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<DIV>In a message dated 1/22/05 11:58:41 AM Pacific Standard Time,
emailforjc@yahoo.com writes:</DIV>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
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style="BACKGROUND-COLOR: #fef9b4" face=Arial color=#000000 size=2>=
The
difference in stability between<BR>a standard model (individual loops) and=
a
Conservatory (shared strings) was<BR>dramatic. At that early stage, the lo=
wer
cost Conservatory was much more<BR>stable, even though it is identical in
design except of the shared strings.<BR>After some time and enough tunings=
,
the stability is the same.</FONT></BLOCKQUOTE></DIV>
<DIV></DIV>
<DIV>Jerry,</DIV>
<DIV> </DIV>
<DIV>The strings on the Erard in question were new in relation to the age of=
the
piano, but had been installed a couple of years ago or more. I was qui=
te
surprised when a 100 cent pitch raise that was targeting A at 438 ended up 1=
0-15
cents above A 440 in the middle of the piano. </DIV>
<DIV> </DIV>
<DIV>It seems logical to me that pulling on one side of a looped string woul=
d
affect the other side of the string to some degree, however small. The=
individual string could only affect its neighbor via bridge/soundboard
flexion. I have not researched this, so I haven't any data other =
than
the aforementioned experience to back up this hypothesis. I =
did
find it quite curious, though. In doing pitch adjustments with Tunelab=
for
the last 2 1/2 years, I've never had this happen. I always end up very=
close to target pitch.</DIV>
<DIV> </DIV>
<DIV>I'm just glad I didn't target 440! </DIV>
<DIV> </DIV>
<DIV>Dave Stahl</DIV></FONT></BODY></HTML>