The flat and sharp strings would reverse themselves if this were the case. Newton Jon Page wrote: > > Could it be that the wire on the treble & bass sides of the unison > react to the movement of the sounding board. I always thought it > was one of those mysteries of nature. > > Still do, > > Jon Page > > At 03:15 PM 11/07/1999 +0000, you wrote: > >Ron, > > I agree we would have to account for the total "waste length" of > every > >string (whether toward tuning pin or hitch pin), and their relative > >tensions, and the amount of friction involved, and bridge rise and roll, > >to come to a complete analysis. I have certainly considered all these > >factors in my musings while pitch raising/lowering for the ?thousandth > >time. > > The puzzle for me is that uprights and grands both show the same > >tendency for the right string to move most, whether to a large or small > >degree. Hitch pin waste lengths vary, but typically not by much on any > >given piano. Tuning pin waste lengths vary pretty consistently, so that > >on all grands the right tuning pin's waste length is longest for the > >unison, while on an upright the right is shortest. So why isn't the > >pattern reversed for uprights? > > > >Fred > > > >Ron Nossaman wrote: > >> > >> Hi Fred, I doubt that this will answer anything well enough to clear this > >> up, but here are a few observations. > > > >> * Let's consider what we are looking at. There is more involved than just > >> the strings from the bridge to the tuning pins. You need to consider the > >> entire string length from the hitch to the tuning pin. When the bridge > >> rises and lowers with the soundboard, the strings render over the rear > >> aliquot, the V bar, the front counter bearing bar(s), and, unless the total > >> length of string segments behind the bridge equals those in front of the > >> bridge, the strings will render through the bridge pins to some degree. The > >> bridge is the high friction point, so it takes bigger tension changes to > >> move a string across it. In general, the longer the total string length is, > >> the less the tension change with bridge rise or fall (not roll). The left > >> string of the unison has the shortest length from the bridge to the tuning > >> pin, but not necessarily from the tuning pin to the hitch. This will change > >> from unison to unison depending on the distance from the bridge pins to the > >> hitch for any string. If the total back scale is significantly shorter than > >> the total front scale, here's what should happen when the soundboard and > >> bridge rises with humidity increase: The tensions in the back scale will > >> increase as a faster rate, and peak at higher values than the tensions in > >> the front scale segments. If the difference in tension is enough to > >> overcome the friction at the bridge, the string will render across the > >> bridge toward the hitch pin, further raising the tension in the front scale > >> as the back scale tension decreases. The pitch rise of the speaking segment > >> in this instance will end up being sharper than that of a string segment of > >> a neighboring unison who's tuning pin is closer to the capo than this one > is. > >> > >> Just like everything else in a piano, you have to take fourteen different > >> things into account to make any sense of what you're looking at. After you > >> factor in the string segment lengths, proportions of front segments > >> relative to rear segments, vertical bridge movements, and friction, it > >> begins to make some sense. The biggest problem as I see it is that we can't > >> really know what the tension is in any given section at any given time (or > >> can we?). If we could measure segment tensions we could see exactly what's > >> happening. > >> > >> Ron N > > > Jon Page, Harwich Port, Cape Cod, Mass. mailto:jpage@capecod.net > ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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