... it rings as if rose petals were wafting through the air ...

(visitors of the Grassmayr-bell-museum)

If you strike a bell once in a specific spot, a ‘waterfall’ of tones consisting of various partial tones is loosed. The tonal spectrum of a bell is highly complex. Children describe bells as if it were just "bim-bam”. Yet is is nearly unbelievable that in one strike of a bell, approximately 50 different partial tones ring out of it.


The secret of GRASSMAYR bells is to be found in their special bell form and the manner of creating it. The challenge lies in bringing a variety of different and highly distinctive partial tones into harmony with each other, not only inside a single bell, but also among an array of bells meant to be rung together. The tonal structure of an octave bell, for example, is quite ‘striking’ due to the audible acoustic strike note, the so-called nominal, the hum note, the prime, the third, the fifth, the super octave, the twelfth, the double octave, the triple octave, etc. An additional quality feature of GRASSMAYR bells is their intense, long reverberation, i.e. lingering/fading time.


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