Mason & Hamlin AA scale.

[Erwinspiano@aol.com]

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Ron
   This drawing & bridge placement look very similar to the  1929 Mason A I 
have posted about previously. It had 5 bichords & very good  break. Tom Cole 
now owns the piano. Is it done yet Tom?
  What becomes of the very long tenor extension beyond the transition?  How 
much of it is really benificial. Yes some of it would lend mass to the low  end 
of the tenor bridge with plain wire which would be good. 
 What's usual in these designs?
   Dale

>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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