Seating/false beats

[S. Brady]

On Sat, 19 Apr 1997, Susan Kline wrote:

> No, but I also have trouble with the humidity theory. (However, it's
> _remarkably_ original and interesting!)
>
> First, why has no one noted a difference in the need for string seating in
> wet and dry climates, or between buildings with good and poor climate-control?
	Actually, I have noticed that I have to encourage the strings on
my concert grands bridgeward each fall/winter. This seems to be mainly in
octaves 4-6. When I find that certain strings are becoming resistant to
tuning, I tap lightly and usually hear a "snick" as the string seats. The
string then tunes much more easily, and stays put better. I relate this
phenomenon more to tuning ease and stability than to false beats. I also
notice that the pianos seem much more stable in general during the spring
and summer than in the fall and winter.

> Third, has anyone noticed a difference in string seating in those brands
> that have the bridge grain going a different direction? There should be one!
> Vertical-grained bridges should swell higher than horizontal, shouldn't
> they? Have they?

	My own suspicion is that there may be more expanding and
contracting than just the bridge or bridge cap. How about the soundboard?
Does it crown up enough in high humidity to produce this effect, or at
least contribute to it? Would that help explain why I notice the effect
more in the mid-treble than anywhere else?




Steve Brady, RPT
University of Washington
Seattle, WA