> Terry > > I was reacting to Jason's spreadsheet which could "float" the string > diameters, as opposed to making them actual sizes. Of course that's not > possible but I just thought that if you let the bridge pin placement > wander a bit (float) to adjust speaking lengths as compensation for > changing wire sizes, you could smooth out the tensions that way. > > Hope that's a little clearer. > > Tom Cole I tune a Young Chang every year or two (whether it needs it or not) that has an equal tension scale. The first time I tuned it, I noticed that the unison placement of plain wire on the bridge was in groups of four or six, with speaking lengths longer at the low end of the groupings, and shorter at the high ends, than a straight log progression. The bass was arranged so the monochords were all of approximately the same tension, and the bichords also all about the same, though different from either plain wire, or monochords. I don't see that there is any detectable advantage to making the scale equal tension, but in this case it is a nicer scale than most (if not all) of the Famousname pianos of various manufacture that I've seen. Not because of the equal tension, but rather the attention to transitions. Ron N
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