Funny you should bring this up. I had been meaning to post a related question: Why agraffes at all? Or at least brass agraffes. With such a soft metal, seems to me you are always going to have grooves forming and all the related garbage noises. What about a nice stainless agraffe (if you gotta have an agraffe)? What about those cheepie microgrands with the capo-type bars across the full string scale? What about a forward string termination design more akin to the upright pressure-bar and V-bar? Agraffes are good for costetics - they line the strings up nice and they look pretty cool, but beyond that, what good are they? If we can line up strings in the two capo sections of most grands, I'm sure we are all capable of doing it in the tenor and bass. Or what? Terry Farrell Richard Brekne wrote: SNIP > bty... as long as Agraffes are up.... Great article in the Journal this > month on polishing. Looks impressive as heck. Only question I have is > the profile inside that ends up being formed. Anyone have any > comparisons / comments on this compared to reaming ?
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