<html> <body> Ron, <x-tab>        </x-tab>Would you mind expounding a bit, for those of us who haven't had time to do the research, why a scale break is bad at that point in the scale? Does it matter whether your changing from wound to plain or keeping wound strings across the break? Does it matter if your using a transition bridge for the lower tenor? or is it just a bad place to have a break no matter what? Also what part does plate design or configuration play? Does it have more to do with soundboard and ribs? Sorry, too many questions. Greg At 11:35 AM 9/7/2003, you wrote: What about the scale design John? I have no doubt that you have the skills necessary to make an M into something that it might not have been, but you will still be stuck with a scale which is ordinary. No small piano should cross at Bfl26/B27, but most do. <blockquote type=cite class=cite cite>This endemic problem of not making waves is killing the potential that we have to move forward in our industry. I find it frustrating when I hear comments from talented people who seem to be resistant to the idea of progress unless it comes from one of the hallowed manufacturers. I am looking forward to hearing the fruits of uncle Del's latest contract to design a small grand for Walter. I'll wager that the break on Del's grand won't be placed at the incredibly impractical Bfl26/B27. Ron O. <pre>-- </pre> O= VERS PIANOS - SYDNEY     Grand Piano Manufacturers      _______________________ Web <a href="http://overspianos.com.au/"= eudora="autourl">http://overspianos.com.au</a> <a href="mailto:ron@overspianos.com.au"= eudora="autourl">mailto:ron@overspianos.com.au</a>      _______________________</blockquote> <x-sigsep></x-sigsep> Greg Newell Greg's piano Forté <a href="mailto:gnewell@ameritech.net"= eudora="autourl">mailto:gnewell@ameritech.net</a></body> </html>