This is a multi-part message in MIME format. ---------------------- multipart/mixed attachment Hello! I made quite an interesting experiment with a sort of monochord. What I wanted to see was the influence of the string termination is on the sound. To that end I constructed a very simple monochord: a spruce board, 2 grand piano agraffes, 2 hitch pins, 2 tuning pins and a brass string (see the attached photo). The agraffes form the main terminations of the speaking length. I used two mobile wooden, each with an iron nail (with the head cut) placed on it's top for providing the secondary termination point after the agraffes. This point is set higher, so the string segment between it and agraffe is at an angle to the speaking length. I have used the following set-ups: - Situation 1 = secondary terminations (wooden pieces) set such as to form 2 duplexes in tune with the speaking length (2 octaves above it's frequency) - Situation 2 = secondary terminations set such as to form very short free string segments, at no more than 1 cm from the agraffes. - Situation 3 = string segments between agraffes and secondary terminations (duplexes) muted with some paper strips (as shown in the picture). - Situation 4 = no secondary terminations and waste lengths muted. A few conclusions: - The worst sustain and tone quality has been achieved when the secondary terminations (wooden pieces) were missing and waste lengths were muted, because the string segments after the agraffes formed a very shallow angle to the speking length (Situation 4). Hence the conclusion that an angle is needed to achieve a better termination. - The second worst was with the secondary terminations in place and duplexes muted (Situation 3). - The best sustain and tone quality was achieved when the string segments between agraffes and secondary terminations were not muted => Situations 1 and 2. I couldn't determine better sustain for either set-up, but there were different tone qualities: Situation 1 had a definite harmonic ring from the duplexes, sounding 2 octaves higher. Situation 2 had a very good and open sound, but without the extra harmonics. I can't really say which set-up I prefer, among these two. they both sound good, but different - further experimenting is needed. - The main conclusion that I drew is that the secondary termination is crucial for the sustain of the string, because a lot of energy bleeds through the agraffe. Touching the duplex segment (both when tuned and when kept very short - Situations 1 & 2) with a finger and plucking the speaking length produced much less sustain than without touching it plucking. - Of course I realise that this experiment doesn't exactly reproduce the way a string is fixed in a piano, because I used 2 agraffes instead of 1 agraffe and 2 bridge pins. Any opinions? Regards, Calin Tantareanu ---------------------------------------------------- e-mail: dnu@fx.ro http://calintantareanu.tripod.com ---------------------------------------------------- ---------------------- multipart/mixed attachment A non-text attachment was scrubbed... Name: monochordCT.jpg Type: image/jpeg Size: 31878 bytes Desc: not available Url : https://www.moypiano.com/ptg/pianotech.php/attachments/87/06/6c/4a/monochordCT.jpg ---------------------- multipart/mixed attachment--
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