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I'm getting ready to make the bridge for the guitar that I've been working
on.I was thinking of using rosewood on this one.Would some of you share
your thoughts about rosewood compared to ebony?Which do you prefer?

Thanks, Steve H.

Steve, seems to me, there was a recent thread on just that subject.

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Waddy

Photobucket Build Album Library

Sound Clips of most of my guitars

I might be wrong, the one I was thinking about was the one on bridgeplate material.   There is one on ebony bridges that has some discussion, and there may be others.  When you search for bridge materials in the archives you get a bunch of hits.

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Waddy

Photobucket Build Album Library

Sound Clips of most of my guitars

Old discussions will get you far, but I think most folks here will be proponents of some type of rosewood, preferably brazilian, madagascan, etc. because it's lighter, less damping, lets the highs shimmer through a bit better, and is generally more resonant (higher velocity of sound) than ebony, which is just about the dullest thunking wood I have in my stash. It has its place (Mario's described it as a good wood for small guitars, because it can give the impression of a little more bass by virtue of taming the highs slightly, as well as purely the mass effect), but looking at my bridge materials, 90% of is rosewood of some sort.

How would African Blackwood work?

[QUOTE=bob J] How would African Blackwood work?[/QUOTE]

Here's a pretty simple test...Just tap it or drop it on a hard surface and determine whether it "rings or thuds". I try to avoid anything in a guitar that thuds and only use materials that ring.

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JJ
Napa, CA
http://www.DonohueGuitars.com

Thanks you guys

I have used EIR and padauk for bridges (classical). For a steel-string I built, I used pau ferro (Bolvian rosewood). Pau ferro is an excellent tone wood. It's hard, non-porous, has about the same density as EIR (maybe a bit more) and often has attractive grain patterns. I'll use it again as bridge material.

Best,

Michael

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Live to Play, Play to Live