[CAUT] A new use for Goose's String level tool

[Joe And Penny Goss]

Hi Ric,
<G> seating at the bridge and at the agraff or upper termination give the
string (one) more clarity. Adding the three together then gives both more
power and clarity, Tuning the waste or back scale will also change the
result.
Any one out there have one of those tools to change the back string length?
The fella who made them passed away a year or so ago. Was it Ben F---------.
Use to be at all the main conventions, few seemed to buy the tool. Very
expensive tool.
Joe Goss RPT
Mother Goose Tools
imatunr at srvinet.com
www.mothergoosetools.com
----- Original Message ----- 
From: "Richard Brekne" <ricb at pianostemmer.no>
To: <caut at ptg.org>
Sent: Sunday, September 23, 2007 12:45 PM
Subject: [CAUT] A new use for Goose's String level tool


> Hi folks
>
> For a while now I've been pondering a little experiment Terry Farrell
> did a couple years back to try and look at how well / if  a string could
> stay in a position of <<unseatedness>>.  We've all been through the
> seating discussion many times... so I wont really go into it beyond
> asking as many of you who will take a few minutes to do the following ...
>
> Take Gooses tool and place it on unisons right close to the bridge.
> Check the level of the three strings.  Now take a small punch and tap a
> couple times down on the bridge pin itself... not the string.  Notice
> how (dramatically) actually the change in the string plane (using Gooses
> tool) really is.  Play the unison hard.. retune it.. whatever and see
> that the new string plane does not noticeably change.  Now take a string
> hook and pull the same string upwards along the bridge pin and recheck
> with the level tool.  Again.. play hard.. retune.. etc and check the
> plane again to see how well the string holds itself in whatever place
> you leave it...within reason of course.
>
> Within reason for my 10 minutes of dinking around with this today was on
> the order of a window of over a half a millimeter a string could easily
> be moved vertically and would stay in place despite standard tuning
> movement and hard play.
>
> As a side... I also noticed that there seemed to be a slight improvement
> in sound... a  more clear definition of pitch when all three strings
> were on exactly the same level plane.  Perhaps this was a subjective
> <<wishfull thinking>> thing on my part projected on the real
> situation... but I really did get the feeling that flimmering of pitch
> was significantly reduced when I got all strings nicely seated and on
> the same plane.... Why this might have an effect... ??.. more stuff for
> ponderment.
>
> Cheers
> RicB