Subject: Re: Bridge Seating (was Re: Where to notch a bridge,& relative effects ????? (Advice sought) I understand that I have yet to achieve heavy-weight status on this list, and as such my post will not seem as authoritative as some, but in general I think there are some benefits to seating strings. To say a string can never become un-seated is to assume it was seated properly in the first place. Having worked in the factory setting, and in the rebuilding shop, I can tell you that many pianos are coming out of the factory with sloppy string work. I don't see why there's a "don't try this at home" attitude for this sort of thing. Not only would I encourage techs to seat strings more often, but bridge pins as well. (for different reasons) Scaring techs away from doing detailed work isn't going to raise the bar and create technicians out of tuners. If you think seating strings might help, try gently seating them. Get a brass drift, and a very light hammer, and try tapping a few right at the pin, and at the bend (trying to "confirm" the bend in the string). I don't see the harm in this if done with care (though I'm almost positive I'll be lambasted for making such an ignorant remark). What do I know... I don't have the decades of experience with pianos that some here do - only a decade of experience with a little shop in Colorado known for doing semi-decent work on semi-decent pianos. Sorry if this has sounded a bit cynical - it's just a bit much sometimes with all the sarcasm oozing out of the screen into my lap. If the topics of discussion here are too exasperating, why add to them? signed - a proponent of open discussion I'm coming in late here, but has anyone explained why the strings have come off the bridge surface and bear only on the bridge pin? Ron N. has addressed hoe the string is moved up off the bridge by the swelling of the bridge-a humidity increase for sure. How do the rest of the respondents explain this movement? Paul C
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