<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=Content-Type content="text/html; = charset=windows-1252"> <META content="MSHTML 6.00.2800.1106" name=GENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=#ffffff> <DIV> <DIV>I tried to reply to = this thread earlier but for some reason my server couldn't get it out. It kept = bouncing back. I'll try it as a new message.</DIV> <DIV> </DIV> <DIV>Del</DIV> <DIV> </DIV> <DIV>----- Original Message ----- From: "David Love" <<A href="mailto:davidlovepianos@earthlink.net">davidlovepianos@earthlink.n= et</A>> To: "Pianotech" <<A href="mailto:pianotech@ptg.org">pianotech@ptg.org</A>> Sent: July 12, 2003 10:30 AM Subject: Re: = Strange bridge in a Steinway > There seem to be a few theories = about these gaps which appear on various > models and not on others.  = I've often wondered whether the theories hold up > in practice. I can't see that they do much of anything. The idea that = the bridge is too stiff and these cut-outs somehow reduce the overall = stiffness doesn't hold up in practice. Remember there is also a large block on = the back side of the soundboard with a dowel coming up through it and the = soundboard and into the bridge between each of the two ribs. What is the purpose = of these? To add back the stiffness and any mass lost by the = cutout? As well, consider the grain direction of the soundboard. It very nearly parallels that of the bridge so either with or without the = cutout it's stiffness has to be included in the overall consideration. Finally, reducing the stiffness of the bridge = through this region is not something you really want to do. Not unless you are deliberately trying to come up with a percussive sound having a short = fundamental sustain. The reason we put bridge extensions on the end = of the tenor bridge is to make sure the thing is stiff enough down at the end. A better solution to the tone problems through this region = would be to fix the scale. > > I've heard some = mention that when reusing the old bridge on a > new board that they fill these areas. Yes. This is our normal practice. > > In light of a discussion awhile = ago > about the bridge's contribution in general to the stiffness = of the board, > it would seem that these gaps are of little = consequence.  If they don't > have any real benefit, do they do any harm?  = That is, do they effect the > function of the bridge or board in any negative = way possibly.  As Roger J. > mentioned, I like the model O as = well.  The questions for me are: what in > that model is really = contributing to the specific performance of that > piano, what might be inhibiting = better performance, and what really doesn't > make any real difference? As I said, I doubt they = make any substantive difference either way. At best I can't see they do any = good and at worst they might inhibit transfer efficiency somewhat--especially = down toward the fundamental--though I doubt this has been proven beyond doubt. Del </DIV> <DIV>Delwin D = Fandrich Piano Designer & Builder Hoquiam, Washington  USA E.mail:  = <A href="mailto:pianobuilders@olynet.com">pianobuilders@olynet.com</A> = Web Site:  <A href="http://www.pianobuilders.com">www.pianobuilders.com</A></D= IV></DIV> <DIV>Delwin D = Fandrich Piano Designer & Builder Hoquiam, Washington  USA E.mail:  = <A href="mailto:pianobuilders@olynet.com">pianobuilders@olynet.com</A> = Web Site:  <A href="http://www.pianobuilders.com">www.pianobuilders.com</A></D= IV></BODY></HTML>