In addition to the increase in mass, there is the direct connection between the strings in the sounding portion - in practice, it does force them into a unified pitch... This is an experimental approach - clipping all three strings together that far from the endpoint. A byproduct of the traditional pitch lock treatment is a slight dulling of tone of the two connected strings - what I did helped get rid of the "twang", and result in a more stable pitch throughout the sustain. Don't read me wrong, it's still bad, just not horrible now! This is one of those situations where the owner(s) don't hear a problem, other than the piano going out of tune quickly with the change in temp and humidity. It's in a church on the south side of the sanctuary and gets baked by the sun... (I'm gonna try and work on that!) Ron Koval Ron N wrote: That follows. What you're doing is effectively adding mass to the speaking length, requiring more string tension to get the pitch back up. This increases the break%. Since the basic problem with these things, among others, is a low break% in the low tenor, this makes it less bad.
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