Del, The bass and other strings that have the hammers angled to the string will have a different strike point measurement from the termination points of bridge and agraff/capo bar. This causes to my ear the distortion of the sound of the unison much like phasing of unlevel strings. As a double bass player, I long ago discovered that one could divide the string into 1/2 1/3 1/4 segments and play the overtone series , but also divide the string into smaller segments and draw out a diatonic scale of the upper partials of the string. Moving the finger lightly along the string only a small fraction of an inch will make the change occur. With the string line angled one way and the hammers the other will MHO cause what I believe Roger is referring to especially on bass strings that are already too short to produce a good sound. Joe Goss ---------- > From: Delwin D Fandrich <pianobuilders@olynet.com> > To: pianotech@ptg.org > Subject: Re: voicing - was Convention musings > Date: Wednesday, July 28, 1999 9:18 AM > > > ----- Original Message ----- > From: Roger Jolly <baldyam@sk.sympatico.ca> > To: <pianotech@ptg.org> > Sent: Tuesday, July 27, 1999 11:47 PM > Subject: Re: voicing - was Convention musings > > > ... and phasing due to hammer angles being > > critical, this area will always have a certain amount of unevenness > within > > the assembly process. > > This notion about the phasing due to hammer angles being critical has come > up before. The more I think about it, the more I question it. I've > certainly not found it to be a major factor piano tone -- at least not with > string lengths typical of bass/tenor crossovers. These strings are so long > that any variation in tone due to the hammer strike point not being in > exactly the same spot on each string is essentially inaudible. > > The uneven tone problems through this area are the result of inappropriate > string scaling coupled with deficiencies in the soundboard and rib design. > These issues can be effectively dealt with at the design level -- and > sometimes at the redesign level, as well -- if the manufacturer (or > rebuilder) has the incentive to do so. Sadly, few seem to feel an > imperative to do so. > > > > Board design will not completely correct these variables only minimize > them. > > If you insist. However, these variables can be controlled by proper design > to such an extent that any audible variations across the bass/tenor break > can minimized to such an extent that they are detectable only by the most > critical trained ear. And then only by going across the break area note by > note and carefully listening for the very subtle variations in tone. Even > then, they will make mistakes and guess wrong from time to time. (Yes, I > have fooled some very good piano technicians on this) Scale breaks -- > whether they be between wire types or bridges -- can and should be musically > transparent. > > > > Since string winding tension etc has a large effect on the harmonic > content > > and power, please educate me on how you integrate the bass string > > scaling/design with the Z of the board. > > No, I can't. Been there, done that. There wasn't much interest in the > subject. It isn't that simple. There is a lot of background information > that has to be understood first and that is usually where we loose folks. > Besides, nowadays I prefer getting paid for my design efforts. > > > > A direct formula will suffice. > > Sadly, at this point it is as much an art form as it is a matter of > formulas. I've no question that if probed at long enough (by folks much > smarter than I) much more of this stuff will be reduced to formulas. Not > yet, however. > > Regards, > > Del >
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