IMHO a lighter string will do the trick without any changes to the dog On a G/C instrument Listen to the buzz with the trompette at D and at C The C buzz is much lighter and crisper You could pop a little capo bridge under the trompette to take it up a couple of whole steps (tones) Then slacken it off back to the original pitch
Graham -----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of [EMAIL PROTECTED] Sent: 10 September 2007 17:58 To: [email protected] Subject: Re: [HG] Reducing the buzzing bridge Hello. Here are my solutions, that have worked with tekero by Balazs: - lighter wood - narrower heel of the dog, - also a little narrower "toes" (those sides that rest against the sides of the slot where the "nail" goes in - overall narrower design of the dog; seen from the players viewpoint more like letter V upside down, not like \_/ - sometimes hour glass shape (narrower "back" between the heel and the tip) has helped too - thinner string - do not make the dog shorter or lower, keep the string in the same position as it is in the present dog. Do not change the string geometry, I mean. Then you can quite easily switch between meaner and nicer dogs. Most likely the old one will work with the new string quite well, in case you decide to change the string. Maybe you have to fill the gap of the string and file a new narrower one. All this is reducing the mass (=energy= loudness) of the dog-string -system. And just make a dozen of dogs as a starter set -just to get in touch with the life of the trompette system. There is no easy way, actually. I have found quite good combination for my tekero with 40cm mensur:The higher melody string and trompette have both same gauge, 0,75 mm. I use Savarez gut guitar strings. The tuning is G/C. Esa Mäkinen, Finland Arle Lommel <[EMAIL PROTECTED]> kirjoitti: > Hi all, > > I have a design question for you. I am currently playing a Balázs > Nagy guitar-bodies French-style instrument. I really like it, > especially for the powerful buzzing bridge (a characteristic of > Balázs' instruments), but there are some contexts where a more subtle > bridge sound would be more suitable. So the question I have is how > one goes about making a buzzing bridge to be responsive yet quiet. > What design consideration goes into it? > > If it helps, here is an image of the current buzzing bridge: > > http://upload.wikimedia.org/wikipedia/commons/9/9c/ > FrenchBuzzingBridge.jpg > > I would ideally like to have a different bridge for when I want a > quieter sound and to keep this one for when I want a powerful sound. > > I should also add that the string geometry is correct: this isn't a > case of an instrument with a strong deflection of the trompette at > the wheel, which I know is often a problem. Instead it is almost > perfectly tangential to the surface of the wheel with no visible > deflection at all. Therefore it isn't a simple matter of adjusting > the location of the bridge or its length. > > Any thoughts from anyone on the list? > > -Arle >
