> > ...since the only ways to avoid this are a) to > shift notes > > onto the bass bridge, which would cause even worse > problems > > Why do you say this. I designed the Walter 190 grand > with a 27 note bass > section. When properly built the bass/tenor > transition is essentially > transparant. Our own 122 vertical piano has a 32 > note bass section and > several roomfulls of piano technicians could not > reliably pick out the > bass/tenor transition. > > Interesting -- My 1913 Ricca 56" upright has a 27-note bass. What's the stringing arrangement in the Walter 190 like? (single/double/triple-string notes, wrapped/plain, string length at each end of the bridges (or at least A1 string length)? > > > > > or b) to > > provide a transition bridge as you say, which has > not been considered > > desirable for over 100 years -- and that gives > this solution a pretty > good > > seal of obsoletion, even if it's a good solution, > which I don't > > doubt. > > Well, an idea can be done well or it can be done > poorly. All of the early > transition bridge designs I've seen--and that is > certainly not all of them > by any means--shorten the strings way to much. And > many of them, if not > most, transition to tri-chord wrapped > strings--something I will never > willing do. > > __________________________________________________ Terrorist Attacks on U.S. - How can you help? Donate cash, emergency relief information http://dailynews.yahoo.com/fc/US/Emergency_Information/
This PTG archive page provided courtesy of Moy Piano Service, LLC