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<DIV> List </DIV>
<DIV> I too am not a fan of trichords but the trichords on S&=
;S
D' do not bother me aurally & no doubt lends to there power & unique=
sound. By now some one has surely rescaled this piano with bichords for the =
top
7 bass trichords & has an opinion as to the sound?</DIV>
<DIV> The only spot I've ever employed tri-chords with success i=
s on
the first 2 tenor notes of Mason BBs & S&S B. On the S&S B the
tension is sooo low, ie.105 lbs per string at note 21. INstalling these 2 no=
tes
as wrapped tric -hord unisons gets the tension up into the 140 lb rang=
e
& provides for a quite an improved good transition from bass to ten=
or.
Not perfect though.</DIV>
<DIV> Also as RonN points out it's a difficult strin=
g to
wind & get right. And such is the case that now GC will no longer =
make
them for me so I called Arledge. God bless him, he's willing to try anything=
. I
love a can do attitude.</DIV>
<DIV> I was told by my bass string maker that this spot on both pianos=
is
too long for bichords. Any one else confirm this? The B really n=
eeds
about 5 pair of bi-chords liike the S&S A's & no do=
ubt
a shorter in length & placed transiton bridge.</DIV>
<DIV> I recently put a new belly in a 6 ft Weber that had 4 pair tricho=
rd
in the top end of a 26 note bass. They sounded poor. I rescaled =
it
for bichords with good success. I filled the extra plate holes with appropri=
ate
sized rubber buttons. & it looks fine. </DIV>
<DIV> Good discussion. Enjoyed it.</DIV>
<DIV> Dale Erwin</DIV>
<DIV> </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><BR>Not
a bad idea so much as a less than ideal fix. Putting the wrapped <BR>bicho=
rds
on the low end of the tenor bridge will likely make it less bad, <BR>if it=
can
be made to fit into the scale. For instance, that 38.75" C#-3 <BR>with pla=
in
wire trichord will be at about 24% of breaking tension <BR>(regardless of =
wire
size, within reason). That's pretty low, and will be <BR>very reactive to
tension changes resulting from humidity fluctuations, <BR>meaning it will =
go
out of tune quicker and farther than unisons farther <BR>up-scale, or down=
scale in the high bass. Tension will be determined by the <BR>wire size us=
ed
there. For instance, unison tension with #20 will be about <BR>404 lbs, or=
about 369 lbs with #19. Going to a bichord unison, dropping two <BR>or thr=
ee
half sizes for the core, and figuring wrap to get back near the <BR>unison=
tension that was originally there will raise the break% to around <BR>40%.=
That's going to be a more stabile unison with humidity changes, and <BR>so=
und
better too. The trouble is, that puts you at the bottom of the list <BR>of=
available copper wrap sizes, requiring about a 0.007" wrap to keep the
<BR>tension down around where it was with the plain strings. Arledge uses =
as
<BR>small as 0.006" for copper wrap. That takes care of C#-3, if the imped=
ance
<BR>and inharmonicity connects reasonably with the high bass. Now you'll
<BR>probably want to go 2-4 notes higher with wrapped bichords to blend th=
e
<BR>impedance and inharmonicity into the rest of the treble. What happens?=
You
<BR>maybe need 0.006" wrap for D-3, and smaller than is available for the =
next
<BR>one or three. There's the problem, and the reason this doesn't always =
work
<BR>that well, and the reason for transition bridges. The speaking lengths=
are
<BR>too long at that pitch for wrapped strings. What you can get away with=
<BR>depends on the individual scale and what you have to work with.<BR><BR=
>Ron
N</FONT></BLOCKQUOTE></DIV>
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