Hamamatsu Museum of Instruments

[Richard Brekne]

Calin Tantareanu wrote:

>----- Original Message -----
>From: "Richard Brekne" <Richard.Brekne@grieg.uib.no>
>To: "Pianotech" <pianotech@ptg.org>
>Sent: Saturday, July 31, 2004 5:33 AM
>Subject: Re: Hamamatsu Museum of Instruments
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>>Ok... perhaps... but what about the marked difference in contact width ?
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>Because they didn't have enough room to keep the same space between the two
>rows of bridge pins, without changing the bridge thickness near the strut.
>So they just compressed the space a little.
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Hmm.. not sure we are on the same page here. I mean the width of the 
contact area of the bridge along the length of the stringss.  There is a 
very marked gradual changing in this width, expecially noticeble  in the 
top section where the highest notes had as much as  3 - 4 mm     more 
string length in contact with the bridge then the lowest notes of the 
section. You dont see it so well in the picture as I'd hoped when I took 
it. Looked like a concious effort to vary the length of the string 
segement in contact with the bridge. Tho I've seen that before... it has 
never been so pronounced.  Just got me thinking about what effect this 
has on the transmision of the strings vibrating energy to the 
bridge/soundboard. Off hand I would think a shorter width would provide 
a bit stronger clamping since the front and back bridge pins would be 
nearer each other, but why would this be needed in increasing degree 
through the lower part of the two top sections ?


Cheers
RicB

>Don't forget that they also tried to position the bridge base away from the
>front soundboard edge at the extreme treble, so the bridge doesn't sit on
>the rim. So they minimized the front notch.
>And probably also undercut the bridge.
>
> Calin Tantareanu
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> http://calintantareanu.tripod.com
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