Whether the string is primarily vibrating the bridge
top for and aft rapidly, as I believe, or waving it up
and down, as some others believe, a serious "clamping"
of the string to the bridge surface, which still
allows for sliding during tuning, is important.
I belive that the traditional arrangement does a
pretty good job of this. But there's something itching
in me that says there must be a beter way. One which
does not create bridge top deformation, loose pins OR
sounboard collapse.
Perhaps if we stop bickering and pout our noggins
together, we can all come up with something.
Speaking of which: what were the failings of the
Sohmer system, which caused them to stop using it???
Are there perhaps some Sohmers ( human beings ) still
around willing to discuss this???
Thump
>My problem with the concept and terminology of
> "clamping" is that it
> >encourages an image of the string exerting a
> vertical pulling and pushing
> >force upon the bridge, which I believe is
> inaccurate.
>
> How can you reconcile this belief with the belief
> that strings climb bridge
> pins? What supposedly gets them up there? Believe
> what you like, but the
> string does exert a vertical pushing and pulling (or
> lesser pushing) force
> on the bridge.
>
>
> >Good. So, what are your concerns with negative
> downbearing?
>
> Overall downbearing in a conventional design: The
> soundboard isn't
> compressed, so there will be an impedance mismatch
> between the board and
> string scale (killer octave). The coupling between
> the bridge is
> compromised. Not eliminated, but less positive. The
> piano typically sounds
> lousy there.
>
> Ron N
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