Celebrating 25 Years

‘‘Well we certainly couldn’t have predicted this but here we are, 25 years on with a considerable number of instruments under our slightly longer belts, feeling very proud and lucky we’re still surviving. We’re indebted to all the people we’ve worked with along the way with a special thanks to all the musicians who have supported us over these years, many of whom you can meet on our site and listen to their talents. It’s been a joy and a privilege to work with them all, pushing us on to fulfil their ever increasingly sophisticated and imaginative (crazy) requirements. Our hearts go out to you all who unsupported are getting the rest of us through these times…. our sincere thanks, and we look forward to seeing you all back on stage before too long’’

Ceris and Paul

25 years ago a woman walked into our workshop, fiddle case under her arm and a pick up in hand and asked if we would marry the two together so she could be louder when she played with a jazz quartet. But under no circumstances were we to change the way the instrument sounded or affect the playability when she used the instrument acoustically. 

A conundrum, a challenge and an impossibility? any interruption of vibration from string to projected sound would alter the sound and response of the instrument which is why it costs so much to have a bridge fitted, strings are expensive and sound posts take time to fit well.

It was that day the light went on. An acoustic instrument has had a few hundred years of development to be perfect at what it is designed for - to be acoustic. If you want it louder put a mic over it. 

So that’s when Bridge started. The criteria was set to design instruments that could play loudly without feedback and had all the naturalness of tone and playability of their acoustic counterparts.

All the skills we had learnt over the years and some new ones went into what you see today - instruments that are specifically designed to play, sound and feel like their acoustic counterparts but are robust and durable for use in our many demanding environments.

The very start, 1995, fresh from the Newark School of Violinmaking! Our first designs that materialised in the shape of our Aquila 4 string, Lyra 5 string and Draco cello models, followed a few years later by the Tasmans and Golden Tasmans.

Here we all are looking ridiculously young just working out the first designs and protypes…aahhhh!

Our exhibits at trade shows took us all over the world, Many times to the Musicmesse in Frankfurt, Nashville and Shanghai. We picked up some award along the way for our instrument designs, ventures into e-commerce, and most pretigiously the 1999 Total Eclipe cake in Broadstairs. There’s also a pic there from our feature on Tomorrow’s World many years ago! 

From the beginning we have worked with players, listening to their needs and trying to make the best instruments we can within affordable price constraints. We have spent many years going to festivals and concerts listening to players and their music.  

Meet the team in Beijing and Shenyang such a lovely talented group of people and so helpful to work with. We’re missing seeing them this year.   

Things don’t stand still for long here at Bridge and our latest projects include an Electric 3/4 Aquila violin, an Electric 16’’ viola, Dragon upgrades, LEDs and many more special finishes ..... we’ll keep you posted! or give us a call.