> > > Before we get too far down the rabbit hole may I say that the only >> point that I was trying to make is that it is not possible (according >> to my interpretation of the physics) to confine the string vibration >> to a single plane. As to whether these two practitioners are in fact >> making that claim I offer this: >> > >Grin.. hey I can buy the absolutist objection.. but then I said "to >some degree", >and left wide open the question of how much. Seems to me the very >obvious fact that >the vertical bridge pin and the standard bridge pin each yeild >different measuable >output results point to a clear difference in string vibrational behavoiur... I haven't seen convincing evidence that there are different results. > just >what that is, is another matter of course.. but once that difference is >established.. Yes, if and when it's established. > I see no reason to doubt that some increased tendancy to vibrate in a >horizontal direction has some significant role to play..... you have >a good reason >why it shouldnt ?? I have no good reason to doubt that there could be some increased tendency to vibrate in the horizontal plane. I also have no good reason to believe it without some convincing evidence. I do, however, have what I think are good reasons to doubt that they can cause the string to vibrate strictly in the horizontal plane, which was the point I was trying to make with the original post. > > >> >> From the Stuart website - 'The challenge of applying contemporary >> design and technology to the evolution of the piano inspired the >> invention of the bridge agraffe. This sophisticated string coupling >> device is designed to retain the vertical mode of vibration produced >> when the hammer strikes the string'. >> >> Leaving aside the preposterous claim that he invented the bridge >> agraffe (perhaps he means that he invented his particular version of >> a bridge agraffe), I read this as saying he believes his system >> causes the string to vibrate only in a vertical plane. > >I dont think he claims to have invented the bridge agraffe.... I >would think he >claims to have invented a bridge agraffe at all...it is this >particular one.. which >he would then claim is significantly diffferent functionally from >previous ones... >Perhaps he is not being perposterous at all ?? Maybe we >should...er... ask him ?? ><g> > >Cheers >RicB > I suppose it's how you interpret 'the invention of the bridge agraffe'. What does 'the' mean? I don't see why it's necessary to blow all this smoke. 'Contemporary design and technology' - give me a break. Bridge agraffes (or in the more generic terms used in patents, a vibrating element termination utilizing up and down deflection - or words to that effect) are 19th century technology, as is a soft pedal which reduces blow distance and takes up lost motion. I'm not sure about the string height adjustment on the plate. Certainly Baldwin was there before him, and maybe others. His so called agraffe doesn't look like a standard agraffe, but I think I could come up with a patent (or several patents) from the 19th century for similar devices. Maybe not exactly the same, but close enough that he would not be able to patent his device. So, I'll stick with my assessment - preposterous. Since you seem to be on intimate terms with them, please do ask them. While you're at it, could you ask him about his sons? I see that they figure in the name, but I don't see anything about them on the website or in the company propaganda. I had assumed that they were conveniently available as silent partners to give the name that cachet of Steinway & SONS (who in every other way they are critical of). But perhaps I'm just being cynical. If you want to build your own piano, more power to you. Anybody who undertakes that endeavor has my admiration. If you want to make it unconventional, so much the better. The piano world could use the diversity. Just spare me the Madison avenue treatment, telling me that you are Mohammed come down from the mountain to save me. Phil Ford
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