Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva, Tom Blackshear and Sean O'Brien who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
Anybody have any comments on the Nov issue of "Vintage Guitar" article on Manuel de la Chica? Lots of interesting luthiery stuff in there on one of the greats of the Granada school of building.
Brune (the author) says he stood head and shoulders above his contemporaries. I didn't realize that was a generally accepted opinion.
My question to you guys:
Apparently Chica used African mahogany by preference (rather than ebony) for his bridges. Brune says Chica used it because it is lighter but, unfortunately, much softer so the bridge holes wear out and the bridges are often replaced with ebony, which changes the sound radically.
What effect does the difference in density of the bridge have on sound? Is it just that a light bridge will accelerate faster in response to string vibration?
Have any of you experimented with lighter bridge wood?
Posts: 302
Joined: May 27 2005
From: Zürich, Switzerland
RE: Chica and the use of light-weigh... (in reply to a_arnold)
Hi
I think that light weight bridges are very important for a good guitar, not only for flamencos. I have recently made a test with a ready braced soundboard. I knoked the soundboard to get the top resonance and it sounded at B. After having sticked a rio rosewood bridge on it witt double sided tape, the pitch dropped to an F# and the soundboard did not respond easily due to the mass of the bridge that has to be put in motion.
My conclusion was, that the bridge was too heavy and i should avoid using such heavy bridges on flamencos.