<!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 5.50.4134.100" name=GENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=#ffffff> <DIV><FONT face=Arial size=2>Hi Michael!</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>I think the idea is simply to allow the = low end of the bass bridge to contact the soundboard in a more flexible place, = where there is a chance for the board to produce and audible fundamental pitch for = those low notes.</FONT></DIV> <DIV><FONT face=Arial size=2>You've probably noticed that usually = the cantilever is greater in the low part of the bass bridge. Cantilevers are said to = have the drawback of absorbing energy through bending and can also deform the = soundboard if the downbearing force is too great.</FONT></DIV> <DIV><FONT face=Arial size=2>But there are ways of getting a = flexible low bass soundboard area without cantilevers. I can think of 3 = solutions:</FONT></DIV> <DIV><FONT face=Arial size=2>1. place the bridge further inside = (yes, you will loose a few cm speaking length);</FONT></DIV> <DIV><FONT face=Arial size=2>2. undercut the bridge at the end for a = few cm (this can be seen in the old Bechstein model V grands - you probably = have many of them in Britain);</FONT></DIV> <DIV><FONT face=Arial size=2>3. Use a floating soundboard - which I = think is the most useful approach. It was used by many French piano makers, = especially Pleyel. Ron Overs has a really interesting article on his about a Yamaha = grand where he floated the bass area of the soundboard.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV> </DIV> <DIV><FONT face=Arial size=2> Calin Tantareanu<BR>----------------------------------------------------<BR>&nb= sp;e-mail: <A href="mailto:dnu@fx.ro">dnu@fx.ro</A><BR> <A href="http://calintantareanu.tripod.com">http://calintantareanu.tripod.= com</A><BR>----------------------------------------------------</FONT></D= IV> <BLOCKQUOTE dir=ltr style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; = BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV style="FONT: 10pt arial">----- Original Message ----- </DIV> <DIV style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: = black"><B>From:</B> <A title=michael@gambles.fsnet.co.uk href="mailto:michael@gambles.fsnet.co.uk">Michael Gamble</A> </DIV> <DIV style="FONT: 10pt arial"><B>To:</B> <A = title=pianotech@ptg.org href="mailto:pianotech@ptg.org">pianotech</A> </DIV> <DIV style="FONT: 10pt arial"><B>Sent:</B> Saturday, March 06, 2004 = 5:24 PM</DIV> <DIV style="FONT: 10pt arial"><B>Subject:</B> New Topic: Bass = Cantilever Bridges</DIV> <DIV><BR></DIV> <DIV><FONT face=Arial size=2>Hello List & Ron Overs. = </FONT></DIV> <DIV><FONT face=Arial size=2>There seems to be room for a = discussion on the topic of Bass Cantilever Bridges. Can anyone offer any discourse on = the subject? The "why's" and the "wherefore's"? I also wonder if further amplification of the insertion of a block under the cantilever to give = it a more direct contact with the sound-board really works? If so... why do = S&S (and other really reputable makers) use cantilevered Bass = bridges? Over to you..</FONT></DIV> <DIV><FONT face=Arial size=2>On a sunny Saturday afternoon in the = Sussex Downs</FONT></DIV> <DIV><FONT face=Arial size=2>Michael G (UK)</FONT> </DIV></BLOCKQUOTE></BODY></HTML>