Bridge Adjustment

[Manfred de Rooy (mdrdvp)]

Hi Mica,
 
I've two questions.
First I'd like to know the history of my bass.
Alembic series I serial: 77-872.
 
Second is the bridge adjustment.
Yesterday we did some serious adjustments to the bridge saddles. The height of my A and D were not right because the radius of the fingerboard was different than the radius at the bridge.
A dutch luthier calculated what the radius at the bridge should be and adjusted it correctly.
We removed a bit of brass at the saddles. It really made a difference in tone. Finally that real Alembic sound came out of it. And I was pleased already with it.
The bass sounds brighter, has a lot more sustain and the intonation is correct. The string tension changed and more of these things like playability. I'm able to set it to a very low action. Fantastic.
 
My questions is, are there adjustable saddles available, like the adjustable nut but than for each saddle? So you can change the height of each string. Is that possible or will that result in a weak construction?
 
Best,
Manfred

[Steve Wood (s_wood)]

Manfred:
It's hard for me to understand how removing a bit of the brass on your bridge saddles (presumably by filing the groove where the string sits would change your tone very much.  However, you mentioned that you lowered your action, and very low action definitely will affect the tone, giving it a bright snap.  In fact, one of the key components of John Entwistle's insanely bright tone (which he was even able to get out of a Fender Precision) was his very, very low action.    

[Manfred de Rooy (mdrdvp)]

Hi Steve,
 
Well, what he did was this. He, the luthier, measured the radius of the fingerboard en translated that to the radius of the bridge saddles. So the bottom of the string groove and angle was adjusted. When that part was done I was able to raise or lower the whole bridge (equal on both sides) to set it's low action without having tuning problems or whatever.
The sustain is so much longer and the tone was already in the bass when I got it, but now i have the tone I always wanted. It's a bit hard to explain, but I have the feeling that the strings are able to produce their natural sound.
Before this, it was like their was a piece of thin soft cloth over the strings. Just a little bit. Now it's sounds as if it's free to express itself. you know what I mean?
I like a bright tone, but I has to be a warm, rich tone. Not these window breaking sounds that some players have. You know, each time they pluck a string you blink with your eyes. And you leave the room with your teeth on the floor.
I'm not saying that all basses are having these problems, but mine had. Now it has all the flavors I wanted.
 
Manfred

[mica]

77-872
top: Schedua
core: Mahogany
back: Schedua
neck: Maple and Purpleheart
peghead veneer: Zebrawood
fingerboard: Ebony
inlays: Mother of Pearl
birthday: November 1, 1977
 
The bass was refretted by us once in 1978 with a wider fret wire. There were two registered owners prior to you.  
 
I'm not surprised that after 20+ years the saddles would need adjusting. The wear of playing, and the adjustments made by previous owners show. It may not be the first time the bass was at a repairshop.
 
When we make our instruments, we set the radius of the saddles to match the radius of the fingerboard. I did not see your bass recently, but from my experience, what you had performed was normal servicing for a bass of that age. Once the radius is matched to the fingerboard, the overall height is almost always able to get the playability tuned for the artist, as you have found.
 
We have made instruments with an individual mini-bridge for each string, that's the ultimate in adjustability. But unless you are changing your string size frequently it's a bit overkill.
 
I believe the reason that many bridges are fit with height adjustable saddles is that the maker of the bridge is not also the maker of the bass, so the adjustability is required to fit the unknown. In our case, since we are specifically making each bridge to fit each instrument, we simply make one that fits properly from the get-go.
 
Sustain will be affected by the bridge if the slot is cut poorly or has worn to the point that it doesn't prevent vibration below it. Intonation is a separate issue from the height, but I'm glad your repairman was able to set the length of the string properly for you.  
 
We don't use Schedua for tops much any more. It doesn't have the exotic look (except rarely) and the cold, slight green color is off-putting to some folks.  Schedua usually produces a very deep bassy tone on Alembics. Steve's observation of setting the action lower will overcome the natural bassiness of the Schedua and produce the brighter tone you've found.  

[mica]

I just looked at the thread you started over in the Showcase section. Is this bass number 872? It wasn't originally made as a tenor tuning.  

[Manfred de Rooy (mdrdvp)]

Thanks Mica,
 
I think you are right about the 3-way adjustable bridges. I have owned basses where the string (through body) cutted through the bridge. Yeah, real quality that was.
 
About my bass, It almost had or has no wear at all. It amazed me when it came in. Frets and all other parts were perfectly maintained. Even the tuners had no wear at all. Maybe the previous owners forgot to play it. (Hey, it happens)
 
I think there are two possibilities:
He or she might have replaced the saddles when converting it to Tenor mode.
Or, to adjust the bridge, the saddles were switched from one to the other place to give some kind of violin feel. Eventhough the slots had the right dimensions. But it's ok now, so I'll leave it the way it is.
 
Yes, it's bass 872. I already thought it wasn't made as a Tenor but I thought the Top and Back were Koa. I know the green schedua look which I don't like either. Well, maybe I'm lucky.
 
Thanks,
Manfred