# Instruments and Equipment > Equipment >  Cumberland Mandolin Bridge Verses Siminoff Mandolin Bridge

## Mandolin-Tele

Anyone compare these two bridges 

I've read that the Siminoff Bridge is made with  Gaboon ebony 

Thanks for any replies 

http://parts.siminoff.net/bridge-man...-hardware.aspx

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## Tom Cherubini

Looks like a very nice bridge. It's very black, and while we all know that ebony is black, because it's so evenly black you have to wonder whether it's dyed.

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## mandroid

Often is  dyed.

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## Mandolin-Tele

http://www.youtube.com/watch?v=AAet8eDnNDM

Gaboon ebony wood is the most pure black of the lot, but can have occasional chocolate brown seams, especially in the middle of larger chunks. You can pay significantly more for wood that is guaranteed to be pure black throughout. The sap wood is a light gray offering extreme contrasts in colour that can add dramatic flare to small turning projects like pens and bottle stoppers.

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Astro

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## mandroid

[ Resource management being, larely,  political decisions , these days,  It may be off topic.. ]

Q: How is the sustaianability of logging, cutting, and selling  that Going , these days? 

so hard a wood cannot be all that  fast growing ?




 Here Pana-Max ships full of Fir logs leave for China every fortnight, or so.

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## Doug Edwards

Gabon Ebony is getting harder and harder to find and the price keeps increasing.  It never was cheap to begin with.  Rarely do I find pure black at a cost I can live with.

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## Mandolin-Tele

Anyone else

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## richardfree

I have bought both in the last couple of months,I put one on a Loar A model,the cumberland, did not notice much difference,I bought the Siminoff, and put it on my larrivee f model and it really helped. I like them both, the Siminoff is thinner on the top, and is really a nice bridge.I'm sure your mandolin would like either.   Richard

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## Mandolin-Tele

> I have bought both in the last couple of months,I put one on a Loar A model,the cumberland, did not notice much difference,I bought the Siminoff, and put it on my larrivee f model and it really helped. I like them both, the Siminoff is thinner on the top, and is really a nice bridge.I'm sure your mandolin would like either.   Richard


Good to know richardfree, so do you think the Siminoff sounded better because of they use Gabon Ebony ???

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## Doug Edwards

I've used quite a few of Steve's (CA) bridges.  They are all top shelf.

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kenny boy

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## Willie Poole

I believe the only real test would be to try both of them on the same mandolin and then compare what you hear, we could sit here all day and tell you one is better than the other but it is a matter of what sound we are looking for compared to what sound you are looking for...Installing one on a mandolin and it sounds better does not mean that that same bridge will make a difference on yours, same with strings, a lot of people post on here asking what we think of certain things and our answers don`t really mean that is what you will find by using the same prodect....These questions get old and all a newbie has to do is look at the archives and he/she will find most the answers...

    Sorry to sound so gruff......

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doc holiday, 

Flame Maple, 

houseworker, 

Mike Bunting, 

swain

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## Mandolin-Tele

Personally, I like writing up new questions to ask on products I've never heard of before, if just to get new reviews on quality of workmanship and material, differences of woods, designs 

anyone else

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## Sid Simpson

> Gaboon ebony wood is the most pure black of the lot, but can have occasional chocolate brown seams, especially in the middle of larger chunks. You can pay significantly more for wood that is guaranteed to be pure black throughout. The sap wood is a light gray offering extreme contrasts in colour that can add dramatic flare to small turning projects like pens and bottle stoppers.


Someone posted a link to info on world ebony production in another thread.  Turns out Taylor guitars is heavily involved with the ebony trade and trying to find sustainable approaches.  One of them is to buy ebony that is not pure black and sell it to other builders.  It is a color issue, not a structural one.  Here's a link to a video:  http://www.youtube.com/watch?v=anCGvfsBoFY .

Relevant to the discussion in that there are reasons why solid black ebony is scarce, and why we should really be OK with that if we want ebony used in our instruments.

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## j. condino

Steve and the crew at Cumberland Acoustics make a great traditional style bridge and are fantastic people to work with.

j.
www.condino.com

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kenny boy, 

shawnee creek

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## Mandolin-Tele

I'm probably going to buy a Cumberland bridge but I wanted to hear all my options

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## frecky

Steve at Cumberland makes a first class product.  I havent played a Siminoff.  Put one vote in for Cumberland

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## Caleb

I've been playing for seven years now and reading the Cafe on a regular basis.  But till a few weeks ago I've never paid much attention to the talk about bridges. Mainly because I didn't really see the importance and function of a good bridge (learned a lot on the Folkmusician site).  

I've often wondered what made my mandolin lack that bit of "oomph" that I long for. And I've often heard little tones that seem to want to get bigger an better but seem stifled and trapped. I think if I get a better bridge I'll get the sound I'm looking for.   I just hate to pack up my mandolin and ship it off for the job. I think when I take the leap and get a new bridge I'll try and install it myself.  My original bridge seems to fit pretty well, so I could probably use it for a guide and maybe make a few improvements.  Can't be brain surgery to get a snug fit, can it?  I just get tired of hiring professionals for everything in life. A person wants to learn to do things for oneself after a while.  

Have any of you installed your own bridge, learned to do your own setup work?

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MysTiK PiKn

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## Eddie Blevins

I've been using Siminoff bridges on my custom builds.  Just switched to Cumberland Acoustics for my current batch and put one on this weekend.  Both are excellent bridges.  I would recommend them both.

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Mandolin-Tele, 

Verne Andru

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## Folkmusician.com

> Can't be brain surgery to get a snug fit, can it? I just get tired of hiring professionals for everything in life.


Some of the difficulty is based on the particular mandolin.  If you have a nice uniform arch on your top, it makes it much easier to fit the bridge foot.  If the arch is not uniform, it can be extremely difficult to get a good fit. The good news is that you can test this by loosening your strings and scooting your current bridge around to see how tight the fit is. If you move it say 1/8" and it still has good tight contact, you can proceed with a standard bridge fitting method. If 1/8" movement produces air gaps or points of less than ideal contact, plan on it being about 400% more time consuming.

Now fitting the bridge and fitting it really well are two different things.  Matching the foot is one of the more time consuming aspects, but it is also one of the easier as far as looking at it and seeing what needs to be done. The same with lean angles and removing additional wood to get the height adjustment. These can be tedious, but basically self explanatory.  String spacing and ramping the grooves correctly is not as easy as it looks, but completely doable with the correct files. In fact, this is the only stage where specialty tools are advised. Everything else can be done with standard files, knife, scraper and sandpaper.

The only thing that is near impossible to do without some experience is having some idea where to take off wood (and where not to) and final tuning on the bridge. This takes some trial and error and is not something you are likely to get down on your first few bridges. Each mandolin being different, there is not really a step by step guideline to follow.

I would go ahead and give it a shot. If you are careful, you shouldn't do any damage to the mandolin (maybe a few scratches) and you can always put the stock bridge back on if for some reason the new bridge doesn't work out.

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MysTiK PiKn

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## Fretbear

As they are both (Sim & CA) described as accurate reproductions of Loar-style bridges, you would think they would be identical, but from some of the posts above, it would seem they are not. 
I have never had a Sim in my hand to compare them. 
Fitting a bridge perfectly is not easy, but it is not rocket science either; you get better at it with practice.The only real risks (besides spoiling a bridge) are possibly scratching the mandolin's top, which can be prevented by masking it off as much as possible and by working carefully, and of cracking the top by applying too much pressure, the risk of which while slight, is still there.

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## studiodunn

Hello all. Thanks for the information and subsequent MAS  :Wink: 
I thought my first post should be questioning 100+ years of successful design(s).

Regardless of how well built a two piece bridge is - you are still re-distributing the saddle vibration via the post. It would seem to me the amount of dispersion from just the post and thumb wheels would be pretty significant. You would also be localizing the transfer of vibration to the 1/8" of post where it contacts the bridge, sort a bottle neck effect.

.....so if resonance is the name of the game, wouldn't a one piece solid bridge be the best part for total and equal transfer?

Other thoughts -
-Wouldn't going through the grain be a better transfer than across the grain?

-Wouldn't less mass = more vibration?

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MysTiK PiKn

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## Caleb

> Some of the difficulty is based on the particular mandolin.  If you have a nice uniform arch on your top, it makes it much easier to fit the bridge foot.  If the arch is not uniform, it can be extremely difficult to get a good fit. The good news is that you can test this by loosening your strings and scooting your current bridge around to see how tight the fit is. If you move it say 1/8" and it still has good tight contact, you can proceed with a standard bridge fitting method. If 1/8" movement produces air gaps or points of less than ideal contact, plan on it being about 400% more time consuming.
> 
> Now fitting the bridge and fitting it really well are two different things.  Matching the foot is one of the more time consuming aspects, but it is also one of the easier as far as looking at it and seeing what needs to be done. The same with lean angles and removing additional wood to get the height adjustment. These can be tedious, but basically self explanatory.  String spacing and ramping the grooves correctly is not as easy as it looks, but completely doable with the correct files. In fact, this is the only stage where specialty tools are advised. Everything else can be done with standard files, knife, scraper and sandpaper.
> 
> The only thing that is near impossible to do without some experience is having some idea where to take off wood (and where not to) and final tuning on the bridge. This takes some trial and error and is not something you are likely to get down on your first few bridges. Each mandolin being different, there is not really a step by step guideline to follow.
> 
> I would go ahead and give it a shot. If you are careful, you shouldn't do any damage to the mandolin (maybe a few scratches) and you can always put the stock bridge back on if for some reason the new bridge doesn't work out.


Wow, this is very helpful and informative: thank you so much, Mr. Fear. 

With all this fresh on my mind, a thought occurred to me the other night while playing.  My mandolin was set up and had some work done on it before I bought it.  It's possible that it does not have the standard bridge from the (Eastman) factory.  How would I know if it's already been changed?  Are these aftermarket bridges stamped or labeled in some way?

The mandolin already sounds great but does lack some oomph that I know is in there somewhere; my gut tells me it can be tweeked out of it somehow.

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## Hendrik Ahrend

The Siminoff bridge is longer than the CA and most other Loar style bridges, the threaded post spacing is actually wider. Roger has a reason for that. But I don't know, if it makes a difference sound wise. However, the bridge tops of original '20s Loar, Randy Wood and Darryl Wolfe bridges are interchangeable.

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MysTiK PiKn

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## Fretbear

> However, the bridge tops of original '20s Loar, Randy Wood and Darryl Wolfe bridges are interchangeable.


Is the saddle of the CA in that interchangeable group as well?

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## Andrew B. Carlson

To the OP: Have you thought of Darryl Wolfe's bridges in your consideration? He uses high quality gaboon ebony and they're also Loar repros. I'm considering all of the above as well, but since Darryl has the same mando I do, he knows how the sound changes. What do you play on? Maybe one of us has done this mod before.

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## Hendrik Ahrend

> Is the saddle of the CA in that interchangeable group as well?


Yessir, it is! Sorry for the confusion. :Redface: 
A bit off-topic, but for those who are wondering why a "Loar copy" bridge is so easy to spot, I may add: Most of the details are usually pretty close to the originals of the '20s. And Roger Siminoff even saw the original fixtures, while working for Gibson in the late '70s. However, the old Gibson bridge tops generally never show set-offs with rounded edges, as opposed to the copies. The "waist cuts" ("cove cuts"?) on the bases are all a bit off, too, as if the currently available router bits differ from the ones Gibson used in the '20s. The old threaded studs were from nickel silver, as opposed to today's black steel versions. But the threads on all of the available copies are still like the old ones. (The '90s Gibson threads were metric, though.)

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## Mandolin-Tele

> To the OP: Have you thought of Darryl Wolfe's bridges in your consideration? He uses high quality gaboon ebony and they're also Loar repros. I'm considering all of the above as well, but since Darryl has the same mando I do, he knows how the sound changes. What do you play on? Maybe one of us has done this mod before.


Hi Andrew
I'm putting it on a The Loar LM-600 F-Model Mandolin

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## Folkmusician.com

> It's possible that it does not have the standard bridge from the (Eastman) factory. How would I know if it's already been changed? Are these aftermarket bridges stamped or labeled in some way?


The Eastman bridge does have a unique look to it.  If the bride has not been refitted, it will have a number in pencil on the bottom of the foot.   Pictured we have a few eastman bridges with a CA bridge on the top, an Eastman bridge foot and an Eastman and CA bridge together.  The CA bridge is a blank and may look different after being fit.

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## Caleb

> The Eastman bridge does have a unique look to it.  If the bride has not been refitted, it will have a number in pencil on the bottom of the foot.   Pictured we have a few eastman bridges with a CA bridge on the top, an Eastman bridge foot and an Eastman and CA bridge together.  The CA bridge is a blank and may look different after being fit.


Thanks again.

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## Pete Jenner

FYI:  FWIW, Gabon as in ebony is frequently and widely spelled Gaboon but this is incorrect. The Gaboon spelling stems from the French pronunciation of Gabon the country which in fact would be more like Gabown.

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## Mandolin-Tele

Thanks 


> FYI:  FWIW, Gabon as in ebony is frequently and widely spelled Gaboon but this is incorrect. The Gaboon spelling stems from the French pronunciation of Gabon the country which in fact would be more like Gabown.

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## Mandolin-Tele

:Grin:  On payday I'm ordering a Cumberland Bridge and the next payday I'm having my Mandolin setup and my new bridge installed 

I can hardly wait  :Grin:

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## Mandolin-Tele

I took my mandolin to Claremont Music Store http://folkmusiccenter.com/hours-location/
and the tech told me my bridge was good and the only thing wrong with my mando was it needed a fret dressing and neck adjustment $50-$70 

So I left it with him, I'll let you know how it turns out

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## eastman_315

> I took my mandolin to Claremont Music Store http://folkmusiccenter.com/hours-location/
> and the tech told me my bridge was good and the only thing wrong with my mando was it needed a fret dressing and neck adjustment $50-$70


What, no new CA bridge after all?

Frank

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## Folkmusician.com

> the tech told me my bridge was good


It may be good, but the CA bridge will be better.   :Smile: 

Does the tech have experience with bridge upgrades on mandolins?

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## Mandolin-Tele

Hi thanks 
I deceided to have him do the neck and fret dressing now and do the new Cumberland bridge a little later when I have more money 

The tech really knows his stuff on fret dressings, but I'll ask more Q&A later on the bridge




> It may be good, but the CA bridge will be better.  
> 
> Does the tech have experience with bridge upgrades on mandolins?

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## Steevarino

Geesh!  What a let-down!  Two pages of real interesting "bridge-banter" and they guy tells you that your stock Chinese bridge is fine!  Not so!  I put two of our CA bridges on "The Loar" mandolins yesterday, an LM-400 and an LM-700.  Very dramatic improvement in tone, volume, and intonation accuracy.  They sound so good that I'm in no hurry to send them back to their customers!  I'm in the middle of putting a new bridge (along with a James Tailpiece and Grover tuners) on an LM-600-BK today.  I'm fairly certain all of these factors will improve on this mandolin too.  (Plus, that black paint job is pretty cool too!).

Not to fault your repair guy (I checked out their website, and they seem like sharp guys there) but there is absolutely no comparison between one of our bridges (or Roger's, for that matter) and the stock bridge that comes on "The Loar" mandolins.  It really is their weak link.  Most people with any level of knowledge about these particular mandolins should know this, I would think.

So, tell you what, I'm ready to help educate these guys.  What if I send you one of our Cumberland Acoustic bridges, at no cost to you, and you go have these guys install it on your mandolin?  My only requirement would be that they play the instrument themselves (or have someone there play it if they don't play mandolin) both before and after the bridge is replaced. I would also ask that they test the intonation, both before and after the CA bridge is installed.  If they are paying attention, I am hoping that I will have a new customer in their repair department.  If not, I am confident that you will come back and give an honest (and hopefully glowing) review of how our bridge influenced the performance of your mandolin.

I'm serious about this offer, by the way.  If nothing else, it will impart a far more dramatic end to this thread!  If you want to take me up on it, you can call me at 877-857-4896, or e-mail me at cumbacoustic@aol.com.

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Caleb, 

Gary, 

jasona, 

kenny boy, 

Steve Williams

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## pefjr

What about BRW? Looks like a mighty fine bridge. Comparable?

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## Mike Bunting

> Geesh!  What a let-down!  Two pages of real interesting "bridge-banter" and they guy tells you that your stock Chinese bridge is fine!  Not so!  I put two of our CA bridges on "The Loar" mandolins yesterday, an LM-400 and an LM-700.  Very dramatic improvement in tone, volume, and intonation accuracy.  They sound so good that I'm in no hurry to send them back to their customers!  I'm in the middle of putting a new bridge (along with a James Tailpiece and Grover tuners) on an LM-600-BK today.  I'm fairly certain all of these factors will improve on this mandolin too.  (Plus, that black paint job is pretty cool too!).
> 
> Not to fault your repair guy (I checked out their website, and they seem like sharp guys there) but there is absolutely no comparison between one of our bridges (or Roger's, for that matter) and the stock bridge that comes on "The Loar" mandolins.  It really is their weak link.  Most people with any level of knowledge about these particular mandolins should know this, I would think.
> 
> So, tell you what, I'm ready to help educate these guys.  What if I send you one of our Cumberland Acoustic bridges, at no cost to you, and you go have these guys install it on your mandolin?  My only requirement would be that they play the instrument themselves (or have someone there play it if they don't play mandolin) both before and after the bridge is replaced. I would also ask that they test the intonation, both before and after the CA bridge is installed.  If they are paying attention, I am hoping that I will have a new customer in their repair department.  If not, I am confident that you will come back and give an honest (and hopefully glowing) review of how our bridge influenced the performance of your mandolin.
> 
> I'm serious about this offer, by the way.  If nothing else, it will impart a far more dramatic end to this thread!  If you want to take me up on it, you can call me at 877-857-4896, or e-mail me at cumbacoustic@aol.com.


Am I correct that since those The Loar mandos came on the market you must be doing a booming business in making them playable? Is it permissible for you to tell us what builders use your bridges as standard equipment.

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## pefjr

> Geesh!  What a let-down!  Two pages of real interesting "bridge-banter" and they guy tells you that your stock Chinese bridge is fine!  Not so!  I put two of our CA bridges on "The Loar" mandolins yesterday, an LM-400 and an LM-700.  Very dramatic improvement in tone, volume, and intonation accuracy.  They sound so good that I'm in no hurry to send them back to their customers!  I'm in the middle of putting a new bridge (along with a James Tailpiece and Grover tuners) on an LM-600-BK today.  I'm fairly certain all of these factors will improve on this mandolin too.  (Plus, that black paint job is pretty cool too!).
> 
> Not to fault your repair guy (I checked out their website, and they seem like sharp guys there) but there is absolutely no comparison between one of our bridges (or Roger's, for that matter) and the stock bridge that comes on "The Loar" mandolins.  It really is their weak link.  Most people with any level of knowledge about these particular mandolins should know this, I would think.
> 
> So, tell you what, I'm ready to help educate these guys.  What if I send you one of our Cumberland Acoustic bridges, at no cost to you, and you go have these guys install it on your mandolin?  My only requirement would be that they play the instrument themselves (or have someone there play it if they don't play mandolin) both before and after the bridge is replaced. I would also ask that they test the intonation, both before and after the CA bridge is installed.  If they are paying attention, I am hoping that I will have a new customer in their repair department.  If not, I am confident that you will come back and give an honest (and hopefully glowing) review of how our bridge influenced the performance of your mandolin.
> 
> I'm serious about this offer, by the way.  If nothing else, it will impart a far more dramatic end to this thread!  If you want to take me up on it, you can call me at 877-857-4896, or e-mail me at cumbacoustic@aol.com.


A knock out blow, wow....well some of us need educating once in awhile. Good deal Steve.

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## Mandolin-Tele

Steve I was going to put one of your bridge's on my next payday I just ran out of money 

I will take you up on your offer and do this, Thanks Dale Hamon  :Grin: 


> Geesh!  What a let-down!  Two pages of real interesting "bridge-banter" and they guy tells you that your stock Chinese bridge is fine!  Not so!  I put two of our CA bridges on "The Loar" mandolins yesterday, an LM-400 and an LM-700.  Very dramatic improvement in tone, volume, and intonation accuracy.  They sound so good that I'm in no hurry to send them back to their customers!  I'm in the middle of putting a new bridge (along with a James Tailpiece and Grover tuners) on an LM-600-BK today.  I'm fairly certain all of these factors will improve on this mandolin too.  (Plus, that black paint job is pretty cool too!).
> 
> Not to fault your repair guy (I checked out their website, and they seem like sharp guys there) but there is absolutely no comparison between one of our bridges (or Roger's, for that matter) and the stock bridge that comes on "The Loar" mandolins.  It really is their weak link.  Most people with any level of knowledge about these particular mandolins should know this, I would think.
> 
> So, tell you what, I'm ready to help educate these guys.  What if I send you one of our Cumberland Acoustic bridges, at no cost to you, and you go have these guys install it on your mandolin?  My only requirement would be that they play the instrument themselves (or have someone there play it if they don't play mandolin) both before and after the bridge is replaced. I would also ask that they test the intonation, both before and after the CA bridge is installed.  If they are paying attention, I am hoping that I will have a new customer in their repair department.  If not, I am confident that you will come back and give an honest (and hopefully glowing) review of how our bridge influenced the performance of your mandolin.
> 
> I'm serious about this offer, by the way.  If nothing else, it will impart a far more dramatic end to this thread!  If you want to take me up on it, you can call me at 877-857-4896, or e-mail me at cumbacoustic@aol.com.

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## jake-mando

I had a CA bridge installed on my J Bovier f5 dorado. I feel it made a difference in the tone. Thanks Steve for a great bridge.

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## Mandolin-Tele

Here's whats going on....I got my Mandolin back today and they truely did a nice job setting it up and dressing the frets...but after talking with Steve owner of Cumberland Acoustic http://www.cumberlandacoustic.com/id2.html we deceided that I would send him my mandolin and he would install and fit one of his "Cumberland Bridges" for my "The Loar LM-600-VS Mandolin" he gave me his bridge for free but I'm paying him for fitting his bridge and a complete setup to his standards and when I get my Mandolin back I'll give a complete review of his work and sound of my mandolin of before and after the Cumberland bridge install.....

Thanks Steve for the far more dramatic end to this thread!

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## Mandolin-Tele

I'm sending my mandolin to Steve at Cumberland in a few days, right now my "The Loar LM-600-VS lives on my Tone Rite and it sounds fantastic sorry for the delay but my wife gets payed on monday and she said I can get it done then  :Smile:  I CAN"T WAIT

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## Mandolin-Tele

Hi Mike, From what I've read Gibson is using "Cumberland Acoustic Bridges" on their Mandolins 


> Am I correct that since those The Loar mandos came on the market you must be doing a booming business in making them playable? Is it permissible for you to tell us what builders use your bridges as standard equipment.

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## Mike Bunting

> Hi Mike, From what I've read Gibson is using "Cumberland Acoustic Bridges" on there Mandolins


there mandolins? I don't understand what you mean.

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Mandolin-Tele

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## Mandolin-Tele

> there mandolins? I don't understand what you mean.


I could be wrong but I think Gibson is using Cumberland Acoustics Bridges on Gibson Mandolins

I'm sorry I used "there" instead of "their mandolins"

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## shortymack

You say tomato I say tomatoe, either way I know what you mean.

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## Mike Bunting

> You say tomato I say tomatoe, either way I know what you mean.


But "there" and "their" have different meanings. If I am trying to communicate an idea , it is my responsibility to say it clearly, it it is not on you to decipher what I am saying. They're now playing their mandolins that were over there in their cases.

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## SternART

> Gibson is using "Cumberland Acoustic Bridges" on their Mandolins


I've heard that too........I think Lynn Dudenbostel uses them as well.  
There is a nice article on Steve w/ numerous photos in the latest issue of the Fretboard Journal.

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## shortymack

Mike, I can't imagine what it might be like texting with you.  :Laughing:

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## Mike Bunting

> Mike, I can't imagine what it might be like texting with you.


Well, at least it would be clear what I am saying.

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## Mandolin-Tele

I'm the Norm Crosby of mandolin communication  :Smile:  

http://www.youtube.com/watch?v=aY6KyCuqeoA

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Richard58

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## Mandolin-Tele

Here's an update Steve has sent me a new Cumberland Bridge it should be here in a few days 

Sorry for the delay

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## Caleb

I've just about convinced myself to get a CA bridge and try to install it myself.  I'm wondering if there are any benefits to getting a full contact vs standard?  Seems like the full contact, fitted properly, would give that much more tone?  But I'm a novice here. Thoughts?

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## Mandolin-Tele

Caleb, I was wondering the same thing but I didn't ask Steve but when he sent me my bridge it was the two footed one I'm having my bridge fitted this Wednesday 



> I've just about convinced myself to get a CA bridge and try to install it myself.  I'm wondering if there are any benefits to getting a full contact vs standard?  Seems like the full contact, fitted properly, would give that much more tone?  But I'm a novice here. Thoughts?

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## Caleb

> Caleb, I was wondering the same thing but I didn't ask Steve but when he sent me my bridge it was the two footed one I'm having my bridge fitted this Wednesday


Please post your thoughts after you get your new bridge.

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## Pete Counter

How much difference does it make to have the radius saddle if you have a radius fingerboard. My Kentucky KM-1500 supposedly has a radius fingerboard but if it is its barely noticeable.

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## lenf12

You'll want your saddle radius to match the fingerboard radius (assuming a simple not compound radius) otherwise your G and E strings will be further away from the fingerboard and harder to fret while your D and A strings may fret out or buzz when fingered. Trying to find a suitable compromise with a flat saddle and a radiused fingerboard would not be a fun job.

Len B.
Clearwater, FL

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## Mike Bunting

> I'm the Norm Crosby of mandolin communication  
> 
> http://www.youtube.com/watch?v=aY6KyCuqeoA


Now that's funny! Good one? :Laughing:

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## pefjr

I think one of the best bridges were those thin ebony ones on the old Gibson. There a pain to adjust but IMO they are worth it for the pure sound, no metal screws. The worst bridge IMO was the big thumb screw Gibson. Does anyone know a source for the old thin ebony bridges  with a hole for the pickguard, not that I need the hole anymore. The pick guard is for the collector.

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MysTiK PiKn

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## Richard58

Which is better, two foot and so full contact bridge?

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## mandobassman

> Mike, I can't imagine what it might be like texting with you.


Auto correct gets by a lot of people who know the English language very well.  It happens and there's no need to be mean about it. I know I won't be texting with Mike anytime soon!

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## Timbofood

Auto correct is frustrating! Or fustrating depending on how it sees fit!

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## Clement Barrera-Ng

> Which is better, two foot and so full contact bridge?


I personally don't think one is necessarily better than the other. It depends on what you're looking for, and the mandolin you're putting it on. Full contact may give you more bass response, but it may come at the expense of the midrange, and vice versa.

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## Emmett Marshall

My experiences with Cumberland Acoustic's bridges have been fantastic.  Years ago, I put one on a KM-675 and it brought out much more tone.  This year, I purchased a KM-1500 and after a week of playing, I had Steve put one of his bridges on it.  The volume increased and the tone improved noticeably as well. His bridges are great, and the customer service rocks. Just the facts.

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## Steevarino

Just to clear a few things up here... Cumberland Acoustic bridges are always black, and never dyed. The post spacing, center-to-center, is 2.275", a perfect match for vintage Gibson mandolins with this type of bridge. The thread size matches too, as well as the number of knurls on the edge of the thumb wheels. The thickness, height, and overall length of the base also match Gibson (Loar era) specs. We didn't invent, or even re-invent these things, we just strive for true and accurate reproduction pieces. Seems to be working well so far.

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Bob Clark

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## Timbofood

Thanks Steve, it's really nice to have information from the source!

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## Pete Jenner

> I'm the Norm Crosby of mandolin communication


Whereas I'm the Noam Chomsky of mandolin Communication.

Get a Brekke.

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## Timbofood

I am the Norm Peterson,

"I'll take a beer, Woody"


"What's shakin' Mr. Peterson?"
"Four cheeks and, a couple of chins."

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## Michael Bridges

> I am the Norm Peterson,
> 
> "I'll take a beer, Woody"
> 
> 
> "What's shakin' Mr. Peterson?"
> "Four cheeks and, a couple of chins."


Greatest Norm line ever!
How's it goin' Mr. Peterson?
It's a dog-eat-dog world, and I'm wearin' MilkBone underwear!
+1 On the CA bridge, BTW. I've got one sitting here, got to get it to my Luthier friend and get it installed and set p.

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Timbofood

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## MysTiK PiKn

> Just to clear a few things up here... Cumberland Acoustic bridges are always black, and never dyed. The post spacing, center-to-center, is 2.275", a perfect match for vintage Gibson mandolins with this type of bridge. The thread size matches too, as well as the number of knurls on the edge of the thumb wheels. The thickness, height, and overall length of the base also match Gibson (Loar era) specs. We didn't invent, or even re-invent these things, we just strive for true and accurate reproduction pieces. Seems to be working well so far.


wow. 2 yrs went by. 
wha happened? no report? did this shift to a different thread? or just get lost in norm crosby jokes?
what happened to mandolin-tele? 
did his shop botch the install? or what happened?  phoofff. dead end

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## Mandolin-Tele

Hi I'm sure I made a new thread with a review but I'll follow up here again

The New Bridge that Cumberland made is fantastic sounding everything is louder "Chop" "Notes" "Volume" 

I did add a new James Tailpiece and it's very solid and great for fast string changes 

I do like the mandolin better now but it was a great sounding Mandolin to begin with

I feel that the bridge and James tailpiece took the Loar Mandolin to the next level 

I have compared The Loar 600 Mandolin  with some very expensive modals and I don't see the reason for the expense

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Steevarino

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