---------------------- multipart/alternative attachment In a message dated 12/7/2002 6:36:57 AM Pacific Standard Time,=20 sec@overspianos.com.au writes: > . Ron Your point about tuning stability is understood in these=20 types of designs is understood. The Mason AA( 6 ft 2 inch) are so rare I've=20 only seen four in my life. The early ones did have a seperate tenor bridge=20 with I think bi-chord trichord combination. I personally didn't care for tha= t=20 sound as much as the one I own now but they were probably on the right track= .=20 Tonally it's rare when these designs work this well as far as the crossover=20 from plain to the bi-chord and from the bi - chord across the bass break so=20 it's a pleasure to hear when they do. This AA and the Stwy A's have similar=20 designs that work as well as any tonally. As A rebuilder often working on existing designs that employ 20 note bass= =20 sections I've had two small successes at the bass cross over. I was reminded= =20 of it yeterday when I tuned a 60s Mason BB I restrung this year for the loca= l=20 college. I've written this before but on the BB and the Stwy B where the=20 tension drops off so badly at the bass break I've added hitch pins to the=20 plate and used 3 unisons wrapped tri-chords which brings the tension up to=20 about 145 lbs per string and improves the blend from plain to wrap then cros= s=20 the bass. It's an amazingly good transition. Usually trichords can have=20 falsness and tuning troubles but GC strings makes them very well and thus=20 clean sounding. Were any modifications made to the Boesendorfer in this area= =20 that would be of interest?? Was it plain wire or wrapped strings there? I can hear Del groaning about the tri-chords all the way from Portland=20 and I usally dislike the use of them as well but so far I think I must be th= e=20 only guy on the planet who's willing to try this.(no Del Probably has) I=20 know David Love heard a Stwy B I did and thought it was a very good=20 improvement. The overall effect on the music played is wonderful as the soun= d=20 of strings at 110 lbs ughh is gone and the coupled octves when played thru=20 the break is so much more....well musical and homogenous. The new 5-8 Mason has a couple bi-chords at the problem location Yes My point is that at least if the worlds Makers are going to continue thi= s=20 design on longer instruments the use of really well made tri-chords in this=20 area would keep us from nashing our collective teeth.(some times) On the=20 shorter ones bi-chords are effective. Until then I'll fix them when I can. Thanks for the post and the measurement data. Regards Dale >=20 > Regarding your point about the Mason 6' having a decent cross regardless o= f=20 > the bichord covered scaling on the lower end of the treble bridge, I take=20 > your point. But crossover tone is perhaps more heavily influenced by the=20 > proximity of the bridge ends to the rim, than by scaling factors. While=20 > poor scaling can contribute to a problem crossover, it is more likely to=20 > effect tune-ability than cross over tone. A case in point is the B=F6endor= fer=20 > 6'7". We've just completed a rebuild of a 20 year old example and the cros= s=20 > over tone is quite satisfactory, although the scale is a bit of a mess=20 > since it runs down to B27 on the long bridge with plain wire (like many=20 > other 200 cm pianos which shouldn't follow suit). I haven't really looked=20 > closely at the 6' Masons, though I saw a 7' piano at Reno. > =20 >=20 > Ron O. > --=20 >=20 ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/99/91/54/85/attachment.htm ---------------------- multipart/alternative attachment--
This PTG archive page provided courtesy of Moy Piano Service, LLC