Keith, Yes, I saw that the neighboring notes' notches were equally as bad. I don't have an explanation for you as to why F6 and F#6 don't exhibit the problem, but G6 does. I did notice that the responses you were getting were sending you in two entirely separate directions though, and that's why I tried to carefully craft the reasoning behind my response, and the word choices I used. Can you clarify the following for me Keith? The beating sound that is the topic of your post - does that happen when only a single string is sounding or only when two strings sound? If there's a beat in any one of the single strings of G6, I think that the recommendations regarding loose bridge pin, string seating, screwdriver bracing, CA glue, and so forth are valid. This is what I've always termed a 'false beat', and you can address this first with some of the suggestions that others have already given you. However, I got the impression from your posts that the offensive beating occurs when a pair of strings is speaking on G6, and you're trying to achieve a clean unison between two strings. The beating that is occuring in this scenario is the interference effect of one or more partials. I'll call this a 'real beat' just to distinguish it from how I've defined 'false beat' above. When tuning two strings to a unison, it's possible to have a false beat in one, the other, or both of the single strings. And this can simultaneously happen with a real beat between two sounding strings that have non-matching inharmonicity. False beats reinforcing a real beat, or vice-versa? It could happen, I suppose. Diagnosing the source of the beating in order to eliminate it in that case is like trying to untangle spaghetti, I'd guess. But what's clear is that if there's any false beating in any of the the single strings, that needs to be isolated and addressed first. The corrective techniques are different that might used to fix real beating due to the non-matching inharmonicity between two non-matching string lengths of a unison. If you come to a Eureka! moment in the process of repairing this phenomena, I'd be eager to hear what it was. Regards, Chris Storch, RPT -----Original Message----- From: Mr. Mac's <tune-repair at allegiance.tv> To: pianotech at ptg.org Sent: Fri, Feb 4, 2011 2:14 pm Subject: Re: [pianotech] Bridge pin locations help (image oops) Chris, I really appreciate the input you gave. ound bass strings versus plain music wire is another reality. I have another point of interest concerning this situation that just came to me for edification. (image attached again) The neighbor notes F6 & F#6 do not exhibit the degree of difference in a beating ound whatsoever, yet are obviously liken unto the G6 in physical appearance. Keith On Feb 4, 2011, at 12:24 PM, chrisstor at aol.com wrote: > … The audible effect of this was quite pronounced on the wound bass strings hat were the subject of experimentation in the seminar I attended. This eminar was revelatory to my ears - two misbehaving wound bichord strings were rought to a much better unison. Again, I don't know if this will work on plain ire strings, … -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://ptg.org/pipermail/pianotech.php/attachments/20110204/a70989be/attachment.htm>
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