Alan, you might try tweezing some of the other setup choices before giving up on the capped bridge. First make sure the new saddles are seated all the way down into the bottom of the bridge slots. Some of 'em need a bit sanded off the sides to fit snugly but all the way down. Check the level of the spider and the interior of the soundwell, a lot of Crafter's I've seen have some glue and goo around the seat for the cone that needs to be shaved out. Sanding any rough edges off the soundwell and holes can't hurt. Check the bottom ends of the spider feet, if they look pitted like the rest of the spider, carefully sand them off on a flat surface until they're shiny smooth, and level the legs so all are touching on the same flat surface. All of this stuff has really helped the Crafter's guitars I've worked on. They are fine guitars construction-wise, just not always set up as well as possible. Also, if the slots on the bridge are too deep or wide, you'll loose volume and tone.

Anyway, Alan -- this might be relevant. I've tried a number of banjo bridges over the years, and each of them have been different thickneses, especially at the top edge. The difference in tone is often striking. While the ones with a thinner top edge are often sharper and more cutting, the ones with a slightly thicker top edge (such as the Snuffy Smith or Sosebee) are warmer and rounder, which I prefer.

I replaced the factory (maple, I believe) bridge on my Tut Taylor Tennessean with one of those Maple-Ebony ones that has a strip of ebony on the top with pre-cut string slots.

After playing my guitar off and on for a day, here’s what I think: with the Ebony bridge, the guitar is louder, has more highs, the string separation is better, but the tone is definitely thinner. It lacks the richness of overtones it had with the old bridge. It sounds more like a Regal now, to me–a stronger, more pronounced fundamental tone but lacking in harmonic richness.

I am using the same strings, and I’ve had a small bit of experience in setting up resophonics, so I’ve been tweaking and nudging, looking for the best combination of all factors: the strings run straight from tailpiece to nut; there’s a good angle of downward string pressure on the bridge; the
bridge slots aren’t pinching the strings; I’ve tweaked the bridge screw. But I just can’t seem to find that harmonic richness that the guitar used to have.

The new bridge is just a wee bit higher than the old bridge. I wonder if that could be a factor in the sound?

I’m wanting to put the old bridge back on, but think I’ll wait another 24 hours, at least, so I can try it out with my pseudo-Old Timey band, the Lemon Pickers, on Sunday night. For sitting around playing solo, though, I really miss that harmonic richness, but maybe the guitar will fit in better with the sound of a band.

Comments? Ideas?

I should add that the Ebony bridge does add definition to the lower (in pitch) strings of the guitar–because the low lows are gone. Also, pick noise (bad technique) is more evident.

[This message was edited by Alan Kirk on 07 March 2004 at 05:33 PM.]

I spent the afternoon messing with my guitar, checking the soundwell seat, sanding the spider to make it perfectly flat, and sanding the front and back of the bridge inserts to make sure they were going all the way down into the bridge slots. Then I put it back together. No noticable difference. (The Ebony bridge, Peter, does have a sharper edge than the factory one.)

So I put the factory inserts back in. I just prefer that sound to the ebony sound.

Maybe I'll try that Emerson one you guys recommended. Or maybe I'll just experiment with some different sets of strings, instead. :) I get tired of taking this thing apart and putting it back together. I'd rather be playing it.

You are not the only one who isn't thrilled with the sound of ebony-capped maple bridges. I'm not crazy about them on my 1990 60DS. Many top players don't use them. It's a matter of personal preference, and of course, different for each guitar. The bright sound of the ebony caps will help you cut through the mid-range mud in a jam session, if that's a common situation in which you play.