Stephen Birkett wrote: > One important fact seems to be that the string termination points > are transparent to the longitudinal vibrations, which recognize the total > length of the wire from tuning pin to hitchpin, but there are also low > amplitude reflections from other points like pins and agraffes that muddy > the picture. > Sounds like the idea of "fixed string lengths" is somewhat relative then afterall, but I am told thats not really correct. Matter of sematics maybe ?? I am wondering if there might be any connection to this buiseness of Para. One thing they seem to have in common is the area of the piano we are talking about. Another thought here, is that might explain why some techs seem to attribute para to the bridge, and others to the string. If longitudinal vibs are somehow involved, and the termination points are transparent to them, then the bridge and all non singing lengths come into play.. But then perhaps I am off on a weird tangent here.. grin > > Have Harold's Journal of the Acoustical Society of America articles been > mentioned? There is discussion of his ideas in one of those articles > (more than in the "Five Lectures article"). > > Stephen > > Stephen Birkett Fortepianos
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