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<DIV> Ron</DIV>
<DIV> This drawing & bridge placement look very similar to t=
he
1929 Mason A I have posted about previously. It had 5 bichords & very go=
od
break. Tom Cole now owns the piano. Is it done yet Tom?</DIV>
<DIV> What becomes of the very long tenor extension beyond the transit=
ion?
How much of it is really benificial. Yes some of it would lend mass to the l=
ow
end of the tenor bridge with plain wire which would be good. </DIV>
<DIV> What's usual in these designs?</DIV>
<DIV> Dale</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>>Hi
Ron!<BR>><BR>>I'm not sure I understand how you want to achiev=
e
this and why it's easier<BR>>to adjust the impedance by using 3
bridges.<BR><BR><BR>With the usual two bridges, the low end of the tenor i=
s
pretty close on the <BR>soundboard to the low end of the bass. Since the l=
ow
bass wants a <BR>considerably more flexible board than the low tenor, one =
of
these bridges <BR>won't get what it wants from the soundboard assembly whe=
n
they are in close <BR>proximity. Adding a transition bridge separates the =
low
tenor from the low <BR>bass and gives you more room to tailor the soundboa=
rd
impedance (with rib <BR>placement, panel thickness, grain angle, bass floa=
t,
mass lading, and/or <BR>whatever) to more nearly meet the needs of the sca=
le.
With the transition, <BR>you can now make soundboard impedance in the low
tenor more nearly match <BR>that of the high bass (which is what you ideal=
ly
want) without killing the <BR>low bass.<BR><BR>Here's a sketch showing bot=
h
the original tenor bridge, and a transition.<BR><BR><BR>>And, would you=
put
2-string unisons on both tenor and bass bridge, or just<BR>>on the teno=
r
bridge?<BR>><BR>> Calin Tantareanu<BR><BR>Wrapped bichords on =
both
the high bass and the transition, plain wire <BR>trichords on the long
bridge.<BR><BR><BR>Ron N</FONT></BLOCKQUOTE></DIV>
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