<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> <html> <head> <meta content="text/html;charset=ISO-8859-1" http-equiv="Content-Type"> <title></title> </head> <body bgcolor="#ffffff" text="#000000"> In reply to the comments about bending the wire around the bridge pin....  I have to agree with Ron N's statement about throwing away the string stretcher.  At least if its going to be used to do anything like this.  I have never understood the reasoning behind this idea.  It would make some sense I suppose if the kink made had something close to a static position relative to the bridge pin... but it doesnt really. And how is the perceived need for this procedure justified ? There is nothing beyond what I guess I'd have to call suspicion behind these ideas.  The only reasoning I've read hear and other places that looks at any of the mechanics involved really point in the other direction... that one is bound to damage the bridge pin hole surface area, that the kink will move around anyways, and that the wire will conform to the termination all it ever needs to do just by virtue of the tension applied to it.  When I use my string stretcher... its in the middle of the string... and I push in a direction away from the bridge pin... not towards it.  I noticed another little tidbit just the other day pulling up tension on the back scale.  That little click noise often heard in new pianos we associate with the need to seat strings. I heard the exact same noise quite often on an older D. I'm wondering whether or not what we are hearing is the string breaking the friction hold and rendering through the pins.  I'm also wondering whether or not the perceived benefit has more to do with the resultant relative tension levels of the string at the three segments involved... speaking length, bridge surface span, and backlength. As far as stretching for stability is concerned.  I do this because I notice it works to some degree. But I push away from the bridge pins both fore and aft of the bridge. I also squeeze the backlengths of the new string together a bit with some wide flat faced nose pliers, and squeeze the coil as Ed mentioned.  Regardless however.. I always end up needing to pull the string up to pitch again the next day.  I can get a string to hold through a concert if I have to... but seems like there is no way of getting around the need to come back at the string after a day or two. Cheers RicB <blockquote> In last month's discussion of wire stretch, someone mentioned pulling a new string a semitone sharp to take care of any future stretch along all its segments. Is a 'semitone' overpull common practice for new (plain-wire) strings? Would you do this as part of a full re-stringing as well, or is this just a habit when trying to get a new single-string replacement stable? I've never done so, but can't see the harm with fresh new wire. Anyone want to educate me on the subject? thanks, Mark Cramer Brandon University</blockquote> </body> </html>