New Extended Scale and Multi-Scale Bridge Design

So if you have read any of my posts you know that I have worked with “bell brass” quite a bit in the past as a tremolo block mass extender / enhancer. I use it generally when I do a custom project where the client is requesting a recessed tremolo variation. Since we loose a portion of the length of the block, I generally replace it with a shorter but fatter version. This really enhances the tone by sharpening and enhancing the usable frequencies-

I have taken this to the old style Jag / Jazzmaster bridge design as well. By enhancing the block, the tone benefits greatly. I have several of these designs available and have custom made them for Jazzmaster players around the world-

I have a new project I’m developing to travel to shows that uses multi-scale / fanned fret design. Currently, we are limited in our choices if we are designing an instrument. A designer I admire quite a bit has a system based on the ABM design. But I wanted to take my experience with the bell brass, and attempt to incorporate it into my design.

By mounting the entire system onto a precision machined bell brass plate then onto the body, frequencies are enhanced by the plate prior to being transferred to the body for final shaping. The plate can be mounted to the body directly or recessed (recomended)

I plan to make the new eX system available in virtually any scale / string configuration or design giving the builder and designer as many options as possible.

Enter my eX6+ (prototype) Bridge System. Each system is custom configured for the exact scale and string spacings requested as per the design. There are options for the saddle insert materials, Brass, Stainless Steel, Copper, Tusg, Bone or graphite- This gives you the ability to mix and match the materials to develope a truely unique instrument with the exact textures you desire / require for your compositions.

Each saddle has the option of insert material as well as height and precision intonation adjustment.
The saddle carriage and plate can be anodized providing a huge pallet of color options to match and enhance your design and provide exceptional protection.

This is in the prototype stage right now and I expect to have the first 6 string version tested in the next few weeks, check back soon. And as always, if you have any questions please contact me HERE

CGT Roasted / Carmalized Maple Neck – Fact or Fad???

So I’ve been hearing about this new method of drying lumber that is alleged to correct some stability issues. The wood in

Interesting flame figure-

question is maple. Seems to be most varieties tend to shrink and expand with heat, moisture / humidity and altitude (minute but existent). This causes in the most extreme cases, intonation problems until stable. Cracking finish and even cracked neck.

Now, I’ve been playing guitar for over 40 years. I’ve lived in Ohio, Korea, Germany, Alabama, Mississippi & South Florida. I’ve also traveled all over Europe with a few guitars and I can say the phenomenon is real. I have a guitar I built back in 1985 and a Steinburger (Factory Mod GP2T) The graphite neck seems to be the most stable as far as tuning / intonation goes. I’ve never seen either one of those guitars cause any problems with the neck joint or expansion around the tuners or other hardware.

So Like I said at the start, I heard about this Roasting technique and was naturally intrigued. I read up a bit on the process and benefits and agree for the most part with the theory. Like I said, I have seen some of the location / environment effects on guitars. I would like to see if this innovation is worth the effort.

as shipped roasted maple stock-

First off, the material is not the easiest to track down. Not as many people producing it as you would think. But those that do, are quite proud of their processes. I won’t mention any here. do a simple search to generate a good list to start with if you are interested in acquiring a piece to try out. If not, leave it to your builder to get if you wish to test out the material after this-

I purchased about 10 feet. Had it cut into 36″ chunks for shipping. When it arrived, it smelled like a camp fire. (Good in my book, if you don’t like the smell of a fire out by the camp then this isn’t your wood). This smell is even more present when you start to work with the wood. I enjoyed working this material.

Since the process drives virtually all of the moisture out of the wood, it does seem to tare just a bit. Not horrible but you must control your tools and remove very little amounts during the contouring phase as well as the filing-

Over all, the board worked well for this application. I will be continuing this build as well as testing by shipping it overseas as well as around the US for climate test / stability.

If you would like more information on this or any other Casper Guitar Technologies project, click HERE-

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