Steingraeber factory pictures, bridge agraffes & adjustable vertical hitchpins

[Kazuo Yoshizaki]

To be more precise, I guess it's a twisting force at the bridge.

On 5/3/06, Farrell <mfarrel2 at tampabay.rr.com> wrote:
>
> Where do you get any sideways tension? As long as the backscale is roughly
> parallel with the speaking length, the bridge will not be tensioning or
> compressing the soundboard in any manner.
>
> Terry Farrell
>
> ----- Original Message -----
> *From:* Kazuo Yoshizaki <matrasimca at gmail.com>
>
> This was what I heard from a piano tuner in Paris who asked Mr. Paulello
> about it. There may be something lost in translation, but I just assume
> anything that adds stress to the board inhibits the movement of the board.
> If you have no downbearing, no mass and no tension sideways, the board moves
> more freely, doesn't it? (Of course that is not realistic.)
>
> On 5/2/06, Ron Nossaman <rnossaman at cox.net> wrote:
> >
> >
> > > Yes, the string bearing is reversed, but the concept behind is that
> > you
> > > don't have tension sideways on the bridge, which helps the soundboard
> > > vibrate more freely.
> > >
> > > Yoshi
> >
> >
> > And how does that work? In my world, the soundboard isn't
> > changed by the string termination at the bridge, and will
> > vibrate pretty much the same with either system. The real
> > difference is in the mass on the bridge which, if anything,
> > will impede the vibrational freedom (amplitude, in this case)
> > of the soundboard assembly by lowering it's resonant
> > frequency, increasing it's mechanical impedance, and extending
> > sustain.
> > Ron N
> >
>
>
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