---------------------- multipart/alternative attachment Nice pictures Ron. Do you have a shot of the bass float which is not covered up by the plate? I am also curious about how far you had to move the hammer line for the tenor bridge and whether that created any other problems that needed to be overcome: e.g. action ratio problems? And why is it, by the way, that tuning stability is compromised in a bridge that combines wrapped bi-chords and plain wire tri-chords at its end. This discussion was touched on briefly a bit ago as to why, exactly, the low tenor of many pianos is the most unstable part of the piano for tuning. David Love davidlovepianos@earthlink.net ----- Original Message ----- From: Overs Pianos To: Pianotech Sent: 3/8/2004 3:23:03 AM Subject: Re: New Topic: Bass Cantilever Bridges At 12:41 PM +0000 7/3/04, Michael Gamble wrote: Hello List and Calin T who said (inter alia): "3. Use a floating soundboard - which I think is the most useful approach. It was used by many French piano makers, especially Pleyel. Ron Overs has a really interesting article on his about a Yamaha grand where he floated the bass area of the soundboard." Yes, I have a feeling that Ibach used the floating soundboard principle in their "double-overstrung" 5ft. +- grands. Thanks for the info. I am hoping now that Ron O. will comment - or give me directions to the article you mention. The article is at; http://overspianos.com.au/g2.html This page has links within the text which will take you off to satellite pages relating to the same project. Mind you, I haven't re-read it to check that I still agree with what I wrote back in 2001. Ron O. -- OVERS PIANOS - SYDNEY Grand Piano Manufacturers _______________________ Web http://overspianos.com.au mailto:info@overspianos.com.au _______________________ ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/ab/e7/7a/91/attachment.htm ---------------------- multipart/alternative attachment--
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