Rafael M. Huberman Muñiz wrote: > Yes, as Terry mention I was refering to the curve at the end of the > tenor. I'm far from being an expert and was triyng not to make an > asseveration but triyng to understand and support Ron's comment. Hi Rafael, I don't understand what curve you are both talking about. I see the end of the tenor being very nearly straight, or not curved enough to make a real difference. The part that does make the difference is the transition bridge allowing a shorter speaking length for the highest wrapped strings, so the tensions can be high enough, so the break% can be high enough to get the improved tuning stability I mentioned. >Lets > suppose that the bridge is straight, then the wrapped strings would have > been made of different widths according to the scale so, if they decide > to make a scale with those specific widths and then shape the bridge to > that specific lenghts, isn't it that specific combination (width-lenght) > that made the resulting smoothness or evenness of tone in that part of > the piano? We know what happens when we curve the low tenor, making the speaking lengths shorter to get the bridge in the piano, and put plain wire strings on it. The tensions are too low, the break% is too low, and the tuning is very unstable down there. They also honk, and otherwise sound nasty. >And if it was a straight bridge with the respective sizes of > strings wouldn't sound as nice as it does? It depends on how long the speaking length is for the required unison pitch. If it isn't long enough to get the break% of plain wire high enough, you get tuning and tonal problems, regardless of the shape of the bridge. Ron N -------------- next part -------------- A non-text attachment was scrubbed... Name: Kohler transition 2.jpg Type: image/jpeg Size: 430273 bytes Desc: not available URL: <http://ptg.org/pipermail/pianotech.php/attachments/20090916/46414c15/attachment-0001.jpg>
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