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Thread: Which Cumberland bridge?

  1. #1
    Registered User
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    Default Which Cumberland bridge?

    I recently acquired a loar lm-600 and for the price I got it for I feel like I can splurge on a nice bridge for it. Judging by what I’ve been reading Cumberland is the way to go. There’s a few different options on what to go with. Tall boy? Low boy? Standard? Gapped? Full contact? So many choices! What would y’all feel is right? Has anyone fixed one to one of these before? Any input helps, thanks.
    The Loar lm-600
    Kentucky KM-150
    Martin D-16GT
    65’ Gibson LG-0 x braced
    Recording King RDH-26
    W.N. Burkard 1890s openback

  2. #2
    coprolite mandroid's Avatar
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    Default Re: Which Cumberland bridge?

    My Mix A5 has a Cumberland acoustics bridge, as it came, if you are confused over which

    why not turn the job over to a skilled luthier an have him assist you, seeing the mandolin in front of him

    the bridge must be fitted to the curvature of your mandolin's top.. it's not plug and play.
    writing about music
    is like dancing,
    about architecture

  3. #3
    Registered User Vernon Hughes's Avatar
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    Default Re: Which Cumberland bridge?

    As stated above, it's not plug and play. But a standard full contact will make a noticeable difference.
    Hughes F-5 #1
    Hughes A model #1
    1922 Gibson A-2
    1958 Gibson A-5

  4. #4
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    Default Re: Which Cumberland bridge?

    I do realize it isn’t plug and play. I have no qualms when it comes to fitting a bridge, creating string slots, etc. But the Cumberland website (at least on my phone) isn’t showing measurements. I’d hate to spend money on one just to find out that the saddle tilts because needs to be raised as high as it can possibly go to be playable or the opposite, get one too tall and have to lob a large portion of its material off.
    The Loar lm-600
    Kentucky KM-150
    Martin D-16GT
    65’ Gibson LG-0 x braced
    Recording King RDH-26
    W.N. Burkard 1890s openback

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