Hamamatsu Museum of Instruments

[Overs Pianos]

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>St=E9phane Collin wrote:
>
>>Do I see right, in the picture, that the note=20
>>at the left side of the srut seems to have a=20
>>shorter speaking length than the note at the=20
>>right (or am I fooled by the persepctive of the=20
>>pic) ?  And that at the right of the strut,=20
>>choirs have three same speaking length, while=20
>>at the left the three speaking length per choir=20
>>are different (as Dale pointed out) ?
>>Makes me think (like the limited range of front=20
>>duplex) that they didn't like monotonous=20
>>uniformity of sound all over the scale, back=20
>>then.
>>
>I think the picture is fooling you on that point.

It isn't Richard, St=E9phane's observation is=20
correct about the rotation. He may also be right=20
about the maker trying to create noise. The=20
manufacturer is unlikely to provide an=20
explanation, since openness is not part of their=20
policy. Go back the image and have a look at the=20
notches adjacent to the plate strut between the=20
top two string sections. Clearly the notches on=20
the treble side have been aligned square to the=20
nominal speaking length of the trichord group,=20
whereas those on the bass side of the strut have=20
their bridge pin groups rotated clockwise. This=20
was quite common on Steinways of the period. They=20
don't do it today, so clearly they have changed=20
their mind about its perceived merit.

>  Tho when I go back in October I can take a few=20
>more shots to give a better view.  You are right=20
>about the top section unisions all having the=20
>same length and the left side having different=20
>tho.  Well, like I said at the outset... you=20
>fellows that are actually building these things=20
>have probably seen this all many times before...=20
>it just struck me as something I hadnt noticed,=20
>and so I thought I'd ask about it.
>
>Cheers
>RicB

Sure seems like a wonderful way of building=20
further unwanted noise into an instrument. Who=20
knows what logic they might have been=20
considering? They may have felt it important for=20
each unison string to have a uniform strike ratio=20
with the hammer. If they were trying to satisfy=20
such a desire, it would have required that the=20
bridge pin groups be rotated as they are in these=20
instruments. Its just speculation of course. This=20
company doesn't even allow the factory workers=20
into the thinking behind their designs. So its=20
not surprising that myths abound everywhere with=20
regard to this maker.

I can't see the sense in recreating this layout=20
when notching new bridges. As Dale mentioned in a=20
previous post, just set the group parallel to the=20
capo. This, of course, will mean that the group=20
should be rotated just slightly anticlockwise=20
from square to the string angle. But it is=20
necessary if your goal is to set the unison group=20
with the same speaking length.

An interesting point about bridge dog-legs.=20
During our many discussions while Ron Nossaman=20
was visiting last week, this topic came up. I=20
have always believed that allowing the dog-leg to=20
extend down to the bridge footprint is=20
undesirable. Ron N has done some testing with a=20
laser which, to him, indicates that allowing the=20
dog-leg to extend right to the panel is=20
unimportant. I have done no testing, having=20
relied only on my own thinking about the dynamic=20
situation of the moving/flexing bridge. So on=20
this matter at present we disagree in theory. I=20
don't have answers on this one since a hunch is=20
not knowledge, so I now have another question=20
which I need to clarify to my satisfaction if=20
possible. Certainly, manufacturers do move the=20
bridge pin groups to the bridge edges as the=20
scale layout approaches struts to minimise the=20
dog-leg severity. But some manufacturers (who=20
should know better) care little if the speaking=20
length is allowed to vary wildly as the bridge=20
passes under the strut. Sure it allows the maker=20
to use a straight bridge without a dog-leg, but=20
it allows for all sorts of tuning stability=20
problems to creep into the picture. We design our=20
bridges with the bridge pin field using to width=20
of the bridge cap to advantage (to minimise the=20
dog-leg), while setting the contact of the bridge=20
to panel using a spring lathe when rebuilding to=20
achieve a smooth contact line between the bridge=20
and panel. We do not compromise the speaking=20
lengths of notes adjacent to plate struts, in an=20
attempt to make bridges easier to manufacture. To=20
me, there's not much to be gained by arriving at=20
a suitable string scale for a design, then=20
allowing the scale integrity to go-with-the-dogs=20
in the name of expediency.

I suppose much reasoning will depend on a=20
company's motive for manufacturing pianos in the=20
first place. Is the primary goal the creation of=20
a first rate piano, or is it that of a marketing=20
company who finds itself compelled to manufacture=20
pianos to satisfy the demand created by the=20
brochures and spin? This can be an interesting=20
question. Some time ago I repaired a very early=20
Bl=FCthner grand from around 1860 (the piano was=20
water damaged while in storage and we just=20
replaced some veneer and coloured it up as=20
instructed - the storage company wasn't concerned=20
about the sticking dampers and a host of other=20
worries - and on this occasion it certainly=20
didn't bother me, because the piano was a=20
disaster everywhere, but interesting=20
nonetheless). Now Bl=FCthners have a reputation for=20
being a carefully made piano, but I couldn't=20
believe how sloppily this piano was put together.=20
Clearly Julius must have been mindful of the=20
necessity to make a quick buck when he started=20
out. The 230 grand I saw at Reno in 2001 was very=20
carefully built.

Ron O.
-- 
OVERS PIANOS - SYDNEY
    Grand Piano Manufacturers
_______________________

Web http://overspianos.com.au
mailto:info@overspianos.com.au
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