Roasted Maple Bridge Anyone?

Discussion in 'Setup & Repair [DB]' started by Feral Feline, Jul 13, 2013.

  1. I did a quick search and didn't find anything posted here or google about Roasted Maple bridges.

    Roasted maple is all the rage in the slab industry for guitar/bass guitar necks, fingerboards and possibly other instrument parts for all I know. I like the look of it and also thought the process's advantages for necks/fingerboards might lend itself to doublebass bridges.

    Anyone roasting maple bridges? Is it a good match for DB and if not what are the reasons for it not being so?
     
  2. Jeremy Darrow

    Jeremy Darrow

    Apr 6, 2007
    Nashville, TN
    Endorsing Artist: Fishman Transducers, Aguilar Amplifiers, Ear Trumpet Labs
    How is "roasting" different from kiln-drying? That seems to me like a shortcut for seasoning a piece of wood. As I understand, most bridge blanks are seasoned already.
     
  3. Jake deVilliers

    Jake deVilliers Commercial User

    May 24, 2006
    Crescent Beach, BC
    Owner of The Bass Spa, String Repairman at Long & McQuade Vancouver
    Its way beyond drying, it alters the chemical makeup of the wood quite profoundly. Torrefied Maple becomes really hard and brittle, not unlike some old ebony. Many wartime/post-war Gibson guitars had torrefied maple fingerboards, as did American Standard basses of the period.

    There is a Canadian company that has sparked the resurgence of interest in torrefied maple: http://www.torrefactionplus.ca/home.php
     
  4. Jeremy Darrow

    Jeremy Darrow

    Apr 6, 2007
    Nashville, TN
    Endorsing Artist: Fishman Transducers, Aguilar Amplifiers, Ear Trumpet Labs
    "Brittle" doesn't seem to me like a desirable trait in a bridge. Hard and stiff, yes. Brittle, no.
     
  5. Jake deVilliers

    Jake deVilliers Commercial User

    May 24, 2006
    Crescent Beach, BC
    Owner of The Bass Spa, String Repairman at Long & McQuade Vancouver
    I agree. I think the bridge needs to be flexible in order to allow the strings to move freely. You could re-learn how to shape bridges with different materials but why? The material is also VERY hard and a pain in the ass to work with. I wouldn't want to fit the feet on a torrefied maple bridge, though as I write that I'm realizing that you could fit the feet and then bake the bridge...

    IIRC, Martin Sheridan posted a really interesting study of cello bridge movement on TB several years ago. It showed the different vibrational patterns of a bridge in motion. Very instructive for me - it explained why I had been drawn to shaping bridges the way I do.
     
  6. Many thanks for your responses and insights.

    FF