<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <html xmlns:o="urn:schemas-microsoft-com:office:office" = xmlns:w="urn:schemas-microsoft-com:office:word" = xmlns:st1="urn:schemas-microsoft-com:office:smarttags" = xmlns="http://www.w3.org/TR/REC-html40"> <head> <META HTTP-EQUIV="Content-Type" CONTENT="text/html; = charset=us-ascii"> <meta name=ProgId content=Word.Document> <meta name=Generator content="Microsoft Word 10"> <meta name=Originator content="Microsoft Word 10"> <link rel=File-List href="cid:filelist.xml@01C46BDB.69EAC560"> <o:SmartTagType = namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="City"/> <o:SmartTagType = namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="place"/> <o:SmartTagType = namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="Street"/> <o:SmartTagType = namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="address"/> <o:SmartTagType = namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="time"/> <o:SmartTagType = namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="date"/>  <style>  </style>  </head> <body lang=EN-US link=blue vlink=purple = style='tab-interval:.5in' id="role_body" bottomMargin=7 leftmargin=7 topmargin=7 rightMargin=7> <div class=Section1> I did an old = S&S A1 over with all bichords on the third bridge. = It still had that “third bridge” tenor sound, but at least the top 7 = bichords were 33% easier to tune! Plus they damped = better.<o:p></o:p> ;-)<o:p></o:p> - Mark<o:p></o:p> <o:p> </o:p> -----Original = Message----- From: Erwinspiano@aol.com [mailto:Erwinspiano@aol.com] Sent: = <st1:date Month="7" Day="17" Year="2004">Saturday, July 17, = 2004</st1:date> <st1:time Hour="0" Minute="1">12:01 AM</st1:time> To: pianotech@ptg.org Subject: Mason & = Hamlin AA scale. <o:p> </o:p> <div>   &nbs= p;  To all esteemed scaleheads,<o:p></o:p> </div> <div>   I just received a AA for a complete rewhatevering & I'm very unimpressed by the bass tenor break. This one is 1919 with 2 = bichords & 7 trichords. With all of our discussions about third bridges & = such I'm drawing the conclusion that this on is ill devised. Tonally it abysmal = to the ear. I learned from a friend who is doing another dated 1931 that this = vintage has all 9 transition notes in bichords. He & I have yet to hear it = as it's not done.<o:p></o:p> </div> <div>   I'm considering either switching to 9 bichords with the old bridge = but the string lengths seem dreadfully short. Does any one have the string = tension logged for this model. My guess is it would be instructive. = <o:p></o:p> </div> <div>   The other option is to do away with most of it and use the small piece = that juts out toward the spine.<o:p></o:p> </div> <div>   Any body out there played with this model?   My 1950s AA has one long bridge with 5 bichords. It could have = used 6 as note27 is wiry sounding. Kind of honky& low tensionish. I'll know = more when I run the scale.<o:p></o:p> </div> <div>  It's obviously a design that has = been transitional.<o:p></o:p> </div> <div>    Any thoughts, Ideas?<o:p></o:p> </div> <div>    Dale <o:p></o:p> <div>  <o:p></o:p= > </div> <div> Erwins Pianos Restorations <st1:Street><st1:address>4721 Parker = Rd.</st1:address></st1:Street> <st1:City><st1:place>Modesto</= font></st1:place></st1:City>, Ca 95357 209-577-8397 Rebuilt Steinway , Mason &Hamlin Sales www.Erwinspiano.com<o:p></o:p> </div> </div> </div> </body> </html>