What is the "official" rationale for splaying the strings within a trichord at the bridge? or is it one of those little bits of piano folklore that keeps propagating because it's assumed to be "necessary because we've always done it"? It's done even on straight-strung stringbands, as much as to the point of having all strings the same separation at the bridge, like you see on some over-strung pianos. What dire consequence might result from keeping strings parallel within a trichord? And have these consequences actually been confirmed experimentally or by supposition? Stephen -- Dr Stephen Birkett Piano Design Lab Department of Systems Design Engineering University of Waterloo, Waterloo ON Canada N2L 3G1 tel: 519-888-4567 Ext. 3792 Lab room E3-3160 Ext. 7115 mailto: sbirkett[at]real.uwaterloo.ca http://real.uwaterloo.ca/~sbirkett
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