Nice clean work Hesh!

I also radius my bridge plates. I dont go to the trouble of champhering the edges though. I use a radiused caul when gluing them in place. BRW is a good choice of woods also. As you know I have been using Osage Orange lately and I like the results I am getting. I prefer ths wood because it is so dense and rugged. I dont think I will have problems with the string balls causing damage to this plate even with someone who changes strings daily. I think you wont have any problems with bridge plate wear either. Grain orientation is important also.

I think having good contact with the x- braces is important. Looks like you are doing all of the right things!

I agree that they are important.  My opinion about bridge plates is informed mostly by trying about 6 different versions on the same test top.  On my particular test tops, switching from a fairly traditional maple plate to brazilian gave me more of everything in the sound but particularly clearer bass and more brilliant treble.  I also tried eliminating the plate entirely except for a small oval under the pins.  The result again, to my surprise, was a little more of everything and a lot more string noise!  Serious squeeking.  I then swapped out the bridge for a heavier, stiffer one and the string noise was reduced.

One lesson, yet again, is that the bridge plate is part of a system. The effect of the bridge patch is partly dependent on the bridge, top thickness, and brace stiffness in the area.

For example, I know some folks build with thin tops and use an oversized patch as a brace to prevent over bellying of the top.  But would an oversize patch be an asset to a thicker top?  I doubt it.

Fun stuff!

I also tried eliminating the plate entirely except for a small oval under the pins. The result again, to my surprise, was a little more of everything and a lot more string noise!

[QUOTE=PaulB] So does that mean the guitar was more responsive in general? Maybe too responsive? Does that mean some dampening at the bridge/bridge plate is desirable? 
 [/QUOTE]

Yes, more responsive, louder, more immediacy, more clarity.  Maybe too clear and metalic.  Not sure about the damping.  Maybe there's another way to get rid of the string noise.  I'd consider using that approach if I ever build another instrument for someone who plays with flat wound strings to give back some of the life lost with those things.

As for splitting, I just make sure not to use quarter sawn wood and I don't run the grain parallel to the holes.

Cocobolo works well too.

As for splitting, I just make sure not to use quarter sawn wood and I don't run the grain parallel to the holes.

Cocobolo works well too.

Michael, I think you misread my post.  I said I make sure not to use quarter sawn.  And I said not parallel to the holes (plural) meaning parallel to the line of holes.

By the way, thanks for the bone idea, Colin.  I'm going to give that a try.

Also, for those of you that heat parts for hide glue, do you ever worry about humidity issues?  We all go to such lengths to control humidity for glue ups that I've never been comfortable with the idea of heating parts and potentially drastically changing the relative humidity, particularly for plates.  But I know a lot of folks do it so is it not an issue and why?