Bass bridge question

[robert goodale]

I'm not entirely certain but if I were to guess, fanning out the strings at the
bridge would have an acoustical advantage in that the vibrative energy is being
distributed to a wider area of the sound board.  This may also provide a greater
degree in soundboard flexibility.  It would seem that there would also be a
relationship somewhere between the fanned out pattern and scale design.

Rob Goodale, RPT
Las Vegas, NV



Calin Tantareanu wrote:

> Hello!
>
> Can anyone tell me please why in some (overstrung) pianos the bass bridge is
> quite long,
> (because the bass strings fan out, I mean, the space between the bass
> strings
> is wider at the bridge than at the agraffes), while in other pianos the bass
> strings run parallel to eachother and the bass bridge is therefore shorter.
>
> Is there any advantage with one of the methods ot the other?
>
> Curiously, I've seen both types in similar Bechstein painos (both two meters
> long, one from 1887, with the long bass bridge, one from 1904, with the
> short bass bridge).