<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN"> <HTML> <HEAD> <META HTTP-EQUIV="Content-Type" CONTENT="text/html; = charset=iso-8859-1"> <META content='"MSHTML 4.72.2106.6"' name=GENERATOR> </HEAD> <BODY> <BLOCKQUOTE>it would seem not the result of poor = wire, but loose bridge  pins.  </BLOCKQUOTE> <BLOCKQUOTE>Correct, but not just loose bridge pins. Previous tuners = frustrated by false beats had evidently zealously seated (and re-seated) the = strings, to the point they were now well grooved into the bridge cap, = creating another factor (wood contact beyond the b.pin/string termination = point), and further exacerbating the problem.</BLOCKQUOTE> <BLOCKQUOTE>Prior to re-conditioning the bridges (please read Bill = Spurlock's excellent article), Stan Kroeker, RPT and I did some tests. We = quantified the false beats (i.e.: 3bps, loud/med/soft, etc.) of every string of = every note in the affected area.</BLOCKQUOTE> <BLOCKQUOTE>Then, I carefully restrung C5 and re-tested. There was = measureable improvement, but faint beating was still present in every string. </BLOCKQUOTE> <BLOCKQUOTE>i.e.: replacing the string did seem to clean up the false = beating, but not entirely.</BLOCKQUOTE> <BLOCKQUOTE>I then de-strung C-5, surfaced the bridge cap, = re-cut the notches and re-placed the bridge pins; "viola" a perfectly clean = unison!</BLOCKQUOTE> <BLOCKQUOTE>Again, our 'simple' science proved (to our satisfaction) = the value of servicing bearing and termination points, and to some degree, the = old string contributed to the false beats. Re-installing the old string over = the reconditioned bridge unison would have been conclusive, but we never = thought of that at the time.  </BLOCKQUOTE> <BLOCKQUOTE>I have been re-notching and pinning bridges pursuant to Mr. = Bill's instruction for some time, and am convinced of the benefits. = However, if you have a situation Wim where you wish to tighten = bridge pins (beyond tapping), but see no need to dress the bridge-cap or notch, = you may consider the method of placing a bead of thin epoxy at the base of = the pin, and heating the bridge-pin (soldering iron). This will draw the = epoxy in around the pin with a perfection not otherwise acheivable, IMHO. </BLOCKQUOTE> <BLOCKQUOTE>    In other words,  you had tapped down the bridge pins, or at most, removed = them, (and only loosened the strings to get at the pins), and epoxied them = in place, you would not have had to restring the piano.  </BLOCKQUOTE> <BLOCKQUOTE>big question still remains, is there a = reason  to restring the whole piano?  </BLOCKQUOTE> <BLOCKQUOTE>Plese recall the elongated broken strings, = we've already seen some great posts on this, especially the one about a controlled = string deformation. You may also source Dr. Sandersons experiments with = swedged (otherwise flattened) core = wire. </BLOCKQUOTE> <BLOCKQUOTE>Finally, with automakers suggesting new cars may go a lifetime without changing sparkplugs, it should seem ironic that makers of quality pianos = openly accept full string replacement as routine. In fact, I've found them = most helpful in understanding how often their instruments should be = restrung, though few promote the sale of OEM plain wire. = (?)</BLOCKQUOTE> <BLOCKQUOTE>Perhaps the piano-makers might be your next best source of information?</BLOCKQUOTE> <BLOCKQUOTE>best of luck!</BLOCKQUOTE> <BLOCKQUOTE>Mark Cramer,</BLOCKQUOTE> <BLOCKQUOTE>Brandon = University </BLOCKQUOTE> <BLOCKQUOTE>   </BLOCKQUOTE> <BLOCKQUOTE>  Wim  </BLOCKQUOTE> <BLOCKQUOTE> </BLOCKQUOTE> <BLOCKQUOTE> </BLOCKQUOTE></BODY></HTML>