Hi folks One of the best bits for me at this years Rochester convention was getting invited by Tim Coates to watch part of an Wapin installation he was doing for Eastman school. This was followed up later in our trip this year by a visit to his shop out in Sioux Falls. In Rochester I got to hear right up front a freshly finished installasjon and boy what a result ! I mean I could not hear any loss of what I expected in terms of power... but there was definantly a good deal more sustain ... and clarity of sustain then what I am used to hearing in a piano. A lot of unanswered questions remain in my head about just what is going on. Seems like the origional back bridge pin becomes actually superflous and could be removed, which then raises questions around why pianos traditionally choose so much space between front and back bridge pins. Then there is this bit about sidebearing... or lack there of. Ok there is sidebearing in the wapin... but the initial pulse is not inhibited nearly so much vertically as with a slanted pin. I've read back and forth comparisons between Wapin and bridge agraffes employed by Stuart and others and it struck me that this is at least one point they have a bit in common. In a traditional slanted bridge pin the pulse reflection is to no small degree affected by that angle. It exerts a somewhat sideways force on the string which might think right off would be itself conducive to longer sustain. After all the soundboard moves more readily up and down and would quickly absorb most strictly vertical motion... as the reasoning goes. Yet there it is. In both the Wapin and the bridge agraffe the vertical element is significantly less restrained... and in both cases sustain goes up with no apparent loss of power... at least in the case of the Wapin. I'd like to hear any musings any of you might have on the wapin... even tho much has already been mused around here. I have an older Kawaii I think I might give this a whirl on. Might be interesting at that. Cheers RicB
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