The compensation that Bart builds into these bridges is for just the right strings at just the right places. That compensation is typically not symmetrical between the strings, which is an incorrect assumption that most other compensated bridge builders make. If you use his methods for measuring your banjo's bridge layout, it will be a custom fit bridge unlike anything you can get anywhere else.

My experience with Bart's bridges involved choosing between four bridges that Bart had pre-made and kindly provided to me for testing. I hadn't provided compensation measurements to Bart as I should have, instead by my request Bart had made up three straight one-piece bridges of varying woods and thicknesses for me to test out, plus he threw in a moderately "vanilla" compensated one-piece maple bridge (Ed. this one was compensated for a Fender Leo) to add to my testing experience.

My preference for my 5-string banjo, a late '25 Gibson "Ball Bearing" Mastertone Style 3, was that compensated one-piece maple bridge. On my banjo it produces a very bright, loud and crisp tone, and it still allows that unique vibrant, sweet tone that is characteristic of well-sprung Ball Bearing Mastertones to come through.

I really cannot think of any negatives about the build of this compensated bridge... It is efficiently functional, putting compensation only where it is needed. It is stoutly built, without any hint of being fragile under string pressure. The bridge I use is a relatively thin standard length three footed bridge, but bridge thickness, string spread and the number of feet are some of the custom details that Bart will build to order. Like most compensated bridges, this bridge is uniquely stable on the head; it does not have as much of the tendency to easily fall over like a straight bridge does.

My practice with bridges is to buy a bunch of them and circulate them through the years, changing them every three or four months on the banjo. My observation is that a well built used bridge tends to rejuvenate if it is left to rest in a cool dry place for a few months. If the strings are kept clean, often changing the bridge instead of the strings makes a banjo sound just like the strings have been changed. As a result of changing the bridge and cleaning the strings, I am usually able to leave a set of strings on my banjo for more than a year.

I've had four late 1970's Shubb bridges that I've done this circulation with up until now, but I am planning on doing this with Bart's bridges from now on. My strong recommendation is that if you are looking for a new bridge, contact Bart for the custom bridge made just for your banjo.

Don Hergert,

Loma Linda, California, U.S.A.