Different bridges is the most fun and meaningful change you can do to this kind of guitar, but it doesn't sound like that would quite solve whatever is going on with your guitar.
When I read your initial post, it reminded me of two things. One is, what you described sounded exactly like the Dupont Bill (@billyshakes) bought recently. Played like a dream, but the sound was on the thin side and somewhat flat, even though it projected well. Then during the last band practice, after he's been playing it for a few months, I noticed how much more woof and breath I could hear in every note, especially in the higher register. Nothing thin and flat about the sound any more.
And along the lines @pdg said, one time I had a chance to play one of the original Selmers, to me when I played it, it wasn't a particularly loud guitar, but then as the guitar changed hands in this jam, it was the best projecting guitar in the room by a good margin.
Every note wants to go somewhere-Kurt Rosenwinkel
Jangle_JamieScottish HighlandsNewDe Rijk, some Gitanes and quite a few others
Posts: 256
Really good to read this Buco.
I messaged Dupont just to ask about putting 11s on, as a luthier told me he was wary of a higher tension string with such a lightly braced guitar (he had just been working on a Busato Royale). The reply from Dupont this morning actually recommends 11s, so that's reassuring.
I will play the guitar as much as possible and really get it working.
Just a thought, but Dupont seems to know their craft, so I'd probably start with their bridge. Otherwise, you might end up compensating for the characteristics of a different bridge with a different setup.
@Jangle_Jamie FYI, "ebony" bridges for Gypsy guitars, including Dupont, are just tinted rosewood. Actually ebony is rarely used as it's too dense, resulting in an overly bright, thin tone. Maccacferri tried using ebony on the early prototypes but it was abandoned in favor of tinted rosewood.
I think Craig Bumgarner was using ebano for bridges and fretboards but stopped. Can't remember if it was hard to source or if it had to do with the dust it produced. He had good things to say about it though. **I know ebano is not the same as ebony, just raising the point on a different wood being used.
Jangle_JamieScottish HighlandsNewDe Rijk, some Gitanes and quite a few others
Posts: 256
I made a bridge this arvo from Pale Moon Ebony. I'm also going to try one from pine, but add a bone or ebony strip for the strings to sit on. This morning I went for a walk in the hills and found a nice stag antler - could it make a good bridge I wonder?!! I may try cutting it on the bandsaw.
I've attached a photo of an ebony bridge I made for my Gallato, plus some photos of the Dupont.
As for the Dupont, the original bridge will go back on, but with a couple of shims for raised action.
Beautiful guitar. Nice job on the bridge! Bill mentioned Craig Bumgarner. Craig describes bridges on his recent builds as "Sanduri bridge w/ ebony cap". Looks like this
Comments
Different bridges is the most fun and meaningful change you can do to this kind of guitar, but it doesn't sound like that would quite solve whatever is going on with your guitar.
When I read your initial post, it reminded me of two things. One is, what you described sounded exactly like the Dupont Bill (@billyshakes) bought recently. Played like a dream, but the sound was on the thin side and somewhat flat, even though it projected well. Then during the last band practice, after he's been playing it for a few months, I noticed how much more woof and breath I could hear in every note, especially in the higher register. Nothing thin and flat about the sound any more.
And along the lines @pdg said, one time I had a chance to play one of the original Selmers, to me when I played it, it wasn't a particularly loud guitar, but then as the guitar changed hands in this jam, it was the best projecting guitar in the room by a good margin.
Really good to read this Buco.
I messaged Dupont just to ask about putting 11s on, as a luthier told me he was wary of a higher tension string with such a lightly braced guitar (he had just been working on a Busato Royale). The reply from Dupont this morning actually recommends 11s, so that's reassuring.
I will play the guitar as much as possible and really get it working.
Just a thought, but Dupont seems to know their craft, so I'd probably start with their bridge. Otherwise, you might end up compensating for the characteristics of a different bridge with a different setup.
@Jangle_Jamie FYI, "ebony" bridges for Gypsy guitars, including Dupont, are just tinted rosewood. Actually ebony is rarely used as it's too dense, resulting in an overly bright, thin tone. Maccacferri tried using ebony on the early prototypes but it was abandoned in favor of tinted rosewood.
I think Craig Bumgarner was using ebano for bridges and fretboards but stopped. Can't remember if it was hard to source or if it had to do with the dust it produced. He had good things to say about it though. **I know ebano is not the same as ebony, just raising the point on a different wood being used.
I made a bridge this arvo from Pale Moon Ebony. I'm also going to try one from pine, but add a bone or ebony strip for the strings to sit on. This morning I went for a walk in the hills and found a nice stag antler - could it make a good bridge I wonder?!! I may try cutting it on the bandsaw.
I've attached a photo of an ebony bridge I made for my Gallato, plus some photos of the Dupont.
As for the Dupont, the original bridge will go back on, but with a couple of shims for raised action.
In Japan, guitar shop Tan Tan sells gypsy jazz guitar bridges made of walnut.
I have got some walnut, so may make another bridge. Perhaps I'll do an acoustic comparison video/recording sometime.
Nice!! It would be great if at some point you could share the weights of the bridges (in grams)- thx!
Beautiful guitar. Nice job on the bridge! Bill mentioned Craig Bumgarner. Craig describes bridges on his recent builds as "Sanduri bridge w/ ebony cap". Looks like this
You could do the top insert from the antler.