Hi Joe Thanks for the post... the strike ratio bit I got alright. But you do raise a good point for me to check before placing and notching the new bridge. The new blank is an <<exact>> copy of the old footprint. The top leaves a good deal of room for changing the string lengths via notching if I choose too. Combined with a slight move aft of the whole long bridge I could get radical enough for sure. Pointing out the need to check clearance for the hammers in the treble was exactly the kind of thing I need to hear. I will check that tomorrow. Yes I do have the old scale data so no problemo there. I think I'm going to end up with about a 4 mm length increase in the highest notes. Even with puresound its hard to get anything that looks even remotely reasonable with a shorter length on my spreadsheet. Inharmonicity is way off the chart as is... and its really uneven. If anyone wants the basic scale data, ie string lengths and diameters... I'd be glad to provide it. Cheers RicB Joe writes: Hmmm? I think you get it, but not sure.<G> I assume you have the Olde Scale. Stuff the action into the piano; measure where the Original Hammers Strike point is; take that number and the number of that notes string length; do the math ....and you'll have a "ratio" or "fraction", if you will. (i.e. 1/6th, 1/10th, etc.) That should give you a starting "point" to aim for in the New strike point. Because the action and belly rail can only be varied a limited amount, you may have to make some compremises to physically make it work. (think: large can of worms<G>) The bass should not be too much of a problem. However, the upper treble will be, as there is the likelyhood that the belly rail will not allow you clearance for that longer string. As you know, the slightest addition/subtraction of strike point, in that area, makes a huge difference in tone production. Personally, I wouldn't get to "radical" in the top treble string lengths. As for the calculating formulae that takes "Harmonicity" as the criteria...I can't comment on it, other than to say that that is what we REALLY are trying to do in Scaling, is to attempt to make all of the dominant Harmonics match. In the real world that just is not possible, IMO, although it would be nice. Kinda' like calcing the longetudinal inharmonicity of bass strings: looks good on paper, but doesn't really make for good piano sound in the real world.<G> Have fun. Joe Garrett, R.P.T. Captain of the Tool Police Squares R I
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