In 2008, I designed a model that combined characteristics of both types, offering me many tonal possibilities.
My model bridge was conceived initially using the same construction tools that I use for my instruments.
Therefore, it is easy to find in it elements of the golden ratio and Renaissance notions of equilibrium. This side image shows a sketch, from my model template, demonstrating how simple it is to find this information in my design...
Each line is intersected by a point that precisely demarcates the golden section.
It is possible to notice how carefully I work to harmonize the eyes with the body of the bridge, even when using a conventional design and in this case the Belgian style. A perfect circle tangentially intersects the principal points of the form: the center of the table, the nubs of the legs, the upper border ot the eyes and the crest of the heart.
I've always verified the thesis that there is no such thing as the definitive bridge for any instrument, for all situations. In fact I've found that it's quite the opposite. Sometimes it is necessary to exchange the bridge when the instrument changes hands, perhaps because the musician needs another timbre for a repertoire different than the previous owner's, or in order to compensate for differences in playing technique.
Whatever the function of the instrument, it is always necessary to achieve the maximum output and I like to do this by tying captivating lines with proven technical choices. In my view, it is vital that the bridge be beautiful, that it has sufficiently long legs and a balanced and elastic center, in order to produce a powerful sound and to adequately filter the harmonic content of the strings.
I guarantee that working with various thicknesses and proportions is possible to drastically alter the timbre and sometimes the general output of the instrument.