46 Custom Luthier's Headstocks, Saddles or Tailpieces

[iim7V7IM7]

Hi,

I thought that I would share this image montage of 30 independent luthier headstocks and bridge designs as a sample of the custom luthier's art. I know that there are MANY other designs out there among the universe of luthiers. I find these features of a flat top guitar to be influential in establishing the visual "design language" of a particular builder's style. A few years back, when looking at custom build archtop, I made a similar montage of 16 custom archtop builders headstocks and tailpieces which I also have included. This similarly establishes the "look" of a custom archtop guitar.

It should be noted that obviously custom builders do vary (customize) and evolve these designs. I found it to be interesting to look at particularly as a group. We rarely get to the luthier's art all in a single composite. I suppose that my background in design compelled me to create this composite.

Enjoy,

Bob

FLAT TOPS:








ARCHTOPS:

[Larry Pattis]

Thanks for this, Bob...very nice.

FYI, you've got Simon Fay's current headstock, but a very-old bridge design.

[mikealpine]

Nicely put together! And it's very cool to see them all like this. Thanks very much!!

[dneal]

I wonder who began use of the thick saddle (on the Greenfield, Somogyi, Kraut, etc...). The benefit of easy profiling for intonation is obvious, but are there any downsides?

[iim7V7IM7]

Originally Posted by Larry Pattis

Thanks for this, Bob...very nice.

FYI, you've got Simon Fay's current headstock, but a very-old bridge design.

Duly noted...a bit of bridge fatigue.

[Kent Chasson]

Originally Posted by dneal

I wonder who began use of the thick saddle (on the Greenfield, Somogyi, Kraut, etc...). The benefit of easy profiling for intonation is obvious, but are there any downsides?

Somogyi wrote an article about wide saddles that was published in American Lutherie. I may be able to find it but I think it was early to mid 90's. Because of that, I've always associated it with him. In the article, he said he believes more contact area with the string leads to better transmission of energy. Not sure about that but the extra room makes it possible to have room for intonation adjustments without leaving a string on a sharp edge. Sharp edges wear faster and the string will often form a groove and start buzzing. No downsides that I've seen although some people don't like the non-traditional look.

[ChuckS]

Originally Posted by dneal

I wonder who began use of the thick saddle (on the Greenfield, Somogyi, Kraut, etc...). The benefit of easy profiling for intonation is obvious, but are there any downsides?

I have one guitar that uses a 1/4" thick saddle, which happens to be made of FWI. This particular guitar has more string to string sympathetic coupling than other guitars I've owned or played (may be a benefit, may be a downside, depending on what you want). I've wondered if the saddle size, and/or material, contributes to that or if it's mainly other elements of the design.

[ChuckS]

Nice montage. Kind of fun trying to name the luthier before looking at the name below the images.

Nice to see one of the builders from my three guitars made it in

[mesa]

Thanks for your labor in this, Bob. I'm a huge fan of that Fay headstock!

[dneal]

Originally Posted by Kent Chasson

Somogyi wrote an article about wide saddles that was published in American Lutherie. I may be able to find it but I think it was early to mid 90's. Because of that, I've always associated it with him. In the article, he said he believes more contact area with the string leads to better transmission of energy. Not sure about that but the extra room makes it possible to have room for intonation adjustments without leaving a string on a sharp edge. Sharp edges wear faster and the string will often form a groove and start buzzing. No downsides that I've seen although some people don't like the non-traditional look.

I suspected as much, and have seen his article about maximizing string to bridge contact (particularly from the bridge to the pin).

I guess a downside is that you're not going to find a 1/4" thick bridge at StewMac or LMI if you need a replacement...

To the OP - note that it's Chasson...

--edit--

We're talking about the same article. http://www.esomogyi.com/principles.html I'd love to spend an afternoon chatting with him (and not just about guitars). An amazing guy.

[Larry Pattis]

Originally Posted by dneal

I wonder who began use of the thick saddle (on the Greenfield, Somogyi, Kraut, etc...). The benefit of easy profiling for intonation is obvious, but are there any downsides?

One downside is that a proper UST installation is an impossibility with the 1/4" saddle, or even a 3/16" saddle width. USTs are manufactured for 3/32" and 1/8" saddle widths.

One huge plus (IMO) in the world of pick-ups, however, is that the wider saddles makes the absolute-perfect home for my preferred pick-up, the Highlander IP-1

[dneal]

Originally Posted by Larry Pattis

One downside is that a proper UST installation is an impossibility with the 1/4" saddle, or even a 3/16" saddle width. USTs are manufactured for 3/32" and 1/8" saddle widths.

Good point. I imagine it could be done, but would require a lot of work milling a channel for the UST in the bridge, saddle, or both.

[Kent Chasson]

Originally Posted by dneal

We're talking about the same article. http://www.esomogyi.com/principles.html I'd love to spend an afternoon chatting with him (and not just about guitars). An amazing guy.

Yes, that's the one. And I was even right about the date! Maybe my memory isn't as bad as I thought.

[Cocobolo Kid]

Nice and interesting montage. However, the one for Mike Baranik shows an older CX/JX headstock with the newer 00M bridge. His newer Meridian headstock and bridge looks like this:

[justonwo]

Actually, Mike's latest headstock is pictured below. Great post! Thanks for the photos.