<html xmlns:v="urn:schemas-microsoft-com:vml" xmlns:o="urn:schemas-microsoft-com:office:office" xmlns:w="urn:schemas-microsoft-com:office:word" xmlns:st1="urn:schemas-microsoft-com:office:smarttags" xmlns="http://www.w3.org/TR/REC-html40"> <head> <META HTTP-EQUIV="Content-Type" CONTENT="text/html; charset=us-ascii"> <meta name=ProgId content=Word.Document> <meta name=Generator content="Microsoft Word 10"> <meta name=Originator content="Microsoft Word 10"> <link rel=File-List href="cid:filelist.xml@01C6E860.466F1FB0"> <link rel=Edit-Time-Data href="cid:editdata.mso@01C6E860.466F1FB0"> <o:SmartTagType namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="time"/> <o:SmartTagType namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="date"/>  <style>  </style>  </head> <body lang=EN-US link=blue vlink=blue style='tab-interval:.5in'> <div class=Section1> When I used to do a lot of rescaling I redesigned an old 3 bridge S&S A scale and replaced the wound trichords with wound bichords, but they still sounded to me like they were anomalous with the timbre of the rest of the piano. (They did tune 33% cleaner, though! ;-) My thinking is that where you have a section of strings of a different length, pulling different tension, strung across a different bridge glued to a different part of the board, they’re likely to sound different. Transition bridges were a remedy for just this problem (the bass/tenor break), but they add a second tonal “break”. Carefully designed and manufactured strings will minimize the tonal transitions on either two or three bridge designs, but my ears much prefer the sound of wound strings at the bottom of the treble bridge, regardless of their appearance on graphs of tension and inharmonicity<o:p></o:p> <o:p> </o:p> - Mark Dierauf<o:p></o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> -----Original Message----- From: piannaman@aol.com [mailto:piannaman@aol.com] Sent: <st1:date Month="10" Day="4" Year="2006">Wednesday, October 04, 2006</st1:date> <st1:time Hour="20" Minute="29">8:29 PM</st1:time> To: pianotech@ptg.org Subject: Re: Tri-chord wound strings - was formulae....... <o:p> </o:p> <div> Gentlemen,<o:p></o:p> </div> <div>  <o:p></o:p> </div> <div> I'll admit that I have no real knowledge of scale design.  That said, I'm curious if you scalers would reconfigure the older M and H AAs with transitional bridge.  They are kind of difficult to tune. That said, I like the way they sound.  Do y'all think wound bicords would be an improvement?<o:p></o:p> </div> <div>  <o:p></o:p> </div> <div> Thanks,<o:p></o:p> </div> <div>  <o:p></o:p> </div> <div> Dave Stahl<o:p></o:p> </div>   Subject: Re: Tri-chord wound strings - was formulae.......<o:p></o:p> <div id="AOLMsgPart_0_0f4097de-3628-4a04-93f5-5657ef5509f2">   Yup, the same principals apply regardless of the name on the fallboard or the number of casters.    Ron N <o:p></o:p> </div> <div> <div class=MsoNormal align=center style='mso-margin-top-alt:7.5pt;margin-right: 0in;margin-bottom:0in;margin-left:.5in;margin-bottom:.0001pt;text-align:center'> <hr size=2 width="100%" align=center> </div>  <a href="http://pr.atwola.com/promoclk/1615326657x4311227241x4298082137/aol?redir=http%3A%2F%2Fwww%2Eaol%2Ecom%2Fnewaol" target="_blank">Check out the new AOL</a>. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more.<o:p></o:p> </div> </div> </body> </html>