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Re: Bridge design
----- Original Message -----=20
From: Ron Overs=20
To: pianotech@ptg.org=20
Sent: July 06, 2002 6:31 PM
Subject: Re: Bridge design
Del wrote;
-- even better, design in a transition bridge -- and/or redesign =
the ribbing, and leave out the gaps.
Agreed. Of course, the transition bridge is a really sensible work =
around for a piano which has bass/treble break which is lower than =
desirable, for the particular length of piano.
Interestingly, something I have noticed about transition bridges is =
that they also need an extension running out from their treble end, to =
increase the impedance. This extension would therefore run further out =
towards the center of the board.=20
A transition bridge will exhibit the same end-of-bridge impedance =
problems as a continuous long bridge. The cleanest solution is to attach =
the upper end of the transition bridge to the long bridge and extend the =
lower end just as would be done with a continuous bridge.=20
I am thinking now that it should be long enough to run over another =
sound board rib. Of course, none of this stuff would be necessary if the =
cross was in the appropriate place to start with. After a hundred years =
we are still stuck with a multitude of small and mid sized grands with =
the cross scaled too far down, just to make them look like their bigger =
brethren.
I'm not sure what the rational was behind placing the bass/tenor =
transition where it is on the so-called 'modern' piano. Especially, but =
not limited to, the 'modern' small piano. But it's there and has to be =
coped with. The transition bridge is probably the best way to do this, =
but even simple rescaling using bi-chords on up a bit is better than =
nothing. A lot better! The biggest problem with it is the inability to =
blend inharmonicity, but this is more of a tuning problem than a voice =
problem.
In either case, the end of that bridge -- regardless of type -- best =
have an extension of some kind.
Del
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