German loops on M Bass strings

[Ron Overs]

At 10:59 PM +0000 22/12/06, John Delacour wrote:

>  . . Bottom A on that piano [model O S&S] has a 26 core with a 
>2.10mm cover.  It is practically impossible to wind such a cover, 
>let alone a 220 on a 22 or 23, so a double cover is essential if you 
>require the same or greater tension.

That's what we were talking about, double wrap. No one is suggesting 
a remote possibility of winding heavy covered singles with a single 
wrap.

At 3:54 PM -0600 22/12/06, Ron Nossaman wrote:
>>. . .  a shorter version of the English loop isn't really 
>>necessary. The pivoting action of the loop on the pin makes the 
>>stiffness of the twisted part pretty much irrelevant.

>At 10:59 PM +0000 22/12/06, John Delacour wrote:
>If there is any pivoting then it is at the hitch-plate bearing, 
>surely, and not at the pin?

You weren't paying attention John. We were discussing a situation 
where a vertical hitch pin is being used. In this case there will be 
no hitch plate bearing at all.

>   There is never a straight line from the hitch-pin to the bridge.

Once again, same MO.

>   As to any supposed superiority of the German eye, let alone the 
>double German eye, I will suspend judgment until I have produced 
>experimental data to compare them.

Please do, at least until you join the ranks of those who have 
experimented with all three alternatives.

>   . . . I wonder why so many excellent and thoughtful makers have 
>stuck with the English eye.

Could it be because some prefer to make a buck, as opposed to making a piano?

>   I've often wondered if it was simply that the French and English 
>would not let the Germans know how they made their eyes, so they had 
>to carry on with the other style until they discovered the secret :-)

Stop wondering JD. There are clever people amongst all of the world's 
national communities. Not all folks have to be told about something 
to learn about it. There are some, amongst all communities, who are 
capable of gleaning knowledge through observation of the work of 
others, and through their own thinking.

We should simply endeavour to open our minds as to what has merit and 
what doesn't, and we need look no further than that. Furthermore, I 
have very little time for attributing the market success of certain 
makers to each and every design idea which they applied to their 
product. The argument that certain makers have been successful, and 
that their success is attributed to the superiority of each aspect of 
their design is fanciful stuff. A little intellectual rigor applied 
to each aspect of tone building with an open mind, will give us far 
more knowledge with which to advance the evolution of the piano.

Ron O.
-- 
OVERS PIANOS - SYDNEY
    Grand Piano Manufacturers
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Web http://overspianos.com.au
mailto:ron at overspianos.com.au
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