On 8/19/07 5:04 AM, "Anthony Hind" <[EMAIL PROTECTED]> wrote:
> Hello Ed > > However, I am not sure I understand the physics of what you tell me, > "stiffness makes the vibrating portion of the string in effect > shorter, therefore pitch problems can occur. This is why the Pistoy > works the best, due to its flexibility." and also "That is why they > intonate so well, because the vibrating aspect of the string is from > the nut to the bridge, not in effect a shorter distance." > > I thought all strings vibrate in a complex manner, from the nut to > the bridge, but also at multiples of this measure (half the string, > quarter of the string, etc). > Indeed, Aquila claim (see above) that Venice being very flexible > allow for rich high frequency harmonics to develop. " > The mensur of the instrument (actual nut-to-bridge-measurement) is an idealized parameter as far as _real_ strings are concerned. That figure would work for an _ideal_ string of one dimension, length. As soon as you add thickness (and stiffness) to the string the situation changes because the string cannot make the necessary sharp bends at nut and bridge that would make the _actual_ vibrating length equal to the mensur. The stiffer/thicker the string, the more pronounced the effect: the treble g will have a longer vibrating length than the heavier bass g. The problem is compounded with the different tie-off dimensions at the bridge end. Some builders adjust for this with a "fudge-factor" of a millimeter or so when calculating string sets. For a visual aid, try wrapping a piece of rope tightly over a table edge; try it with a piece of thread or twine. Hope this helps! (but my Bb's are still funky--I'll need to look seriously into the suggestions provided! Thanks guys!) Regards, Leonard Williams To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
