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  1. #76

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    Yes, an old thread. But got my interest.

    I have a 1951/1952 L-5C. It has a rosewood bridge. Attempting to determine what bridge was original to this model year, I have access to two old b/w 1950 and 1955 Gibson catalogs. The 1950 catalog shows an L-5C with a rosewood bridge. The 1955 catalog does not have a L-5C but does have a L-5 CES that uses a metal TOM bridge.

    Reading the post above there seems to be some sentiment that says the ebony base bridge could be better sounding. It is not stated but I suspect if the base is ebony, the bridge would be ebony also. I’ve never seen an ebony base with a rosewood bridge.

    At the risk of not being original, if I were to pursue an ebony bridge, where can these items be purchased? I know I will not consider a metal bridge.

    Thanks!

    Below is my current bridge.

    Tom

    I need to learn about Archtop Bridges-59cb7b6c-6eb6-4899-97b7-2b5157f0c2f4-jpg

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  3. #77

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    What's going on underneath that bridge? It appears that there is something sticking out from underneath the bass end. It might be just photo artifacts, but it's hard to tell. If the base isn't making perfect contact with the top, that will affect the sound. Sanding the base to match the top might help.

  4. #78

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    I was wondering how long that observation would take!

    When the guitar arrived here, the bridge was in the case and there was this purple tape on the top, with a rectangular opening in it that was the profile of the base of the bridge. I missed getting every bit of tape off the top. I just noticed it in the photo myself. The tape was not very sticky. Will take care of that soon!

    The strings were in place, and attached to the tail piece, but of course loose. I’ve read about that being the practice by some, but not all, when shipping guitars.

    Tom

  5. #79

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    I can't help you one way or another determining if it's original. But I haven't seen bridge slots cut so low before. My strings are on top of the bridge not in it.

  6. #80

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    Allan,

    I noticed that situation when I first received the guitar. I scratched my head for a few days but then forgot about it. But then I read in #5 above, that sandpaper was wrapped around a guitar pick and then the edge of wrapped pick is used to widen, but not really deepen, the string slot.

    Looks like my slots are a bit deep but maybe not quite wide enough.

    In another experience above, a rosewood saddle was replaced with an ebony saddle, but not the base, providing better sound. Lots of different approaches to things!

    Tom

  7. #81

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    Can you tell if the wheels are gold plated? they should be on an L5.

    As others have said, first make sure that the bridge is mating up properly and see how it sounds.

    Then I would look for a custom bridge if you are not happy. Proper depth slots might make more of a difference than if it's rosewood or ebony. Personally I wouldn't make the change on the basis of the wood alone, especially if it turns out to be original. Which BTW would have gold plated brass posts IIRC. Not all replacement bridges use brass.

  8. #82

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    Bill,

    This is a poor photo. I cannot tell you if the wheels are gold plated or brass or….. There does appear to be a threaded insert the post hole.

    There is a small start of a notch on each side of the G string. Not sure what that’s all about.

    Tom

    I need to learn about Archtop Bridges-0a633f77-3d3e-40e3-8623-86843570b2fa-jpg

  9. #83

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    From the original photo, the wheels were gold plated, but much of the plating has worn off. That's not a new bridge. It's also not an L5 bridge. But it could work well enough. If there is tape under the base, it probably needs proper fitting. Having deep slots is not a serious problem, IMO, as long as the slots are wide enough for the strings. It's not uncommon to have the outer slots cut deeper than the ones near the center, to match the radius of the fretboard, which the saddle seldom does. Those are all deeper than necessary, but to me it's not a big deal as long as the string radius matches the fretboard radius. If it doesn't match, the action of some strings will be higher/lower than others.

  10. #84

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    i have an ebony bridge on a laminated
    archtop

    I need to learn about Archtop Bridges-f55d0364-3d69-44e0-8514-aba351d8e09e-jpgI need to learn about Archtop Bridges-0e3cf262-136a-4b0e-ae13-92860f0f3577-jpg

    it is a full length single foot design
    but as you can see , it is not making contact with the top in the middle of the
    arc of the bridge base ….

    I already love the sound of this guitar
    (thanks again Rob !)

    should I/would you do the work to conform the bridge base to the top of the guitar
    (i know how to do this with sandpaper and
    tape)

    or should i just leave well alone ?

  11. #85

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    Quote Originally Posted by pingu
    ...should I/would you do the work to conform the bridge base to the top of the guitar...
    Yes. You mentioned that you know how to do it so, go for it! Dead easy!

  12. #86

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    My .02cents.....Luthiers will disagree, but

    If you love the sound already, I wouldn't touch it.! (if it ain't broke...)

    FWIW, I've been trying different bridges for the last months and If there's one thing that's pretty certain it's this ....there's no way to tell if this will change the sound in a manner that you will enjoy...It might, then again it might not....

    In your shoes, I would keep this one the way it is and get another and fit that other one to the top , that way If I don't like it I could go back....

    Sol

  13. #87

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    Quote Originally Posted by SOLR
    My .02cents.....Luthiers will disagree, but

    If you love the sound already, I wouldn't touch it.! (if it ain't broke...)

    FWIW, I've been trying different bridges for the last months and If there's one thing that's pretty certain it's this ....there's no way to tell if this will change the sound in a manner that you will enjoy...It might, then again it might not....

    In your shoes, I would keep this one the way it is and get another and fit that other one to the top , that way If I don't like it I could go back....

    Sol
    Oh yeah , that's good , I like that .....

    Many thanks both

  14. #88

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    If you were trying to reduce the exposed thumbwheel threads, are taller saddles, ebony or rosewood readily available ? Is this the easiest fix ?

    I guess I can live with 1/8 - 3/8 inch or so exposed, but ? Are guitar bridge builders just making these generics too thin and implying : " Hey just crank the thumbwheels up, if you need some height " ?.... Then you've got 1/2 inch threads showing and eventually the saddle starts to lean towards the nut...

    Sorry if that sounds like a pet peeve, so yes I'll admit it is.... : )

    Interesting thread......and Thx

  15. #89

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    "I already love the sound of this guitar." That sure sounds like a reason just to leave it alone.

  16. #90

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    Quote Originally Posted by Cunamara;[URL="tel:1256857"
    1256857[/URL]]"I already love the sound of this guitar." That sure sounds like a reason just to leave it alone.
    yes …. I will leave it be , thanks

  17. #91

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    There are some luthiers who leave an arch in the center of the base, making no contact there, and think it helps the sound. Is that true? I don't know. I've seen it work both ways, depending on the guitar. The only sure thing is that once you sand the base to conform to the top, there's really no going back if you don't like the sound, other than getting a new base.

  18. #92

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    Years ago my dad gave me a collection of what he called “Swiss pattern files”. There are (3) round ones in the mix, each a different diameter, that will work better than sandpaper on a pick, when working with the string notches on the bridge. I used some of them when (1972) making a large model plane, where a lot white styrene (plastic) and MEK was used to build-up assorted detailed pieces of the cockpit area and engine. The only things I bought were the (3) rubber tires. I made the molds to vac form the canopy, drop tanks and under wing pylon racks. It is 1/12th size (1”=12”), 37” wingspan, but does not fly. I’m currently restoring it because it fell off the refrigerator in the garage, where I stored it, and it suffered a lot of damage.

    In #83 above, it is noted that my bridge is not an L-5 bridge. So how can you tell by looking @ a bridge if it is correct? Is it the shape, overall length and width of the base, height, shape of the upper piece, etc.? And if you were to track down an authentic L-5 rosewood bridge, where would I go to start looking? Some luthier’s parts bin?

    The concept of the radius of the end of the finger/fretboard and the radius of the top of the bridge “matching”, makes sense. I’m guessing a cardboard template, matching the shape of the fretboard, would need to be made and then “eyeballed” under the profile of the underside of the strings, as they approach the bridge.

    Anyway, something for a retired guy to mess with.

    Tom

    I need to learn about Archtop Bridges-ac6c6276-01aa-4a58-a62e-7972bb6eb0b5-jpg

    I need to learn about Archtop Bridges-1bc76a2b-9212-4569-944d-d858d95b9d24-jpg

  19. #93

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    Quote Originally Posted by TAA
    Years ago my dad gave me a collection of what he called “Swiss pattern files”. There are (3) round ones in the mix, each a different diameter, that will work better than sandpaper on a pick, when working with the string notches on the bridge. I used some of them when (1972) making a large model plane, where a lot white styrene (plastic) and MEK was used to build-up assorted detailed pieces of the cockpit area and engine. The only things I bought were the (3) rubber tires. I made the molds to vac form the canopy, drop tanks and under wing pylon racks. It is 1/12th size (1”=12”), 37” wingspan, but does not fly. I’m currently restoring it because it fell off the refrigerator in the garage, where I stored it, and it suffered a lot of damage.

    In #83 above, it is noted that my bridge is not an L-5 bridge. So how can you tell by looking @ a bridge if it is correct? Is it the shape, overall length and width of the base, height, shape of the upper piece, etc.? And if you were to track down an authentic L-5 rosewood bridge, where would I go to start looking? Some luthier’s parts bin?

    The concept of the radius of the end of the finger/fretboard and the radius of the top of the bridge “matching”, makes sense. I’m guessing a cardboard template, matching the shape of the fretboard, would need to be made and then “eyeballed” under the profile of the underside of the strings, as they approach the bridge.

    Anyway, something for a retired guy to mess with.

    Tom

    I need to learn about Archtop Bridges-ac6c6276-01aa-4a58-a62e-7972bb6eb0b5-jpg

    I need to learn about Archtop Bridges-1bc76a2b-9212-4569-944d-d858d95b9d24-jpg
    That's an L-5 bridge in post 82. It's also an L-7, Super 400 bridge as well as other models from that era.
    I referenced what type of bridges Gibson used and when in post 18. The extra notches on either side of the bridge were caused by accidentally not having the string in the correct slot resulting in what appears to be another notch, a common occurrence when changing strings. The notches under the saddle for the thumb wheels were likely added later to lower the bridge height for easier playing due to the neck angle pulling up over the years.

  20. #94

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    For making bridge saddle slots, I use nut files. If you don't have them, the files you have will work. For finding the radius, I use a set of radius gauges from StewMac. Prior to getting those, I just set the bridge height so that the D and G strings just stopped buzzing when plucked, then cut the other slots to get that same height. Most saddles are too flat, so the slots need to be progressively deeper as you approach the edges, the E and e strings usually needing to be deeper. With a radius gauge you can set the slot depths to whatever radius you want, using the proper gauge. You can measure the radius of the fretboard, and then use that gauge for the saddle. One way to measure is to insert the gauge under the strings, hold it against them, and pluck the strings one at a time to listen for the buzz of the gauge against the string. When all buzz evenly, you're about right. If the center strings buzz but the outer ones don't, the radius is too flat. If the outer strings buzz but the inner ones don't, there is too much radius. Without a gauge, you just have to do it by ear. I've tried using home-made gauges but none were successful for me.

    The L5 bridges I've seen have inlays on the base, but I'm far from an expert on all the variations.

  21. #95

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    The only L-5 bridges w pearl inlaid in the base are post 60s models made of ebony, the same bridges Gibson began using on the Johnny Smith model in the early 60s.
    One doesn't need to be an expert, but best to check facts like these before posting so as not to steer someone wrong.

  22. #96

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    Looking at some really old photos, my 1961 L-5CESTSV had the ebony base with the two pearly inserts and a wooden bridge. My factory ordered 1967 L-5C, with a single JS pickup, had the ebony base, again with the two pearly inserts and a metal TOM bridge.

    Thank you wintermoon, sgsonell, bluuejaybill and AllanAllen for all of the helpful coaching!

    I do love history.

    Tom

  23. #97

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    I wouldn't be surprised to see an ebony bridge on a 60s L-5 as they were making them for Johnny Smith's by then, most were still rosewood, it's also very unusual to see a tune o matic on an L-5C

  24. #98

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    Good catch! I checked some old notes. I bought the guitar in June 1967. In Dec. 1967 I bought the TOM. I wonder what I did with the rosewood saddle…only 56-years ago!

    Tom

  25. #99

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    Have to admit, I do not know what “finish” is on my 1952 L-5C?

    My guess is nitro, nitrocellulose.

    Thanks!

  26. #100

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    Curious, how bad are those walmart (Ch. knock offs) archtop bridges ?

    Anyone tried them ?

    S

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