bridge pins

[Delwin D Fandrich]

#7's thru the top two sections.
#8's thru the rest of the tenor.
#9's thru the bi-chords.
#10's thru the mono-chords.
Don't ask me why.  They work.

Del

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Ron Nossaman wrote:

> Perhaps something informational.
>
> I've always sort of considered #7 bridge pins to be in the same category as
> #17 music wire was in the old string scales... magic. Use them everywhere
> you can. When I'm making bridges, I'll use #7 through the tenor and treble,
> with #8 on the wound strings/auxiliary bridge, and bass bichords. In pianos
> under 6 1/2', I use #8 in the monochords too, though I'd probably go to #9
> in a bigger piano. I haven't made new bridges for anything bigger that I
> didn't just duplicate what was there, but it will happen. I don't normally
> use #6, or #10 at all unless I'm just replacing what was there. I consider
> #6 to be too light and flexible for solid string termination, and #10 to be
> about the right diameter, but too short for a club. Just my personal take.
>
> So here's the question. Has anyone out there got preferences and/or logic
> (other than just replacing what was there) on bridge pin sizes as relates to
> piano size, tension ranges/mass/impedance, scale position, This kind of
> thing doesn't come up for discussion anywhere and I'm trying to fill yet
> another of the many (many) holes in my education.
>
> Thanks,
>  Ron