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<DIV><FONT face=Arial size=2>Where do you get any sideways tension? As long as
the backscale is roughly parallel with the speaking length, the bridge will not
be tensioning or compressing the soundboard in any manner.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Terry Farrell</FONT></DIV>
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<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: black"><B>From:</B>
<A title=matrasimca@gmail.com href="mailto:matrasimca@gmail.com">Kazuo
Yoshizaki</A> </DIV>
<DIV style="FONT: 10pt arial"> </DIV>This was what I heard from a piano
tuner in Paris who asked Mr. Paulello about it. There may be something lost in
translation, but I just assume anything that adds stress to the board inhibits
the movement of the board. If you have no downbearing, no mass and no tension
sideways, the board moves more freely, doesn't it? (Of course that is not
realistic.)<BR><BR>
<DIV><SPAN class=gmail_quote>On 5/2/06, <B class=gmail_sendername>Ron
Nossaman</B> <<A href="mailto:rnossaman@cox.net">rnossaman@cox.net</A>>
wrote:</SPAN>
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style="PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: rgb(204,204,204) 1px solid"><BR>>
Yes, the string bearing is reversed, but the concept behind is that
you<BR>> don't have tension sideways on the bridge, which helps the
soundboard<BR>> vibrate more freely.<BR>><BR>> Yoshi<BR><BR><BR>And
how does that work? In my world, the soundboard isn't<BR>changed by the
string termination at the bridge, and will<BR>vibrate pretty much the same
with either system. The real<BR>difference is in the mass on the bridge
which, if anything, <BR>will impede the vibrational freedom (amplitude, in
this case)<BR>of the soundboard assembly by lowering it's
resonant<BR>frequency, increasing it's mechanical impedance, and
extending<BR>sustain.<BR>Ron
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