Bridges (200x33x13 mm)

We all know that there are bridges built with other material than tonewoods. But in Maderas Barber, we know that wood bridges add a lot of quality and warm to the instrument sound, so we still offering them for make your instrument unique.

The most used woods nowadays are Ebony and Rosewood, but they are being replaced by other woods from also the family of Ebony, Rosewood, Walnut, Wenge, Cocobolo, and Ziricote. Get to know all the options we give you for your classic guitar in Maderas Barber.

Bridges (200x33x13 mm) 

Subcategories

  • Bocote

    Bocote is now very used between luthiers and musical instruments builders, thanks to its great acoustic and its singular beauty. This exotic wood has a particular appearance due to the round figures that we can find in its surface and which commonly remind to the bird’s eyes.

    This tonewood has a good “sustain”, a powerful and warm tone, and a great stability, what makes it perfect for bridges.

    Discover our Bocote bridges for classic guitar in Maderas Barber, a wood which is not very known, but very appreciated by the luthiers who has already worked with it.

    BOTANIC NAME: Cordia eleagnoides

    COMMON NAMES : Bocote, Bucote, Cordia, Barcino, Cueramo

    ORIGIN:  Mexico

    DESCRIPTION: Density 950-1200 Kg/m3.  Has a yellowish-brown body with dramatic dark brown to almost black stripes. Colour tends to darken with age. The grain patterning can be quite striking, particularly on flatsawn areas. It’s not uncommon to see many “eyes” and other figuring in Bocote.  It is heavy and resistant.

    RECOMMENDATIONS: Bocote is easily worked and machined with good results.  Bocote also turns and finishes well. knots do not seem to present any special challenges in machining.

    DRYING: Drying process is slow and must be done carefully.

    USES:  Guitar  backs and sides, headplates, fingerboards and bridges.

  • Cocobolo (CITES)

    Cocobolo is considered as a precious wood thanks to its great beauty and its magnificent sound.

    With a different appearance, Cocobolo will provide to your instrument an elegant and luxury touch with a wide range of tonalities which goes from yellow to purple and brown.

    Acoustically, Cocobolo has a clear sound and a fast response, with some shared characteristics with Koa wood. The rigidity and density of this wood provokes a good transmission of the vibrations though the bridge, which definitely is an essential piece in the sound of the instrument.

    Discover the recognised properties of Cocobolo bridges for classic guitar which you can find in Maderas Barber with always the best quality.

    BOTANIC NAME: Dalbergia retusa.

    COMMON NAMES: Cocobolo, Granadilla, Cocobola.

    ORIGIN: Nicaragua.

    DESCRIPTION: Density 990-1250 Kg/m3. Cocobolo can have different colours, ranging from yellow, orange, red, and shades of brown with streaks of black or purple. Sapwood is typically a very pale yellow. Colours are lighter when freshly sanded/cut, and darken with age. Grain is straight to interlocked, with a fine even texture. Good natural luster.

    Notoriously allergenic.

    RECOMMENDATIONS:  Due to the high oil content found in this wood, it can occasionally cause problems with gluing. Also, the wood’s colour can bleed into surrounding wood when applying a finish, so care must be taken on the initial seal coats not to smear the wood’s colour/oils into surrounding areas. Tear out can occur during planning if interlocked grain is present; the wood also has a moderate blunting effect on cutting edges/tools due to its high density. Cocobolo has excellent turning properties.

    DRYING: Slow drying wood. Risk of deformation or cracks.

    USES:  Guitar backs and sides, fingerboards, bridges, headplates. Wind instruments.

  • African Ebony

    Although bridge is not one of the most visible parts of the classic guitar, it is one of the elements with a bigger influence on the final sound of the instrument, because it is one of the support point of the strings.

    For this part of the instrument, African Ebony is one of the most used woods thanks to its great balance between quality, sound and resistance. Besides, it has a great sound response and great resistance to wear and frictions.

    Try these dynamic and different African Ebony bridges of Maderas Barber which will give a brilliant touch to your classic guitar.

    BOTANIC NAME: Diospyros crassiflora hiern.

    COMMON NAMES: African Ebony, Black Ebony.

    ORIGIN:  Central and Western Africa.

    DESCRIPTION:   Density 1030-1050 Kg/m3. Sapwood is light colour and hardwood is jet-black.

    Occasionally dark brown or greyish-brown streaks may be present. Grain is usually straight but can also be interlocked. Fine even texture with very high natural luster.

    RECOMMENDATIONS: Easy sawing but can be difficult to work due to its extremely high density. Has a dulling effect on cutters. Tear out may occur on pieces that have interlocked or irregular grain. Due to the high oil content found in this wood, it can occasionally cause problems with gluing. Finishes well, and polishes to a high luster. Responds well to steam bending.

    DRYING: Drying process speed can vary from normal to low speed. Tendency to split.

    USES:  Fingerboards. Wind instruments.

  • Amara Ebony

    Amara Ebony is a very interesting option for this part of the classic guitar: it has a very high density perfect for the tension and the transmission of the vibrations.

    Besides, it is a tonewood with a surprising appearance which combines red, green and black tonalities. Don’t miss the opportunity of discover these great Amara Ebony bridges for classic guitar.

    BOTANIC NAME: Diospyros Celebica

    COMMON NAMES: Amara Ebony

    ORIGIN:  Asia.

    DESCRIPTION:   Density 1100-1300 Kg/m3. Sapwood colour goes from white to reddish brown. Heartwood is dark with different black colours with some bright stripes and green colour. Compare to the Makassar Ebony it is more opaque and less shinny.

    RECOMMENDATIONS: Tends to be difficult to work with due to its high density. Blunting effect on cutters. It is slightly easier to work with than the Makasssar Ebony.

    DRYING: Drying process must be slow to prevent cracks.  Wooden parts can become deformed.

    USES:  Guitar backs and sides.

  • African Exotic Ebony

    African Exotic Ebony is a perfect option for this part of the instrument thanks to its hardness and resistance, as it happens with its brother, African Ebony. Both of them are able to transmit the vibrations of the soundboard while hugely resist wear and friction.

    Physically, it shares some qualities with African Ebony, but this one adds an exotic and wild touch, due to the figures of its grain and its color contrast. About the sound, this tonewood adds a brilliant and dynamic touch. For all these reasons, don’t hesitate in choosing African Exotic Ebony bridges for your classic guitar.

    BOTANIC NAME: Diospyros crassiflora hiern.

    COMMON NAMES: Exotic African Ebony, Exotic Black Ebony.

    ORIGIN:  Central and Western Africa.

    DESCRIPTION:   Density 1030-1050 Kg/m3. Sapwood is light colour and hardwood is jet-black. We can find on this specie a wide variety of colours.  Grain is usually straight but can also be interlocked. Fine even texture with very high natural luster.

    RECOMMENDATIONS: Easy sawing but can be difficult to work. Has a dulling effect on cutters. Tear out may occur on pieces that have interlocked or irregular grain. It can crack easily under changes in temperature or because of humidity. Machining and gluing can be complicated due to its high density. Finishes well. Can cause skin problems.

    DRYING: Drying process speed can vary from normal to low speed. Tendency to split.

    USES:  Musical instruments fingerboards. Wind instruments.

  • Macassar Ebony

    The demand of Macassar Ebony doesn’t stop of increasing thanks to its excellent sound qualities and its hardness, what makes it perfect for being used in bridges. In addition, we can’t forget its beautiful figures and exotic touch, even oriental.

    In Maderas Barber we always innovate and look for new and better option for your instrument. That’s why we are sure that Macassar Ebony bridges won’t let you down.

    BOTANIC NAME: Diospyros Celebica

    COMMON NAMES: Macassar Ebony , Striped Ebony

    ORIGIN:  Asia.

    DESCRIPTION:   Density 1000-1300 Kg/m3 .Heartwood has a striped appearance, somewhat similar to Zebrawood. Yellow to reddish brown body with darker brown or black stripes. Sharply demarcated sapwood is pale gold colour. Grain is usually straight, but can sometimes be interlocked; fine uniform texture and good natural luster. 

    RECOMMENDATIONS: Tends to be rather difficult to work, due to its high density, blunting effect on cutters, and its occasionally interlocked grain. Humidity must be controlled during storage. Machining must be sharp.

    DRYING: Drying process is slow.  Wooden parts can crack or become deformed after drying.

    USES:  Guitar backs and sides and also fingerboards.

  • Green Ebony

    All varieties of Ebony are dense and hard, and Green Ebony isn’t an exception. Its proprieties are perfect for the construction of classic guitar bridges due to its great transmission of sound and resistance to wear.

    If we add its extraordinary beauty, in olive green color, Green Ebony becomes a very valued tonewood.

    Discover the exclusivity of this Green Ebony bridges for classic guitar in Maderas Barber: a wood which will not disappoint you.

    BOTANIC NAME: Diospyros Durionoides

    COMMON NAMES: Green Ebony

    ORIGIN:  Central America.

    DESCRIPTION:   Density 1000-1300 Kg/m3 . Sapwood is white and heartwood is black/brown with stripes in different tones but mainly green olive colour.

    RECOMMENDATIONS: Store it at right temperature to prevent cracks. Can cause skin problems.

    DRYING: An uncommon characteristic of the green ebony , if it cracks before drying process it is possible that after drying the crack seals disappearing without a trace.

    USES:  Guitar backs and sides and also fingerboards, bridges and headplates.

  • Mexican Granadillo

    Mexican Granadillo is a tonewood whom demand has increase in the last years by luthiers in order to build their musical instruments. Besides, Mexican Granadillo has become a good alternative to some Rosewoods.

    Regarding to the construction of classic guitar bridges, Mexican Granadillo has the needed proprieties: hardness and good sound quality. Beauty and quality in the same wood: discover this Mexican Granadillo bridges for your classic guitar in Maderas Barber.

    BOTANIC NAME: Platymiscium Yucatanum

    COMMON NAMES: Mexican cocobolo, Zangalicua, Mexican granadillo.

    ORIGIN:  Central America

    DESCRIPTION:   Density 800-1000 Kg/m3 .

    RECOMMENDATIONS: Store it at right temperature. It is recommended to work with sharp  blades.

    DRYING: Slow drying speed.

    USES:  Guitar backs and sides, fingerboards. Castanets and marimba.

  • American Walnut

    If we compare American Walnut with other tonewood, this one is not the most used by luthiers. But that’s changing in the last years since they have discovered its great qualities. We could highlight the brilliant tonal response of this tonewood, apart from its elegant grain and tonalities of brown color.

    American Walnut is also easy to work with and very sustainable, which makes it a perfect option with a good value for money.

    About this part of the instrument, bridges need a good transmission of the sound and a high wear resistance. And American Walnut has these two proprieties, thanks to its stability, hardness and resistance, once it is dried. Get to know this perfect tonewood for your classic guitar bridge. It won’t let you down.

    BOTANIC NAME: Juglans nigra

    COMMON NAMES: Black walnut, American Walnut.

    ORIGIN: United States and Canada.

    DESCRIPTION:   Heartwood can range from a lighter pale brown to a dark chocolate brown with darker brown streaks. Colour can sometimes have a grey, purple, or reddish cast. Sapwood is pale yellow-grey to nearly white. Grain is usually straight, but can be irregular. Has a medium texture and moderate natural luster.

    RECOMMENDATIONS: Easy to work provided the grain is straight and regular. Glues, stain and finishes well. It is recommended to wear a face mask. Can cause eye and skin irritation.

    DRYING: Drying process must be slow.

    USES:  Guitar backs and sides. Fingerboards.

  • Amazon Rosewood

    Amazon Rosewood is nowadays the most similar tonewood to Brazilian Rosewood. That’s why luthiers have hugely increase the demand of Amazon Rosewood.

    The use of Amazon Rosewood in classic guitar bridges is also very popular due to the great qualities of this wood. It has a high sound quality, durability and hardness, what is very important for this part of the instrument. Bridges need a high wear resistance due to the tension that the instrument has to bear at this part of the instrument.

    At Maderas Barber we have at your disposal Amazon Rosewood bridges for classic guitar with a great beauty and quality.

    BOTANIC NAME: Dalbergia spruceana.

    COMMON NAMES: Amazon Rosewood.

    ORIGIN: Brazil.

    DESCRIPTION: Density 1100 kg/m3. Amazon Rosewood tends to be an orange or reddish brown, with darker contrasting streaks. Lighter yellowish sapwood is clearly demarcated from heartwood. It has uniform, medium texture with open pores.

    RECOMMENDATIONS: Amazon Rosewood can be fairly difficult to work on account of its density. It also needs to be glued with care ,as do most other true rosewoods.). It turns and finishes well, and can be polished to a high natural luster.

    DRYING: Due to its density, it dries slowly. Risk of cracks.

    USES: Guitar backs, sides and fingerboards. Xylophones.

  • Indian Rosewood

    Indian Rosewood is, probably, one of the most used tonewoods for building classic guitar bridges. One special feature of this tonewood is that its growth is very slow, what makes this tree have a homogeneous structure. It is also hard and very treasured thanks to its wide range of colours, its durability and its strength.

    About the sound qualities, we must remind its deep, resonant and reliable sound. We offer you Indian Rosewood bridges with always the best quality in Maderas Barber.

    BOTANIC NAME: Dalbergia latifolia.

    COMMON NAMES: Indian Rosewood, East Indian Rosewood.

    ORIGIN: India.

    DESCRIPTION: Density 870-900 kg/m3. Heartwood can vary from a golden brown to a deep purplish brown, with darker brown streaks. The wood darkens with age, usually becoming a deep brown. Has a medium texture and fairly small pores. The grain is usually narrowly interlocked.

    RECOMMENDATIONS:  It can be difficult to work with tools because of its interlocked grain and density. The wood can sometimes contain chalky deposits that will rapidly dull cutting edges. Glues and finishes well, though colour from the wood’s natural resins can inadvertently bleed onto surrounding surfaces when applying a finish, so care must be taken on the initial seal coats.  Can cause skin irritation

    DRYING: Dries slowly. There is no risk of deformation but it can crack. The wood colour improves with the drying.

    USES: Guitar tops , backs, fingerboards, bridges, headplates and Zanfoña pieces.

  • Madagascar Rosewood (CITES)

    Madagascar Rosewood has a special sound and a stunning appearance with figures and vivid colors. It highlights thanks to its hardness, what makes it perfect for classic guitar bridges, and a good option in order to replace Brazilian Rosewood.

    In Maderas Barber we offer you the best quality of Madagascar Rosewood for your classic guitar bridges.

    BOTANIC NAME: Dalbergia baronii.

    COMMON NAMES: Madagascar Rosewood, Palisander.

    ORIGIN: Madagascar.

    DESCRIPTION: Density 920 kg/m3. Heartwood generally ranges from a light yellow-brown to a darker orange or reddish brown. Darker black streaks are common, and can produce a grain figure known as “spider-webbing” .Pale yellow sapwood is clearly demarcated from heartwood. Grain is usually straight, with a uniform medium-fine texture.

    RECOMMENDATIONS: Generally easy to work with both hand and machine tools, though depending on the species, it can blunt cutting edges rapidly. Care should be taken in gluing and finishing, due to natural oils in the wood that can disrupt the drying process. Turns and polishes well.

    DRYING: Dries slowly . Natural oils  can interrupt the process.

    USES: Guitar tops , backs, fingerboards, bridges, headplates.

  • Kingwood

    Kingwood is a very treasured tonewood thanks to its sound and physical qualities.

    Kingwood is one of the densest and strongest woods used in musical instruments, what makes it perfect for the construction of bridges. This part of the instrument needs hardness and a high resistance in order to bear the string tension and all the wear that the guitar suffer there.

    But there are also other qualities in this tonewood: its elegant appearance. Choosing Kingwood for your classic guitar will guarantee you a different and unique instrument. Discover this exotic and stunning tonewood for your classic guitar bridges in Maderas Barber.

    BOTANIC NAME: Dalbergia cearensis.

    COMMON NAMES: Kingwood.

    ORIGIN: Brazil.

    DESCRIPTION: Density 1020 kg/m3. Heartwood is a dark purplish or reddish brown with darker black streaks. Sapwood is a pale yellow. Grain is usually straight; occasionally interlocked. Fine, uniform texture and a high natural luster.

    RECOMMENDATIONS: Tends to be difficult to work due to its high density. Kingwood has a moderate blunting effect on cutters, and tear out can occur during planning if interlocked grain is present. Can be difficult to glue due to natural oils and high density. Turns very well and takes a high polish.

    DRYING: Dries slowly. Natural oils can interrupt the process.

    USES: Guitar tops, backs, fingerboards and bridges.

  • Santos Rosewood

    Dense, tough, hard and, most of all, long lasting wood. There are a lo of reasons to choose Santos Rosewood for your classic guitar bridge. Its appearance has a great beauty, because of its big variety of colors which goes from a light and golden brown to a very dark brown, with yellow and purple touches.

    Besides, it is a wood very easy to manipulate and to work with and with a great value for money. Regarding to the sound, it has warm and brilliant tones. Some say that Santos Rosewood is the perfect combination between Ebony and Indian Rosewood.

    A perfect wood for being used in the bridge for your classic guitar. Find them out with the best quality at Maderas Barber.

    BOTANIC NAME: Machaerium scleroxylon.

    COMMON NAMES: Pau Ferro, Morado, Bolivian Rosewood, Santos Rosewood.

    ORIGIN: Brazil.

    DESCRIPTION: Density 940 kg/m3. Colour can be highly varied, ranging from reddish/orange to a dark violet/brown, usually with contrasting darker black streaks. Narrow sapwood is a pale yellow and is clearly demarcated from the heartwood. Grain is typically straight, though sometimes slightly irregular or interlocked. Fine, even texture and a naturally high luster.

    RECOMMENDATIONS: Pau Ferro is considered overall to be of fair workability, as it can blunt the cutting edges of tools, and any irregular grain has a tendency to tear out during machining operations. Also, many of the same challenges in gluing rosewoods are common to Pau Ferro as well. Pau Ferro turns and finishes well. Can cause eye and skin irritation.

    DRYING: Dries slowly. No risk of deformation but it can crack.

    USES: Guitar tops, backs, fingerboards , headplates and bridges. Wind instruments.

  • Sycamore

    Since many years, Sycamore has been a tonewood very admired by luthiers thanks to its great density and stiffness. These two proprieties are the most needed in the construction of classic guitar bridges because they have to bear wear and the string tension.

    What is more, this tonewood has a brilliant sound; it is sustainable and easy to access: great pros to chose it for your instrument. Discover the tone, the beauty and the definition of these Sycamore bridges for your classic guitar.

    BOTANIC NAME: Acer pseudoplatanus.

    COMMON NAMES: Sycamore, Maple.

    ORIGIN: Central Europe, Eastern Asia.

    DESCRIPTION: Density 640 kg/m3. Sapwood colour ranges from almost white, to a light golden or reddish brown, while the heartwood is a darker reddish brown. Grain is generally straight, but may be wavy. Has a fine, even texture.

    RECOMMENDATIONS: Fairly easy to work with both hand and machine tools, though it has a tendency to burn when being machined with high-speed cutters such as in a router. Turns, glues, and finishes well, though blotches can occur when staining, and a pre-conditioner, gel stain, or toner may be necessary to get an even colour.

    DRYING: Allow air dry but can cause spots and colour alterations. It is important to dry it quickly to keep the white colour.

    USES: Guitar , backs and sides, bindings and fingerboards.

  • Sonokeling (double)

    Sonokeling shares botanical name and many sound attributes with Indian Rosewood. However, there are also some differences because of the different tree’s growth. Sonokeling stands out because it has a wide range of colors, it is less hard and its grain is a little thicker than Indian Rosewood.

    Its incredible price is another reason why this Sonokeling can be perfect for your classic guitar bridge. Try this high-quality bridge tonewood in Maderas Barber!

    BOTANIC NAME: Dalbergia latifolia

    COMMON NAMES: Sonokeling. East Indian Rosewood.

    ORIGIN: Indonesia.

    DESCRIPTION: Density 820 kg/m3. Heartwood can vary from a golden brown to a deep purplish brown, with darker brown streaks. The wood darkens with age, usually becoming a deep brown. Has a medium texture and fairly small pores. The grain is usually narrowly interlocked.

    RECOMMENDATIONS: It can be difficult to work with tools because of its interlocked grain and density. The wood can sometimes contain chalky deposits that will rapidly dull cutting edges. Glues and finishes well, though colour from the wood’s natural resins can inadvertently bleed onto surrounding surfaces when applying a finish, so care must be taken on the initial seal coats.

    DRYING: Low drying speed. Risk of deformations and cracks.

    USES: Fingerboards, bridges, headplates and bindings.

  • Wenge

    When it is well worked and finished, Wenge is a wood that is worth working. Wenge is a rigid, stable and strong wood which provides warm low tones and medium tones very focused. As all hard, dense and heavy woods, Wenge gives to your instrument a fantastic resonance and a brighter sound. Furthermore, Wenge reduces the highest hints in a very similar way to Tulipwood.

    Discover the beauty and the quality of Wenge bridges for classic guitar in Maderas Barber.

    BOTANIC NAME: Milettia laurentii.

    COMMON NAMES: Wenge, Panga-Panga

    ORIGIN: Central Africa

    DESCRIPTION: Density 830 kg/m3. Heartwood is medium brown, sometimes with a reddish or yellowish hue, with nearly black streaks. Upon application of a wood finish the wood can become nearly black. Grain is straight, with a very coarse texture. Low natural luster.

    RECOMMENDATIONS Can be difficult to work with hand and machine tools. Blunts tool edges. Sands unevenly due to differences in density between light and dark areas. Very large pores can be difficult to fill if a perfectly smooth/level finish is desired.

    DRYING: Slow drying speed. Low risk of deformations.

    USES: Guitar fingerboards, bridges, headplates, backs and sides. Bodies for electric and bass guitars.

  • Ziricote

    Ziricote is probably one of the best woods in order to build musical instruments thanks to its stunning sound and appearance. This wonderful wood has big contrasts in its grain, what will give to your classic guitar an elegant and luxurious touch.

    Once it is dried, this tonewood is very stable and has a clear and balanced sound.

    For all this, Ziricote bridges for classic guitar are a perfect option to build your own instrument. And you will find them at Maderas Barber with always the best quality.

    BOTANIC NAME: Cordia Dodecandra.

    COMMON NAMES: Ziricote

    ORIGIN: Central America.

    DESCRIPTION: Density 805 kg/m3. Ziricote has colour ranges from medium to dark brown, sometimes with either a green or purple hue, with darker bands of black growth rings intermixed. Ziricote has a very unique appearance, which is sometimes referred to as “spider-webbing” grain figure. The pale yellowish sapwood is sometimes incorporated into designs for aesthetic effect, or to cut down on wastage. Grain is straight to slightly interlocked. Medium to fine texture, with good natural luster.

    RECOMMENDATIONS Ziricote is fairly easy to work considering its high density. The wood tends to develop end and surface checks during drying, which can be problematic: though the wood is stable once dry. Ziricote turns and finishes well, and in most instances, it can also be glued with no problems.

    DRYING: Dries slowly. Risk of deformations or cracks.

    USES: Guitar backs and sides, fingerboards.

  • Purple Heart
  • Ovangkol

    Ovangkol has been used for years with the purpose of reaching a beauty appearance and a traditional and powerful acoustic. This wood also offers high notes and good harmonics.

    Ovangkol is easy to work with, cheap and extremely beautiful. In a few words, this wood is a sustainable alternative if we compare it with other species more popular.

    BOTANIC NAME: Guibouthia ehie.

    COMMON NAMES: Ovangkol

    ORIGIN:  Central Africa.

    DESCRIPTION  Density 780-825 Kg/m3. Varying shades of yellowish to reddish brown with darker brown, grey, or black stripes. Moderately wide sapwood is a pale yellow, clearly demarcated from heartwood. Sometimes seen with a curly or mottled grain pattern. Grain is straight to slightly interlocked. Medium to coarse texture, with moderate natural luster.

    RECOMMENDATIONS: Overall a fairly easy wood to work, though Ovangkol contains silica and can therefore dull cutters prematurely. Also, if the grain is interlocked, or if there is other figure present in the wood, planning and other machining operations may be troublesome and cause tear out. Turns, glues and finishes well.

    DRYING: Slow to normal drying process. Risk of deformation.

    USES:  Musical instruments. Floors and furniture.