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<DIV><FONT face=Arial size=2>Welcome to the list! No, there is =
no charge
for all this free advice. It's free for nothing! This =
brings up
many cliches. Like: You get what you pay for! It's worth =
every penny
etc.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>You'll get dozens of responses. =
Some will be
good, some will be good under certain circumstances, some will be =
confusing and
some will be just plain wrong. </FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=Arial size=2>Your assignment should you choose to =
accept it is
to decide which is which.</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=Arial size=2>Here's my answer: There is a =
dozen
reasons for the exposed core to be different. Most if not all are
inadvertent. I shoot for equal exposed cores and I'm always =
pleasantly
surprised when they come out the same.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Again WELCOME!!</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Carl Meyer Assoc. PTG<BR>Santa =
Clara,
California<BR><A
href="mailto:cmpiano@home.com">cmpiano@home.com</A></FONT> <=
/DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<BLOCKQUOTE dir=ltr
style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
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<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>
<A title=antkarav@otenet.gr =
href="mailto:antkarav@otenet.gr">antonis
karavelis</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A =
title=pianotech@ptg.org
href="mailto:pianotech@ptg.org">pianotech@ptg.org</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Sunday, September 30, =
2001 2:06
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Unwrapped ends of bass =
strings</DIV>
<DIV><BR></DIV>
<DIV><FONT size=2>I have noticed in all pianos, even in the finest =
grands,
that in some bichords in the bass section the unwrapped end of one =
string of
the unison varies in lentgh sometimes significally from the other. I'm =
aware
that these unwrapped ends influence inharmonicity (as W.Trow Goddard =
proposes
in his handbook on the strings of the piano) and I suspect that =
these
varations occur in order to produce a beatless unison. However, is =
there any
method with predictable results for a tuner to match a given set of =
bass
bichords or trichords and how can this be applied in the field? I'm =
going to
restring a S&S D and I fear that in the end I'll come up with a =
bass
section full of "dirty" unisons.</FONT></DIV>
<DIV><FONT size=2>P.S: I'm new to the list and I don't know whether =
there is a
fee for sending and receiving the mails. If someone would be kind =
enough to
inform me...</FONT></DIV>
<DIV><FONT size=2>
<DIV><FONT color=#000000 size=2>Antonis Karavelis</FONT></DIV>
<DIV><FONT color=#000000
size=2>Athens-Greece.</FONT></DIV></FONT></DIV></BLOCKQUOTE></BODY></HT=
ML>