<html> <body> At 10:28 AM 4/8/2004 -0500, RonNwrote: <blockquote type=cite class=cite cite>FredS <blockquote type=cite class=cite cite>Is it possible that some wiggle room behind the bridge pin is both inevitable and beneficial?</blockquote>RonN Inevitable, probably, beneficial, possibly. It doesn't seem to be a problem tonally until the primary termination, the pin, loses support and rigidity. It isn't a problem at the capo, or with agraffed bridges. All you need is a solid termination. This is why I don't recommend seating strings on bridges. It doesn't fix the loose pin that's most likely what is making the problem audible.</blockquote> Except we've been saying, and you seemed to acknowledge, that there are different kinds of string distortion. On April 1, you said: RN <blockquote type=cite class=cite cite><blockquote type=cite class=cite cite><blockquote type=cite class=cite cite> Furthermore, false beats are usually a product of loose bridge pins and a flagpolling of the pin which creates an oscillation.</blockquote>DS The false beats created by loose bridge pins is different from the distortion caused by faulty termination.</blockquote>RN Yes they are, and these discussions need to start, and stay, with one or the other until some of the questions are answered.</blockquote> So why is the discussion always returning to loose pins?  Allowably, most of false beat tonal issues are traceable to loose pins, but the termination issues remain, even after pins are glued. David Skolnik </body> </html>