<HTML><BODY style="word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; "><BR><DIV><DIV>On Oct 13, 2005, =
at 11:32 AM, David Ilvedson wrote:</DIV><BR =
class="Apple-interchange-newline"><BLOCKQUOTE type="cite"><P =
style="margin: 0.0px 0.0px 0.0px 0.0px"><FONT face="Helvetica" =
size="3" style="font: 12.0px Helvetica"><SPAN =
class="Apple-converted-space"> </SPAN>In other words it doesn't =
always start at the tenor bridge and go up...am I as clear as =
mud?</FONT></P> <BR =
class="Apple-interchange-newline"></BLOCKQUOTE></DIV><BR><DIV>Common =
sense makes us want to think this way, but I don't think manufacturers =
always are using a whole lot of that. Matter of fact, this thread's =
got me wondering how many times I might have used the wrong wire size =
replacing a single broken wire.</DIV><DIV><BR =
class="khtml-block-placeholder"></DIV><DIV>Steinways are stamped from =
88 and go down, Baldwins from the lowest tenor and go up. I haven't =
changed a string on a Yamaha in so long I don't remember. I'm sure =
that how the plate is stamped is production related - whether each =
company trains its stringers to start at 88 and go down or at the low =
tenor and go up.</DIV><DIV><BR =
class="khtml-block-placeholder"></DIV><DIV>You can also tell by =
looking at how the stamped unisons share wires with neighboring =
unisons. On a three string unison, the string which is shared by two =
unisons is either on the left or right. If it's on the left, =
obviously the notes to the left will share that wire size, and vice =
versa.</DIV><DIV><BR =
class="khtml-block-placeholder"></DIV><DIV>Jeff</DIV></BODY></HTML>=