Joe Pass- Bridge movement and proper distence from nut.

[joeluck]

1. Going nuts with it moving while playing. 2. What is the proper distence and how do you maintain the intonation- or do you have to move the bridge with string size alterations? 3. The E6 is too boomy, even reducing the size to a 48 and going to a tone a matic bridge...the bridge moved on the wood bridge as well.

[Red 333]

1. Going nuts with it moving while playing. 2. What is the proper distence and how do you maintain the intonation- or do you have to move the bridge with string size alterations? 3. The E6 is too boomy, even reducing the size to a 48 and going to a tone a matic bridge...the bridge moved on the wood bridge as well.

 

Measure the distance from the nut to the twelfth fret. Measure the same distance from the twelfth fret to the body, and position the bridge there. Intonate as needed.

 

The "speaking distance" of the string (length from nut to saddle) is little effected by string gauge, though action (height of string off the fretboard) might be.

 

Normally, the string pressure will keep the bridge positioned while playing. Are you moving it with your playing hand?

 

Try lowering the pole-piece of a string that is too boomy. Are the other strings in balance? The height of the pick ups themselves can also be raised or lowered as needed, first.

 

Red 333

[brianh]

This is going to sound like a really dumb question, but did you take out the foam under the bridge base? We've had members here who felt it should be left on (wrongo!), it's just there for shipping.

 

Anyway what gauge strings are you using? I can't imagine anything more than 9s being slack enough (tuned up) to allow the bridge to move. (Most jazz players use 10s to 13s on E1.)

 

Otherwise, what Red said - same distance from string break point at bridge E6 to top of 12th fret as from nut E6 to top of 12th fret. Then measure and adjust the same on the E1 side. Recheck E6/E1 until both are dead on. You may also want to check open & 12th fret Es with a tuner - that will allow you to micro-adjust the bridge distance for string action variations. With a wood compensated bridge, the inner strings should then be extremely close, if not perfectly intonated. On a TOM, adjust as needed. If that still results in slipping or intonation problems, take it to a good set up guy.

 

BTW, a wood bridge on a Joe Pass is a better choice - looks and sounds more authentic for a jazzbox, IMHO .

[Versatile]

I agree

 

A wood bridge looks more appropriate

 

I've had moving bridges with 10's, so 11's and upwards are ok

 

V

[Parabar]

There are lots of adjustments that could solve your problem. If you prefer light strings (.010's or less), you may want to consider pinning the bridge to prevent it from moving. This involves using small pins to attach the bridge base to the top of the guitar. If you change string gauges, though, you may need to reposition the base. Some players get good results with double-stick tape on the bridge base instead. With lacquer-finished guitars, there's a risk of damaging the finish, but the Joe Pass's poly finish should withstand it just fine.

 

Another solution is to place a piece of sandpaper (say 120 to 180 grit) over the top of the guitar(rough side up)where the bridge base will go and rub the bridge base over it to roughen the bottom of the base. This will ensure an exact contour match between bridge base and guitar top, and a slightly roughened base bottom can provide more traction to help keep the bridge from moving.

 

You may also be playing too hard. An archtop electric isn't intended to be strummed like a flat top acoustic. A lighter touch may be all you need. (A thinner pick can also help compensate.)

[milod]

I'd agree with the technique comment.

 

I've never had a bridge movement problem with a number of archtops of different qualities and brands but... even using one for country and rock, I think I'm gentler than most.

 

Mother Maybelle's big Gibson archtop had the heaviest strings I've ever seen and she had a relatively heavy hand in comparison to how I play. OTOH, her "Carter Family Scratch" was still largely just that, a scratch not dissimilar to Stoneman style autoharp - e.g. thumbpick and three fingerpicks, thumb doing bass and thumb/fingers scratching across the strings. Perhaps the "scratch" technique was with a lighter and more loose thumb/pick than one might think of for guitar, too. So...

 

m

[Birki]

Another solution is to place a piece of sandpaper (say 120 to 180 grit) over the top of the guitar(rough side up)where the bridge base will go and rub the bridge base over it to roughen the bottom of the base. This will ensure an exact contour match between bridge base and guitar top, and a slightly roughened base bottom can provide more traction to help keep the bridge from moving.

hi!

 

i don't have a joe pass but a godin 5th avenue. adopting the bridge to the curvature of the top using sandpaper is a must and great helps keeping the bridge in place. I had a similar problems like you with the tusq-bridge of the godin. replacing it with a rosewood bridge and grinding the base of the bridge solved all that issues. however, i have a set of .12 gauge elixirs on that one, and I don't have any experience with .10 stirngs on an archtop ...

yours

wolfi

[ladyscaglyc]

I've got a Joe Pass with rosewood base & a radius correct Tru Arc copper bridge.

.10 for strings.

The double stick tape will keep it in place even with 2string bends.

I roughed the base of the bridge (for the sake of adhesion) & after marking the right

position with painters masking tape, loosen the strings, put small pieces of double stick

on the bottom of the base & reinstall.

Should solve your bridge issues & if you're not just playing jazz, get a Tru Arc bridge

for it !