A tenor bridge conversion

[Clark Panaccione]

> > As to why the manufacturers did it their way, I
can only assume that it was
> > to keep the harmonics in line as far down the
scale as was possible. No
> > matter how well a scale is designed there will
always be a noticeable change
> > in the harmonic content of the sound as soon as
you reach the bass crossover
> > point i.e. the change from plain strings to wound
strings.

> This is a very interesting explanation. I too
believe that at least some of
> the high-end manufacturers didn't choose to use
hockey-stick bridges because
> they wanted to save on a few extra bass strings.

Alfred Savage had lots of funny ideas besides this
one:

"On the proportionate lengths and sizes of the
strings, depends, to a considerable degree, the
obtainment of an equal quality of tone throughout the
compass of the instrument ; as does also even still
more its standing well in tune ; and should this meet
the observation of pianoforte makers, I would, with
all humility, beg to hint that it is a part of their
business which many of them are too careless of,
copying slavishly each other's scales, without first
investigating the goodness of what they copy. ... a
pianoforte strung with wire of uniform size [and
tension] is very unequal in different parts of the
compass. To avoid this greater evil we must choose the
less one of using strings of different size, gradually
increasing in thickness from the treble to the bass.
... [lower sounding notes] must not be too short ; no
increase of thickness will compensate for want of
sufficient tension, which produces a bad tone. This is
a very common defect in those notes of a piano which
are immediately above the covered strings, and it
renders what is termed the break in tone very
obvious." (The Mechanics' Magazine, March 22, 1842)

Clark


 
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