>Hi Ron, > >I agree there is a great deal going on--but when one observes 20 pianos or >a 100 all doing the same sort of humidity dance, it certainly points out >the need of humidity control. >Regards, >Don Rose, B.Mus., A.M.U.S., A.MUS., R.M.T., R.P.T. Whoa Don! Where'd that come from? What the heck happened to why does this do what this does? Humidity control is the default answer to nearly any tuning stability issue there is. If that was what this was all about, it could have been boiled down to that on the first post and saved a heck of a lot of wildly speculative correspondence the last week. I was just trying to put some sort of minimal mysticism, physics supportable rationale to your observation. The vast majority of what I tune needs better humidity control than it will ever get if it lasts forever. I assume that's the case for nearly everyone on the list, except for that guy in Shangra La, where everything's perfect. Then again, he's probably starving for work. Look at the thing from a standpoint of friction points and length proportions. Draw some pictures, assign some tension numbers to string segments and friction values to bearing points, and think about what happens to the tensions in the individual sections when the bridge top goes up and down with humidity swings. Without any particular target in mind, follow the numbers and logic and see where it takes you. Real world applied physics takes into account every friction point and the tension in every segment of every string, and we should at least attempt to do the same thing if we have any hope of understanding what's happening. It gets pretty involved, but it all seems to fit logically with what we observe in pianos looking at just humidity and pitch after the fact. I just can't accept the because of X, Y happens, unless there's some rational cause and effect relationship. I guess it's just one of my many personality flaws. Ron N
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