Look at the dogleg at the break. What dogleg? Lacking sufficient dogleg,
the choices are:
(1) Compromise the speaking length progression.
(2) Adjust the pin row spacing.
Yamaha compromises the speaking length in the P22, hence that F above
the break tuning nonsense (low break%). Baldwin chose to change the row
spacing to keep the back row of pins on the bridge. This doesn't hurt a
thing, and is better than screwing up the speaking lengths. It's hard
though, to accurately establish the offset angle with the pin rows that
close. That's on the treble side of the break. On the bass side, it
looks to me like avoidance of the pins of the next unison. Unlike Yamaha
and Baldwin (and a lot of others), I choose to build bridges with
sufficient dogleg at the break to accommodate both the speaking length
progression and the row spacing. It costs more in time, which likely had
something to do with their decisions. I still have to adjust row spacing
as necessary to avoid intersecting the next unison's pins. Yamaha,
incidentally, maintained the row spacing and moved the whole unison in
some models.
Ron N
Original Message------
So why do you think Baldwin decided to alter the bridge pin spacing in just this small section (that's the tenor/treble break)?
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David Love RPT
www.davidlovepianos.com
davidlovepianos@comcast.net
415 407 8320
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