Richard Brekne wrote: > Course there is one easy observation that creates a bit of a problem for that > view.... Why then does the section of strings just below the treble break, and > that just above behave in such a disjunct fashion then... ? You need to explain > this. Then too... Richard, Yep, that's another very interesting phenomenon. My own best take is that it is caused by the usual curve in the bridge at that point, and by the bridge canting to one side or other. Have you noticed that the effect can be either way? Sometimes the largest pitch change just below the treble break, sometimes just above, depending on model of piano (each model seems to be pretty consistent, though)? Bizarre! Hamiltons are the opposite of Yamaha U-1's, for instance. <snip> > > Interesting that you use the term "waste lengths"... just what specifically do > you mean by this and why are these <<wastefull>> (Semantics ??) > I just mean the part of the string not in the speaking length. Not a particularly good terminology, just what jumped into my mind at that moment. What I was really referring to is the differing distances between bridge and hitch pin, which I theorize leads to different constraining pressures on the bridge/board system, leading to varying degrees of twist. What puzzles me the most is the pitch variation within individual unisons between left and right strings, and especially the fact that they are often greatest in the highest octave or two. I don't claim to have many answers, just an observant and inquiring mind. Fred Sturm University of New Mexico
This PTG archive page provided courtesy of Moy Piano Service, LLC