One question comes to mind from the sketch of the transition bridge; is this not in effect a hockey stick arrangement in disguise and why manufacturers still use it, citing the same reasoning i.e. keeping as large a distance between end of bass bridge and end of tenor bridge? Hope not to throw a cat amongst the pigeons! Alan Forsyth ----- Original Message ----- From: "Ron Nossaman" <rnossaman@cox.net> To: "Pianotech" <pianotech@ptg.org> Sent: Saturday, September 11, 2004 4:31 PM Subject: Re: Mason & Hamlin AA scale. > >>Hi Ron! >> >>I'm not sure I understand how you want to achieve this and why it's >>easier >>to adjust the impedance by using 3 bridges. > > > With the usual two bridges, the low end of the tenor is pretty close on > the > soundboard to the low end of the bass. Since the low bass wants a > considerably more flexible board than the low tenor, one of these bridges > won't get what it wants from the soundboard assembly when they are in > close > proximity. Adding a transition bridge separates the low tenor from the low > bass and gives you more room to tailor the soundboard impedance (with rib > placement, panel thickness, grain angle, bass float, mass lading, and/or > whatever) to more nearly meet the needs of the scale. With the transition, > you can now make soundboard impedance in the low tenor more nearly match > that of the high bass (which is what you ideally want) without killing the > low bass. > > Here's a sketch showing both the original tenor bridge, and a transition. > > >>And, would you put 2-string unisons on both tenor and bass bridge, or just >>on the tenor bridge? >> >> Calin Tantareanu > > Wrapped bichords on both the high bass and the transition, plain wire > trichords on the long bridge. > -------------------------------------------------------------------------------- > Ron N
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