Seating/false beats

[Ron Nossaman]

At 01:09 AM 4/18/97 -0500, you wrote:


comments at bottom.

>
>


>
>As to the ability of the hammer to lift the string off of the bridge.
> I'm not as sure of that as I was a couple of weeks ago (this list
>will do that to you) I think, as Ron Says, that humidity shifts have
>a lot more to do with it in normal circumstances.  I do maintain,
>however, that a hard blow, especially in the upper treble where the
>hammer is a lot closer to the bridge, can create some movement.
>
>John McKone, RPT
>St. Louis Park, Minnesota
>(612) 280-8375
>"Sleepless in Minnesota"
>




>	And added to that is that fact that the bridge had two bearing
>points, the front and rear.  If the bridge tilts towards the tuning
>pins, there will be less bearing there, and not only that, the rear
>bearing will be higher than the front bearing.  That alone should
>cause the strings to tend to "ride up" on the front bridge pins,
>before any  force from the hammer is considered. Granted the pins are
>slanted to counter act this tendency, but can this slant work if the
>bridge is tilted forward?

<snip>

>Richard Moody
>


If the bearing angle formed by the speaking length and the section of string across the bridge top is positive, no. The closer to zero this front bearing angle is, the easier it would be to shove the string up the pin, but it would have to be a negative a
ngle to go up without being forced. As long as there is positive bearing both front and back, this phenomenon (if we can adequately define it) should be present in all pianos, differing only in degree from local variations. This sort of peripherally bring
s up another question in this area. Does anyone seat strings on the BACK of the bridge? After all, just because we can't hear them beat doesn't mean they aren't as bad as those at the front.

Regards,
         Ron Nossaman