At 1:16 PM -0600 12/1/01, Ron Nossaman wrote: > >There will always be one large step in the tension curve where >>singles pass to bichords. Wolfenden recommended what I regard as too >>small a jump, Ron Nossaman et al talk of what I regard as an >>unnecessarily large jump, but it will depend on a number of factors. > >Among them, whether you are talking about individual string tension, or >unison tension. I blend unison tension, inharmonicity, and impedance across >the transition to what I consider a quite pleasing result. I ought to have added that Lipp and Brinsmead, two of my greatest makers, probably tend to your way of thinking with tensions over 310 lbf. in the top single and a big fall to the bichords, but even on these I tend to lighten the bass scale somewhat and get more life in the bass. Curiously, though the two firms are quite unrelated and their pianos of very different design, both have a certain magic and extraordinary resonance in the soundboard that is very rare. Both have a good crown on the board and both finish the boards to a wonderfully deep lustre. The general character of both is very powerful and rich, but I find the bass slightly plummy and lacking the brilliance of the piano as a whole. I think there was a fashion for a long time for the warm round plummy bass typified by the Blüthner and I guess the makers were responding to this taste while all the while wishing people would love a lighter brighter bass with better attack. It's very much a question of the age and the place. Much has been made over the years of the difference between the European sound and the American sound, but it seems to me these have reversed position maybe several times in the course of a century. What the current difference is I have no idea and I imagine recorded music has narrowed the gap for ever, but we're none of us quite immune to the Zeitgeist. Can you explain, preferably with some numbers, what you mean by "impedance across the transition", how you measure it. JD
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