John gilbert guitar bridge
You have goo gle? It comes up top of the list if you cut and paste the title and author. Here it is:Robert Webster wrote:Trevor, unfortunately I don't have access to the source that you cite.
here
The paper is by Prof. Jurgen Meyer, so I suspect if there was any "skew" it was unintentional.
Meyer rates the various bridge designs against a number of parameters which he found important. What I found was that a short bridge (aka the right degree and location of cross grain stiffness and mass in the centre of the soundboard) helped to produce a more active cross-tripole mode of vibration, which is quite an efficient sound radiator. It is perhaps easier to imagine in the converse: excessive stiffness across the middle of the lower bout will suppress the cross-tripole (and the monopole for that matter) and shift it to a frequency too high to effectively support the frequencies on the 1st string.
Lattice braced guitars, on the other hand, already have a quite a degree of cross grain stiffness compared to fan braced or falcate braced guitars, and when I've tested them they don't have much of a cross-tripole, anyway. They rely very much on a strong monopole still radiating efficiently a long way off resonance and this factor largely accounts for the lattice sound. So suppressing the cross-tripole further is rather neither here nor there.
Different bracing and bridge combinations obviously work in different ways and it's not for me to judge which is "better". It's for the players to understand the differences from their perspective and declare a preference. I just build 'em.
Trevor Gore: Classical Guitar Design and Build
John Gilbert
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The Legendary Luthier: John Gilbert
Introduction
John Gilbert, a name synonymous with exceptional guitar craftsmanship, has left an indelible mark on the world of string instruments. Revered by musicians and collectors alike, Gilbert’s dedication to perfection and innovation has elevated him to legendary status among luthiers. This article delves into the life, work, and legacy of John Gilbert, highlighting his contributions to the art of guitar making.
Early Life and Beginnings
Born in 1922, John Gilbert’s journey into lutherie began in the mid-20th century. With a passion for music and woodworking, he combined these interests to create exquisite guitars. His early years were marked by a relentless pursuit of knowledge, studying the works of master luthiers and experimenting with various techniques and materials. His background as a machinist for Hewlett-Packard played a significant role in shaping his meticulous craftsmanship and innovative approach to guitar making.
Craftsmanship and Innovation
Gilbert’s approach to guitar making was characterized by meticulous attention to detail and a commitment to using the finest materials. His engineering background influenced his work, leading to precise craftsmanship and groundbreaking ideas in sound production. Gilbert developed a unique system considering the dimensions, weight, and stiffness of materials to ensure controlled and exacting results.
One of Gilbert’s most famous innovations was the “pin bridge.” Unlike the traditional bone saddle at the bridge where all six strings share space, Gilbert’s design used six metal pins that supported the strings individually. This maximized the transmission of each note independently, enhancing separation and independence between voices and notes. Additionally, it allowed players to adjust the action of each string individually, providing a customized setup for their instruments.
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John Gilbert
interviewed in 1986
The first thing that comes to mind about John Gilbert sounds like a washing-powder commercial—more people seem to be changing to his guitars than to any other brand. The list of major artists currently playing them includes: George Sakellariou, David Russell, Robert Brightmore, Ben Verdery, Lee Ritenour, Stephen Funk Pearson, David Leisner and David Tanenbaum, to name only some of the better known; and Eduardo Fernández and the Assad brothers have guitars on order.
When David Russell first invited me to try his Gilbert, some time ago, I was very impressed. But playing it was an odd sensation: I found the guitar to be almost too sensitive—and loud! I had to make a considerable mental readjustment to get my best out of it. But looking at it the other way, it makes many other guitars seem unresponsive. The sound was very clear and neutral; and I could see immediately why the word is spreading so rapidly. (Not the guitar for a beginner, though, even a wealthy one)! There were several unusual construction features, too, most obviously in the bridge; and it was evident that John would be a very interesting person to talk to. When a trip to California presented itself, therefore, I made finding a chance to meet him a high priority, and a phone call brought an invitation to come and spend the afternoon.
John and his wife Alice live in Woodside, about an hour’s drive South of central San Francisco. For the last few miles you are travelling through magnificent scenery, up into the mountains. The workshop is in a converted garage. I found John to be uncomplicated, charming, and (refreshing in these days when most people are moaning about something), obviously happy. Like many, he was drawn into guitar-making initially as a hobby…
It was in 1965. I'd been an apprentice toolmaker with Sperry Gyroscope in New York, 1941. Then I was in the Service for over two years, but even there I w It all started when John attempted to maximize the conduction of the vibrating string energy to the top, and have this maintained throughout the life of the instrument. Using common sense he reasoned that due to the flexing of the top from string tension ( outward below the bridge, and inward above), the saddle could lose some of it's intimate contact inside the saddle slot. Thus explaining some of the weakness of midrange response in some instruments. John's first experiment envolved filing an arch to the underside of the saddle bone which increased pressure under the middle strings. Soon afterwards John thought the saddle might be improved by having flexibility all the way along it's length. So the saddle was arched on the top and bottom of the saddle between the strings. Next John began to rethink the design of the traditional bridge and reconsider which parts actually required strength. This led to his giving the le
This page was created to answer the many questions that I receive regarding this style of Classical guitar bridge.
Mr.Gilbert was born in New York City on December 8th, 1922. A master metal worker, he grew up to be the chief tool engineer at Hewlett-Packard's computer division in Cupertino, California. In 1965, on his first day on the job at H-P, he met a fellow who built his own guitar using an instruction book. That book was "Make Your Own Spanish Guitar" by A.P.Sharp. John quickly purchased a copy and built his first guitar which was a gift for his daughter. At this same time he started doing repairs. When things started to look up he quit his job at H-P to devote full time to guitar making and repair.That was in 1974. In 1986 his son Bill joined him in the business. John has since developed his own line of hand-crafted tuning machines. As of 2001the tuners are now made by his daughter and son-in-law. The Gilbert's are internationally recognized as building some of the finest classical guitars and tuning machines in the world.