sound board loading

[Richard Moody]

comments are dispersed... 
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> From: Delwin D Fandrich <pianobuilders@olynet.com>
> To: pianotech@ptg.org
> Subject: Re: String Levelling guestions
> Date: Tuesday, April 07, 1998 8:59 AM
> 
> 
> 
> Richard Moody wrote:
> 
> > ....
> > By "termination" do you mean the beginning or the ending of the
string?
> > What then would be "Lousy string termination design" ? To me the
string
> > begins at the tuning pin. and ends at the hitch pin.  Are there names
for
> > ALL the segments in between?  (I bet there are in German)  What's the
> > segment between the two bridge pins? (for example)
> 
> In this context, the reference is to the agraffe/V-bar and to the
leading bridge pin.
> I.e., the termination points of the so-called "speaking" portion of the
string. I'd guess
> -- hope? -- that it's been some time since anyone spent a lot of time
fussing with the
> string level between the trailing bridge pin and the hitch pin. Or the
bearing bar and the
> tuning pin. But I could be wrong.

I have always wondered about the the "trailing" length, or the wire from
the bottom bridge pin to the hitch pin.  Actually this length is
significant more (I would think) from the lower duplex bar (if present)
(or else the felt) to the lower hitch pin. The gist of this there should
be an optimum length.  One that would allow greater freedom of vibration
of the bridge and soundboard. For example if such a length were only one
inch compared with say 4 inches, which would permit the most response? Or
could we hear the difference.  
	As technicians we have no control over this length on first thought. We
might depending on how much plate there is between the hitch pin and the
lower bridge pin, and where we then place the felt or lower duplex bar. 
	If I may be permitted to drop a bomb shell here, I believe, (suspect) the
soundboard of the modern piano is overloaded because there are too many
strings on it.  If there were only two strings instead of three per
unison, the soundboard in our pianos perhaps would have a greater
response.  Also then the player would have a true unicorda when using the
soft pedal. I don't see how this theory could be tested outside the piano
factory.  If any of you have ever tuned and or played a two stringer
upright (Fisher for example) from 1900, you might concur. 
> 
> 
> > > the same manufacturer have string termination problems requiring
much
> > string fussing
> >
> > A neophyte asks what is "fussing"?
> >
> > Richard Tyro
> 
> I refer the neophyte to the numerous posts already on the list (and to
the 73 that are yet
> to come) about string leveling -- about precisely where to bend, where
not to bend, how to
> bend, how not to bend, when to bend, when not to bend, etc. -- to
determine what "fussing"
> is.

OOps  I thing "fussing" means the same as fretting... I was pronouncing it
wrong. 
> 
> 
> > ps
> >
> > > And there is a reason why these problems are not generally found in
the
> > upright piano
> >
> >  This discussion has sparked curiosity, upon feeling for levelness of
> > trichords in uprights, many are unlevel, but not much over 50%.  But
this
> > is only the first two weeks, and five pianos. More to come pending
> > interest. .. rm
> 
> Yes. Sometimes there are strings on upright piano that are not "level."
But, in most
> uprights they do not present the audible problems that they do in grand
pianos.
> 
> -- ddf

Thank you Del and as usual you are quite right. On the best sounding
uprights by   feel alone some out of levelness can be detected. In all 
pianos one can find a pandora's box of deviations.  Some require
attention, others can wait, and others don't matter at all.  Only a
technician can know.  What an opportuinty this forum presents for such
knowledge.

Richard Moody