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I was wondering (which is dangerous) is there a set reltionship that is optimum between the fingerboard thickness with frets installed and the bridge ?

At the moment what I do is set the angle and calculate the bridge thickness to give about an 1/8" of Saddle at a medium setup.

but is there an optimum in the relationship between the two ?


Any thoughts very much appreciatted.

I believe most do somthing like Ido and set the neck angle to be .08"-.10" proud of bridge height.

Actualy what I do is set the neck angle then level the fretboard to .04"-.06" proud of the bridge with out frets, fret and level frets to .10" proud of bridge. I use .3125" tall bridge (that is after contouring the bridge bottom to match top radius)

That does not answer you question about thickness relationship. But imo the important relationship is more about the fretboard/ bridge plane than the thicknesses.

   I agree with Michael in that the more important cionsideration is the relationship of the approach plane of the fingerboard to the top of the bridge itself. You may find that some builders use a different height or thickness bridge for different top materials and bridge plate materials or combinations of the two. Be sure that the approach of the fingerboard adjusted perfectly straight gives you enough clearance over the bridge for good saddle height while the neck is adjusted for proper relief under string tension and you'll have a smooth set up when all is said and done.

Regards,
Kevin Gallagher/Omega Guitars

Kevin Gallagher38587.1994328704

High Kevin,

I just marked my callander One of the best agreed with me Looking at the other post on the same subject I figured, at my current production rate I have to build for 150 more years to reach 500 built Whooo Don't think I can do it

But seriously good to have you with us.

Of course you can do it Michael

Many thanks to both of you for your help.

Just my two cents. I think how thick you make your bridges s/b a function of the type of wood the bridge is made from. I believe most of us ( maybe ) try to use the stiffest wood that is also the lightest yet strong enough to handle all the stress. Sometimes we use different bridge woods for asthetic reasons, other times at a customers request, and still other times because we think it will sound better. Just like Bracing I can't see how you would make every brace the same, everytime, unless you were using the very same tone woods and tops and even then they would have differing qualities that would require them to be "tweaked".
So while I cut my bridges to a "standard"/ starting point I thin them to individual needs at hand. We also must consider how much of the saddle is in the bridge
(50/50 rule works for me...so does 60/40...that's 60 percent in .)Then we must consider the break angle of the strings over the saddle. too little break angle you lose tone and power( that's what Master Repair Man Dan Erlewine said...I believe him!).

I also slot my bridges after gluing them on because I don't know the optimal position of the saddle for intonation( I use the Buzz Feiten System on all my guitars)until I string it up and set the intonation ( I used to use a false saddle...now use the S.M. intonation jig). Then I mark it off and slot the angle and width. Both of which change on every guitar! Although I have gone to using thick saddles to avoid adding "shelves".

So I guess my neck angle is 1 - 1.5 degrees. But so what because my fretboards are also differing in thickness too. Which changes things.

_________________
Dave Bland

remember...

"If it doesn't play in tune...it's just pretty wood"

Thanks Dave