Then of course, there's the teak jobbies and the two-leggers really kick butt. Sigh, so many choices and my taste does change from time to time...
Q: So what about the "standard" ebony topped hard maple?
A: Yawn, so unspectacular... The woods I use manage to liberate so much more sound from any banjo than the "tried and true" maple ones that I'd feel guilty about offering them. Of course, maple is available should you really insist. After all, I do custom work, so why not. All in all though, there's a lot more sound to be enjoyed by choosing anyone of the other woods I so much prefer working with so why settle for less. Consider this: from time to time I invite people to test drive some prototype bridges for me - they get to keep one or two they really like and send back the rest of them. Without fail they always return the maple jobbies...
Q: How's about them drowned logs they fish up form the bottom of Lake Superior?
A: Pretty cool stuff for sure but to me there's not that much difference between it and the regular hard maple. Sure's a lot more expensive though...
Q: What about topping it with something else instead of ebony?
A: By default I use ebony and African Blackwood but there's a couple of others, yes you guessed it, mystery wood that sound fabulous.
Q: Your oil, or whatever, finish, that change the sound at all?
A: To be sure, we're not talking multiple layers of sprayed laquer, or whatever, to build up a nice piano-like finish so you basically end up with a hunk of plastic - we're talking one, and one only, coat of oil finish on my bridges. With the right finish, properly applied, most of it evaporates leaving less than five milligrams of finish. A bridge can go up and down in weight by more than that with changes in humidity levels or in grain structure differences from one bridge to another even from the same slab of wood. In other words, it makes no difference sound or tone wise whatsoever. The oil finish sure makes them look nice, real nice, so there's no need to settle for the unfinished furniture looks. In fact, the finish will prevent them from starting to look grimy after all the picking over the years. By the way, you don't need to re-oil it every so often. Of course, if you really don't want an oil finish all you have to do is tell me and I won't put it on.
Q: I have this really neat hunk of wood stashed in the basement, came off a pirates leg I inherited actually, could I mail you that and you use that wood to make me a bridge?
A: Arrgh matey, why not. Just be sure to let me know you're sending it before hand and please make sure there's no termites in it.
Q: I used my computer to design the ultimate bridge - if I send you the blueprint, can you make me one exactly like that?
A: Keeping in mind I'm not a millwright, sure, I'll make it totally to your specifications.
Q: Your two-footed bridges, won't they sag in the middle after a while?
A: They probably will after a while but usually won't show any sign of that for at least six months to one year, some people have used them for a lot longer than that without any noticeable sag. Besides, considering bridges are a consumable item and they're reasonably priced that shouldn't really spoil your fun. Yup, they sure sound great because there are only two spots on the head, instead of three, where the soundwaves get interfered with.

Questions & Answers - Custom Compensated Bridges by Bart

Q: Do you have regular compensated bridges too or only custom compensated ones?
A: Sorry, no such thing as 'regular' when it comes to compensation. Intonation problems are never the same for all banjos, they are unique for each and every one of them AND the way they're setup AND the way people play them. If you want to correct intonation problems do it right - measure the compensation levels required for each one of the strings and have me build the bridge accordingly. No point settling for guesses or averages when perfection is doable and available right here.
Q: Do your custom compensated bridges work when I use my capo?
A: Yup, they sure do
Q: My banjo has a compensated nut, what will your compensated bridges do to that?
A: Nothing. They'll simply do the job as required.
Q: What if I change to strings of a different gauge, will that make a difference for the intonation?
A: Sometimes yes, sometimes no. The best thing to do is try the various strings around and settle for the ones you like. If later down the road you do decide to chance then it may indeed be necessary to remeasure the amount of compensation required if you run into intonation problems.
Q: Will they, them custom compensated jobbies, improve my sound?
A: They'll improve your intonation. If you are happy with the sound of my straight bridges you'll be just as pleased with my compensated ones as they're made to the same specs as the straight ones.
Q: What will your bridges do to alternate tunings, like an open D or mountain minor, when the string tension is totally different from the regular G tuning?
A: Like most clawhammer players, I've experimented with tons of tunings and found no difference in the way these bridges behave, they just do their job of compensating regardless of the tuning.
Q: How come you don't simply notch the third string slot for compensation?
A: Design philosophy. First of all, the bridges I make are not thick enough to do that. The top of my bridges is simply too thin so there's not enough wood to even consider it. Second of all, why notch the third string as most intonation problems are present only on the second string? Besides, how would you know how deep you need to notch it for YOUR banjo? Like I said, no point settling for guesses or averages when perfection is doable and available right here.

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