A tenor bridge conversion

[Farrell]

"I too believe that at least some of the high-end manufacturers didn't choose to use hockey-stick bridges because they wanted to save on a few extra bass strings."

IMHO, not that I don't think most manufacturers are looking to cut costs, but I think the main reason you don't see more notes on the bass bridge is strictly marketing - a smaller bridge with fewer wound strings looks sexier and looks more like a concert grand. I have to agree that some small pianos - like the Baldwin micro grand that Del had a hand in - that have several octaves on the bass bridge have a "clunky" look to them - I don't think they look nearly as sexy as a piano with a smaller bass section - BUT THEY SOUND MUCH BETTER! I think the salesperson can sell a small piano with a small bass bridge more easily because they can point out to the shopper that "this piano is scaled after the famous concert grand, etc., etc."

Terry Farrell
  ----- Original Message ----- 
  This is a very interesting explanation. I too believe that at least some of the high-end manufacturers didn't choose to use hockey-stick bridges because they wanted to save on a few extra bass strings.
  Just look at a pre-war Bechstein piano and you'll see that the attention to detail and workmanship is very good.
  It is possible that it was thought as a way of better blending the scale transition to bass strings, especially given the ideas regarding the way bridges work, and where they should be placed, which existed at the time.
  They might have also had reasons related to less developed string winding techniques etc.

  The ends of the bridges were never Bechstein's strong points in my opinion. Most of their models have some weakness at the break, in the lowest bass or highest treble. But when you play a decent old Bechstein (as opposed to checking individual notes and stuff) you seldom are disturbed by problems at the break. I'm not saying they aren't there, just that they are not obvious during playing.

  What Bechstein achieved better than most (in their older pianos) is the crystalline singing quality of the tenor and treble range, which is rarely surpassed. And don't forget that it's there where most of the music gets played. 

  I hope that Ron Overs was able to retian that special Bechstein tone in his rebuild. Please keep sending pictures and maybe a recording when the piano is finished.

  Calin Tantareanu
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