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<DIV>In a message dated 7/30/2004 4:16:27 AM Pacific Standard Time,
Richard.Brekne@grieg.uib.no writes:</DIV>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
FONT
style="BACKGROUND-COLOR: transparent" face=Arial color=#000000 size=
=2>Well,
like I said its probably old stuff for many of you. Seemed to be <BR>reall=
y
pronounced tho in this piano, and I cant say I've noticed it <BR>before...=
at
least not this much. The width of the contact area varied <BR>quite a bit.=
..
even more then the picture shows, and the width of the <BR>front vs back
notched area varied even more... tapering down to a very <BR>short length =
in
the low treble and very high diskant. <BR><BR>So whats the reasoning behin=
d
these two things ?<BR><BR>I have a couple B's at the conservatory, one Ham=
burg
and one NY. I <BR>guess I'll go have a look this afternoon and
compare.<BR><BR>Cheers<BR>RicB</FONT></BLOCKQUOTE></DIV>
<DIV></DIV>
<DIV> Ric</DIV>
<DIV> This is not a B sorry, Its a D with the uneven uniso=
n
string lengths & uneven rear aliquots.</DIV>
<DIV> The idea in my opinion is to increase sustain & c=
olor
at the expense of a little power. When I redo this type I put in even string=
lengths. Baldwin also did this.</DIV>
<DIV> The idea at the ends of the bridge patches is to have less sever=
e
string length/tension changes across the plate strut breaks on the
bridge.</DIV>
<DIV> Dale</DIV></FONT></BODY></HTML>