Ghosts of impedance past, and yet to come

[Ron Nossaman]

> I have
>also found occassionally that when a second string is coupled the pitch may
>rise or it may fall a bit, but when the third string is coupled in it goes
>the other direction.

Hi Richard. Yup, I ran into that one too, but it seemed to me that that was
one of the more steerable scenarios. I could sometimes go back and move the
second string a bit, and put the pitch right on the money with the third
string. That was with the back scale open. I didn't run into any of this
with it taped off.


>Kinda shoots the tomatoes out of the present "string coupling " theory tho
>dont it ??

I don't know yet. I'm not sure I've heard a reasonably complete
"explanation" of the present theory. Actually I've heard a few attempts to
explain certain phenomena with coupling, and they made as much sense as
what I'm finding within their own context. I'm just hoping to add some
missing details and maybe outline some baseline parameters. I'd really like
to determine the hierarchic precedence of what's more supportive of the
effect, but that one's still way back in the fog. What I've found so far is
considerably different than it has been described to be, so I feel I'm
making some progress - especially with other people now reporting similar
observations. I'm sure this is a coupling effect, and it seems to be fed by
cyclic feedback from other parts of the system, like the back scale and
front duplex, but it still seems to me that soundboard assembly impedance
should be a major player in the effect. I'll either know more, or be
hopelessly confused, after I check the next one. Whenever that proves to be.

Thanks for your input.

Oh, one more thing, just to add another layer of aggravation. With the back
scale taped off, and the pitch staying the same through the tuning, the
attack phase pitch rise was greatly reduced, whereas it was quite obvious
with the back scale open. Another clue?

Ron N