Varying bridge height (27 Mar 2002) (was Re: Floating soundboard)

[Randall Jacob]

To: Ron Nossaman, other correspondents, list:

About Mehlin grands that have the soundboards sloping downward toward 
the understrung-tenor side of tail, sometimes cut out beyond the
last rib, and having the long bridge increase in height
substantially from the treble end to the understrung end. 

I have one, a 5 ft. 4" from ca. 1923, and share the sentiment that,
"Someone surely had a plan, and I'd love to know the details."
I bought it from a local store in 1977, unaware of its unconventional
design, because of its touch, decent treble at the time, and low price.
I was also unaware that it had dropped onto its tail (though the signs
were there, damage to the leg and repair with bolts and a metal brace),
but it seems to be a survivor.  I neglected it for years when we moved,
but our neighbor across the valley who is a tuner or tuner/technician
brought it back to life in two tunings without breaking strings, and
made suggestions for possible work that would revive the tone.

I owe it to Horace Greeley, and others who have expressed a liking or
respect for these pianos (no doubt, sometimes in spite of the
aggravations that they cause to those who repair or rebuild them), that
I didn't give this instrument up as hopeless, thus being without a
piano for an extended period. 

I certainly don't hold that Mehlin, or any other single maker, worked 
out "enough of the answers" to the problem of producing a reasonably
affordable home or studio grand piano (answering to certain of the
tonal ideals of its time and place), so that it would be worthwhile
for a present maker, interested in those same ideals, to emulate those
designs and methods as a whole, although a practical piano can only
turn out well as the result of the whole of its own maker's efforts.
But it seems to me to be very likely that unless real examples of the
efforts of the literally dozens of imaginative and musically interested
makers from (say) the period 1850-1930 survive, to be studied, and where
possible, brought to playing condition again, the future of the
instrument will be the poorer for it.  Thus it seems encouraging to see
practicing rebuilders and practicing makers actually talking to each other
about common problems.  Could these "communications" perhaps be the kernel
for programmatic efforts? 

Specifically about the Mehlins:  One of the "names" that doesn't bring up
anything substantive in the pianotech website archive is the Mehlin 
"Endwood" bridge.  I've speculated about it, of course, without having
found the patent or other description.  Any leads, good information, or
wild guesses?

Randy Jacob
(University of Michigan Library)