[pianotech] finding the strike line

[David Love]

Doing it this way then I gather you are accepting a slight drop in
inharmonicity in the transition section with a  subsequent rise again in the
first bichord section of the bass.  What kind of bump there do you accept
(4th partial change)?

 

David Love

www.davidlovepianos.com

 

From: pianotech-bounces at ptg.org [mailto:pianotech-bounces at ptg.org] On Behalf
Of Delwin D Fandrich
Sent: Monday, February 09, 2009 1:16 PM
To: pianotech at ptg.org
Subject: Re: [pianotech] finding the strike line

 



| -----Original Message-----
| From: pianotech-bounces at ptg.org
| [mailto:pianotech-bounces at ptg.org] On Behalf Of David Love
| Sent: February 09, 2009 12:26 PM
| To: pianotech at ptg.org
| Subject: Re: [pianotech] finding the strike line
|
| Do you typically find, then, that when changing to a
| transition bridge that there is a maximum percentage
| reduction in speaking length that you are willing to
| undertake in order that the change in SPR doesn't result in
| too dramatic a change in the tone in that section?  It seems
| that the smoothest transitions (at least on paper) require
| quite significant reductions in speaking length in the
| transitions.  More modest changes which likely would have
| less impact on the SPR seem to mean compromises in the
| scaling through that section--though, I guess, not as much of
| a compromise as the original which caused one to consider the
| change in the first place. 
|
| David Love
| www.davidlovepianos.com

Every so often I still hear some piano marketing guru going on about how
this new Peerless Model Exceptionale Grand has been designed and constructed
"without compromise." What it tells me is that the guru simply does not
understand either piano design or piano construction. 

Pianos, like most other things in life, are a product of compromise. And
this is certainly true where retrofitting transition bridges to existing
pianos is concerned. 

I use the smallest percentage change in speaking length on a transition
bridge that I can get by with to give me an acceptable timbrel blend. More
and more I am using the configuration shown in the attached photograph. A
compromise? Certainly! But I find I can achieve an acceptable timbrel blend
at the expense of only a moderate jump in inharmonicity. The benefit is that
it doesn't stand out aesthetically. Many prospective purchasers don't even
notice that it doesn't look quite original; just that it sounds immensely
better.

ddf

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